Darth Vader And Us

The Universe, The Earth is being shaken to it's core  -

And this is just the beginning of a gigantic collapse of those forces that have instigated violence upon The Earth and an all-out assault against Nature and an all-out assault against life which is a creation God

And I'm not I'm not limiting it to the White House or the United States or whatever it's just it's against people whose minds are dark to the reality of The Light that is God who gave us the Magnificent Creation of our forests or trees people animals all of these things who have been so badly mistreated by the systems of The World.

So when the things happened with The Church and this as well as the Clinton affair with Monica Lewinsky and all of that stuff I immediately took the biblical scripture that pointed to the time of The Man with the Pitcher of Water, Aquarius.

In this scripture Jesus talked about things that we're seeing right now Matthew 10:26 

"...feared them not for there is nothing covered that shall not be revealed and nothing hid that shall not be known"

And you know, he's wasn't talking about a religious thing, he wasn't talking about a God Thing he was talking about this Age of Aquarius -

Because he was very cognizant of the sign of The Man With The Pitcher of Water, he told us about that he was very cognizant about Uranus because he said

"The Kingdom of Heaven is at hand."

In the words he spoke were Greek and in Greek the word for heaven is Uranos

So that you feel the things that you have seen the Fury of Nature 

The revelation about the sexual assaults against children by The Religious

The bringing down of the World Trade Center

The killings that flourish around The World stimulated by religious fanatics of all kinds including Muslims, Christians, Jews...

All of it when I told you over and over each chapter in this bizarre drama cold life brings us closer to the core which will finally see the shaking down of these people who deceive who lie and who kill for motives only known to themselves you can't experience these things without hanging on to your chair and thinking what's next because the power of Uranus and the shaking is coming upon the earth are not ending

This is just The Beginning 

And that's why it's so important that you understand about the things of hidden words, we call hidden worlds we call parallel universes 

And the existence of Those Who at One Time Lived with Us and Now Live There -

So in plain language I speak of Life After Death of The Physical Body

Now, you would take that that people would say that time when I showed you Sir William Crookes' picture with Katie King, you know, and the idea was, all you know he's saying somebody's come back from The Dead - No he wasn't.

Katie King was alive - Katie King was always alive 

Katie King never died 

 

Her body died

This hidden truth about life after death is so close to being revealed so close to the point where you will actually physically see and communicate with those who you think are dead and you think they're dead because of the training that has been given to you.

So we've been setting a foundation for this opening which is is going to happen and as you watch these things sit back for a moment and then think about you know what we've spoken of here that there is nothing hidden that will not be revealed there's I want to show you a couple of things of interest which is a news article about the Catholic Church.

And I must shout being a former Catholic Church person "Hooray! Hooray for the Catholic Church!". Let me show you what they say.

They said:

"The Catholic Church no longer trust the Bible Catholic Bishops declare that the story the beginning of the world told in the Bible is full of contradictions" - do you think maybe they've been watching this program well maybe they went to our website hey it doesn't matter how long it takes but rather if people finally wake up.

So we'll score another one for Uranus and Aquarius.

But let's let's see what they say and see if you've heard something like this before when you came here right at this moment :

"British Bishops declare that the story of the beginning of the world told in the Bible is full of contradictions resembles the legends of other ancient East people and cannot be considered historical at best it contains just a few elements of historical truth.

They also deny the doomsday machine in the book of Revelation the authors of the document are sure the symbolic language of the book should not be interpreted literally

So I have a great round of applause that somebody you know has gotten it and I can you imagine that they are shoe or that the book of Revelation should not

be interpreted literally.

And I would say to you "No kidding!" I mean the thought of frogs coming out of the dragon's mouth and the beasts with ten's heads I know I've never really considered that to be real but I guess at one time they did but doesn't it frighten you that peoplehave to finally assure other people that these things are not literal but I'll tell you there's a problem with this finding and let me show you what that  problem is and look at the next one -

Here, they go on the authors of the document offer a simple criterion of judging what is true or not in scriptures - They say everything the Bible says about The Salvation is True, and at the same time it that we cannot expect total accuracy from the Bible is concerning other worldly issues.

