it was, according to the true & perfect coppie.'

The most diverse hypotheses have been started as to the relation between
the older 'Hamlet' and the later one. [18] We share the view of those
who maintain that the first quarto edition was a rough-draught, advanced
to a certain degree, and for which the poet, as is the case with so many
of his other plays, had used an older play as a kind of model. A
'rough-draught advanced to a certain degree' may be explained as a
piece already produced on the stage. The public, always eager to
see novelties, allowed the dramatists little time for fully working out
their conceptions. The plays matured, as it were, on the stage itself;
there they received their final shape and completion. As mentioned
before, that which had displeased was struck out, whilst the passages
that had obtained applause were often augmented, in order to confer
upon the play the attraction of novelty. 'Enlarged to almost as
much-againe as it was' is an expression which shows that 'Hamlet' had
drawn from the very beginning. The poet, thereby encouraged, then worked
out this drama into the powerful, comprehensive tragedy which we now
possess.

Now, in closely examining the changes and additions made in the second
'Hamlet,' we find that most of the freshly added philosophical thoughts,
and many characteristic peculiarities, have clear reference to the
philosophy of a certain book and the character of its author--namely,
to Michel Montaigne and his 'Essais.' This work first appeared in an
English translation in 1603, after it had already been entered at
Stationers' Hall for publication in 1599. The cause which may have
induced Shakspere to confer upon his 'Hamlet' the thoughts and
the peculiarities of Montaigne, and to give that play the shape in which
we now have it, will become apparent when we have to explain the