400 characters of context from Alan R. Young, Visual Representations of Hamlet, 1709-1900

400 characters of context from Alan R. Young, Visual Representations of Hamlet, 1709-1900

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of
concealing the face, as a pointer, and, if gnawed upon or destroyed,
as an indication of Hamlet's extreme emotions. The second piece of
stage business went back to at least as early as Edmund Kean and
William Charles Macready and could still be seen at the end of the
nineteenth century, Sarah Bernhardt's performance providing an
example. It involved Hamlet crawling on