And what's that saying is you pick and choose is what you want to be true it depends on what your particular culture your particular group says we want this to be True - but we don't believe that's True.

So in other words, the part of Jesus being crucified is True but the part about hundreds of people getting out of graves and strolling downtown to the mall,  that's not, you know - that's not literal.

This type of mentality is what drives The World into this violent nightmare that we've always seen : anti-nature, anti-caring it's become totally at odds with creation because They pick and choose.

If you have a book,  and it's a book of symbols in part of it you can't say "That's symbols and this is real", the whole thing is either one or the other -

And since it cannot conceivably be literal, that somebody can talk to a snake or talk to a donkey then the book is symbolic.

But they can't they can't, they can't deal with that because there's something in there they want to be real, because they've based their corporation on it.

But I wholeheartedly support the fact that they now realize that it's not literal there was another news report from The Church, The Catholic Church - which leads me further to consider that they must have been listening to the show over at The Vatican  :

"The Faithful should listen to Science 

Associated Press in November the 4th 

Vatican City 

Cardinal Paul Pophorde who heads the Pontifical Council for culture made the following comment at a news conference and a Vatican project to help end the mutual prejudice between religion and science Peppard said Thursday the faithful should listen to what secular modern science has to offer warning that religion risk turning into fundamentalism if it ignores scientific reason."

The Cardinal must have showed come here or something maybe you don't listen to Dawn's tapes, I don't know...

So, I'm very happy about those two things by The Church, because the key here is to get people to wake up and in whatever way they can.

And these are these are drastic changes - it's good okay.

You take The Death - let's go back to The White House.

With this indictment indictment of Scooter Libby or our author here, you see activity in the White House that is deliberately structured to deceive deliberately structured to hide the truth from people to make people stir up their patriotism to make people raise flags and send their young men and women off to war to get killed.

And the cover-up of the lie about this war is so important - 

So, you know very very important that somebody in this administration would risk going to jail -

Yet those of us on the outside are supposed to raise our flags and follow patriotically, while the Dark One's plot in secret rooms things that we know nothing of.

And we opened a couple of the doors on their secret rooms in the beginning so we call this "Democracy" and we're trying to get other people to do the same thing -

There was a Commandment of God taken from the Bible that seems to pour its wrath on those who violate it for whatever reason -

Let me let me show you this a commandment that it says in exodus 20:7 :-

You shall not take the name of the Lord your God in vain for the Lord will not hold him guiltless that takes his name in vain

Now if you believe in God to any degree, whatever it is then you have to at least give some of these statements from long ago your attention -

Taking The Name of The Lord in vain by most people is interpreter they're saying Oh goddammit or Jesus Christ you know something like that -

That's not that's not what I mean - when you use God to try and justify yourself as being something that you're not

You know, you can take today, and this is what we see we see "Oh, you know we're born again we're followers of Jesus..."

Well, if you're born again and if you're a follower of Jesus a real true follower of Jesus you'd be a pacifist - You couldn't swing it anybody, you couldn't fight with anybody, you couldn't join any armies....

And you could say "Wow, that's ridiculous!"

That may be, but that's what's required if you're a follower of Jesus.

You can't say in one hand, you're against the other hand - singing 'God Bless America' when your country drops bombs on innocent people who have done nothing to you, and who are absolutely nothing to do with the with the hideous thing that happened in New York 9/11

You kill thousands for a reason which is proven to be wrong.

You torture people and you keep people in prison with no lawyers and no rights to speak.

And you used the Lord's name to get millions of votes and then you set up dark rooms where you threaten people who disagree with you, say, and and that's taking The Lord's Name in vain and you're not held guiltless and so you see there's a penalty there's a price to pay when you do that.... 

The Collector comes around and as we have seen in the past few weeks, The Collector has arrived...

When The Sith Come Around....

Joseph Campbell - he was he taught mythology at Sarah Lawrence University - oh gosh about 30 years he's passed away - but Joseph Campbell spoke of the need that we have the need to understand mythology to save ourselves from you know the reality of these minds that are....

