Shakspeare never introduces a catalectic line without intending an equivalent to the foot omitted in the pauses, or the dwelling emphasis, or the diffused retardation. I do not, however, deny that a good actor might by employing the last mentioned means, namely, the retardation, or solemn knowing drawl, supply the missing spondee with good effect. But I do not believe that in this or any other of the foregoing speeches of Polonius, Shakspeare meant to bring out the senility or weakness of that personage's mind. In the great ever-recurring dangers and duties of life, where to distinguish the fit objects for the application of the maxims collected by the experience of a long life, requires no fineness of tact, as in the admonitions to his son and daughter, Polonius is uniformly made respectable. But if an actor were even capable of catching these shades in the character, the pit and the gallery would be malcontent at their exhibition. It is to Hamlet that Polonius is, and is meant to be, contemptible, because in inwardness and uncontrollable activity of movement, Hamlet's mind is the logical contrary to that of Polonius, and besides, as I have observed before. Hamlet dislikes the man as false to his true allegiance in the matter of the succession to the crown.
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One could cite numerous additional examples of deception in : Horatio is deceptive by being a willing participant in Hamlet's plot to "catch the conscience of the king" (2.2.606); Ophelia deceives Hamlet by remaining silent about her father's manipulative behavior (2.1.107-9) and (3.1.43-9); Fortinbras lies to his uncle about his plan to attack Denmark (1.2.28-30); Rosencrantz and Guildenstern deceive Hamlet about their voyage to England; Laertes lies to Hamlet about the poison-tipped sword he wields in the duel; and so on.