Joseph Campbell said the mythology of our time is Star Wars.

The struggle against of Light struggling against Darkness.

"Israel is NOT a Good Name - His Name was Jacob at First..."

Now, the personification of Evil in Star Wars is Darth Vader.

His name was originally Anakin Skywalker and he was an upstanding citizen - Married, had two children.

His mother was Shimi, who was a virgin when she conceived and gave birth to Anakin.

What's interesting about this is the suggestion that Anakin Skywalker was actually conceived by The Force -

A Vergence, You Say...

Okay, not by any you know, copulation, but by The Force, as Jesus was conceived by The Force

As a child Anakin could build or repair anything.

Anakin was a youngster and and you know, as I said, he was extremely gifted he could do things that other children couldn't do.

He Can See Things Before They Happen...

He grew then and he married, and his wife was Padme.

Which Means "Peace", or "Lotus".

And Anakin, when he married his wife gave birth to two children - Luke Skywalker and Leia Skywalker.

However as he grew older his arrogance and emotional insecurities eventually turned him to The Dark Side of The Force, transforming him into Darth Vader.

You can do this - and he became so enamored with the power and his ability to change The World into what HE wanted it to be, that his good background and his good beginnings gave way to The Dark Side of The Force.

He's becoming a different person.

And Padme, his wife, travels to Mustafar to reunite with her husband, and she's afraid for him because of what's happening to him because of the way he's changing.

And she wants to leave public life and she wants him to go with her and raise their child - but Anakin refuses telling her they don't have to run anymore because he has new powers and his new powers can not only save her but his new powers can overthrow the Empire and make the Republic the way we want it to be.

Now, you know we're living that, aren't we?

You see there's a reason why Joseph Campbell's called Star Wars the great mythology for our time -

Before you mislead yourselves and I don't want to mislead you either - I'm not suggesting that George Bush is Darth Vader.

Darth Vader doesn't represent a person he represents a FORCE.

Darth Vader represents a force that comes from Good but becomes so overcome by the power in his hands, that he takes a small circle of friends to construct what THEY believe to be Good even if it's really Evil, the same same Darth Vader who was doing Evil actually thinks he's doing Good -

Trying to change The World the way HE thinks it should be.

In other words Darth Vader has no face here - he represents a mind, he represents a mind that is filled with Darkness and a mind that will fight and struggle to show him The World in the way that he thinks it should be.

He lives within this Mask and he has to stay within that mask so that no Light can ever come upon him, see - 

He cannot come out into The Light

He cannot become enlightened.

No one knows who he is.

No one knows what's behind The Mask.

And that's like all of these people like I showed you before this guy Scooter Libby -

I mean you know, The White House, he's got his portfolios in his book  - but nobody even really looked in to see what was in his mind... about, you know, a little girl being putting up a cage to have sex with an animal.

See, no one sees into the minds of those who seek Power and then misuse it, thinking that they're doing Good.

When you have that then you have a mind controlled by Darkness, you have Darth Vader.

And then finally Darth Vader is destroyed by his own son Luke Skywalker.

He is destroyed by his own.

He's destroyed by his own people.

And he asked Luke to remove His Mask and confesses that he has seen The Error of His Ways.

And then Luke removes The Mask and sees the ghostly pale visage of a sad and withered man - his head, he's bald his skin is pasty white from not having been exposed to The Light for more than two decades, and his face still carries the scars of the battles that have gone on within him.

And his weary eyes stare out from dark sunken sockets at his son, and back at a life filled with sorrowful regret.

And in his dying breaths Anakin Skywalker is redeemed, finally admitting to Luke that the goodness within him was really not destroyed after all.

And this is what he says at The End.

Anakin says, "Now go My Son leave me," this was Darth Vader

And Luke Skywalker said "No you're coming with me - I'll not leave you, I've got to save you"

and Anakin says

"You already have,  Luke -

You were right - You were right about me.

Tell your sister  - You were Right."

What a mythology that is!

About the very same people - I mean, the people that sit and do these things are not bad people - they are consumed in this thing.

And none of us knows how it how we would act if we're placed in that same powerful position we're not only placed in a powerful position but we're surrounded by other people and they're making suggestions, "Hey, if you do this....", "Hey, if we do that...", "Hey, if we do the other thing..." 

And then when you start doing these things and they don't go right you've got a cover over you've  gotta hide behind the closed doors and it just gets worse and worse and you sink deeper and deeper - and that's Darth  Vader.

But Salvation could only come to Anakin Skywalker, Darth Vader when he had been brought down by his own -

When The Power was finally taken away, then The Mask was removed, and again The Light was allowed to touch him.

You know they they have to come out from this circle of Darkness, whether it be in the White House and whether it be in Israel, or whether it be in Iraq or Iran or wherever it is it is, people consumed with this Darkness that manifests itself as this Violence Against Nature, Violence Against Life Itself, all of The Violence and The Killing Done Within The Dark finally was proved to The One Who Carried That Saber as being wrong he finally understood it because The Man -

He didn't have to wear the mask anymore.

He didn't have to come out and make speeches anymore.

He didn't have to come out and sit in the church anymore.

He could be he could be himself.

At that point Anakin no longer Darth Vader dies and his body is carried off by The Force you can take it off but the body his body is carried off by the godly force now he finally becomes one with the force of good say it's like all of us that before we go into the meditation were obsessed by the things that come into our mind we're obsessed by the ideas and the thoughts and and the things that and then when we come in and we purge that out we get carried off by this same force.

During the victory celebration on The Forest Moon of Endor, Luke is able to see the redeemed spirit of his father Anakin Skywalker.

So you see, it's not a person, it's an ideal its power -  it's an interpretation of what is Light and what is Darkness and it causes those who are infected with it to do terrible things that are really not a part of them but a part of The Force that they've yielded to, whether it's The  President, The Vice-President; whether  it's a it's a King; whether it's some kind of minister or preacher; a rabbi,  whatever - 

Whatever it may be probably, it's The Force that they become involved in and yield themselves to that they now become as a group willing to do anything  to make their program fit what they believe is best for The World.

So look at the difference in Anakin Skywalker  from when The Mask goes revealed until now  - that's the beauty of that mythology see and I mean it was like him 

And it's like what we're seeing with our own eyes right now we're seeing a Star Wars right now.

But people get deeper and deeper into the pit of that

force where people who have a great

education come from good families

suddenly find themselves having to lie

about bringing some terrible punishment

upon some innocent people they have to

lie and possibly go to jail or somebody

from you know until finally that higher

force which we call God which we call

Uranus which we called Aquarius causes a

crack a split and the light shines down

upon what they're doing and they're

brought down and when they're brought

down that is when they're raised up

they're basically good people there are

basically good people but they simply

cannot deal with the power they've been

given and they use it for evil instead

of good all the while calling that evil

good and they they thus fulfill another

scripture that I like a lot from Isaiah

and this is it and it says it says woe

unto them that call evil good and good

evil that put darkness for light and

light for darkness and this is what

happens and we are watching it with our

own eyes we're watching Star Wars and

we're what and I mean it's not President

Bush and it's not this one it's the

whole concept of this thing

that violence and killing and raping of

the of the earthen and the animals of

the earth and the and the children and

the poor and all of these things that

you know these things cannot get in the

the ultimate change of this democracy or

whatever it is they're trying to push

it's a it's a mass type of a mindset

they claim God and they claim that their

morality and their ethics and in this

country they're against abortions.

And they're against gays but they turned the other way when it comes to war and

killing and they turned the other way  when it comes to poverty and discrimination against the underprivileged they can't stand up there they say -

Darth Vader is alive and well and all you have to do is watch the TV or read the news to see what havoc

has been poured out upon The Earth whatever

You look over in France now and then people call me absolutely berserk and the shaking and

all of it is inside of the minds and it doesn't make any difference whether

there's police or soldiers there's rioting and then all this goes on it's a

form of mind that represents a form of mind it is a form of power and it takes

all shapes and sizes and no one ever sees its true face when they look in the

mirror they never see that face but that is their face and I want to tell you though Luke Skywalker who was the symbol of the force of good built a lightsaber and the lightsaber had a green blade a lightsaber of green light do you know what it means it was the green light that brought down Darth Vader and saved The World.

Green and Light are very important not just as symbols but as a reality of life

because it is the light from above that

touches the green of the earth that

gives us life an implant life it's

chlorophyll in an animal and human it's

called heme our hemoglobin it is the

light which is God that touches the

green of the earth that gives all life

in the days of the biblical Passover

they would place the blood of the lamb

on the doorpost to identify them and I

have asked you and this has gone on for

some years to place a green light at

your house to identify you some years

ago we showed you where this green light

was referred to as the biggest power

booster on the planet

a protein and green plants referred to

as photosystem 1 let me show you if I if

we can see that this is from NASA

biologists conducting Space Shuttle

experiments maybe one step closer to

shedding light on the biggest power

booster on the planet a protein in green

plants called photosystem one this is

the power the green light that brought

down dark Vador this is the power that

saved the world well you take that is there a green saber now I mean is there

a Luke Skywalker yeah

is there a Luke Skywalker with a green

saber now coming down upon the earth to

strike the earth and bring the dark

Vader's of the present world to their

knees that green light comes from above

the power comes from the light above and

what we're living in now is the Aquarian age and the ruling planet with the bizarre electro pattern and the ating from it is Uranus and when Jesus spoke of Passover he said look for The Man Carrying the Pitcher of Water which is Aquarius but there's something else something at hand that is strange and wonderful let me show you here with a Karina the magnificent nebula which I proposed to you is the seventh angel of The Book of Revelation there are numerous reasons for proposing at a Carina as the Seventh Angel of Revelation the word Atta is the seventh leader of the Greek alphabet and originally meant seven it certainly has the appearance of an angel at a Carina and something amazing has been discovered now and at a Carina but step back for a moment and let's reconsider the green light the green saber of Luke Skywalker coming down to The Earth.

Uranus, the mighty ruler of this age is called the blue green planet and it's vibrations of electromagnetic energy is such that it is a prime source of the shaking and that magnetic changes that are impacting so many and causing so many things to be turned upside down so indeed in this age of the seventh angel of The Book of Revelation there is a Luke Skywalker there is a Luke Skywalker with Green Light coming down upon The Earth that will destroy the Powers of Darkness that will destroy the Darth Vaders of The Earth.

And that Green light comes from Uranus our own Luke Skywalker for this mythology and it is the time of the seventh angel all together then the time of Luke Skywalker the time of the green light, the time of the Seventh angel and as certainly you can see the wings of The Angel looks like an angel let me show you the next if you see in the next slide Alpha Beta Gamma Delta Epsilon Zeta EDA which is the seventh and from

heidegger's Greek words at a in small

that it means pleasure and in capital

letter it means the Sun so it is the

seventh letter of the green alphabet

also means the Sun behind the angelic

wings that a Carina is the most massive

light known to exist anywhere in the

cosmos

you know of the next one so we have Etta

Kareena represented by the seventh

letter in the Greek alphabet the word

Adam means the Sun and as you can see

with the appearance of an angel would we

be justified then in considering this as

a sign in the heavens of the seventh

angel the seven angels of Revelation and

the seventh angel in particular are

identified in a biblical context very

specifically but I need to share with

you and it comes in Revelation 5 - I saw

a strong angel proclaiming with a loud

voice who's worthy to open the book and loose the seals no man in heavenly the earth or under the earth was able to

open it my wept much because no one was found in one of the elders said to me

weep not behold the Lion of Judah the book and loose the seven seals the of David

I Keep a Watch, I Do Not HAVE a Watch

I Keep a Watch, 

I Do Not HAVE a Watch

Hello, Little Man. 

Boy, I sure heard a bunch about you. 

See, I was a good friend of your dad's. 

We were in that Hanoi pit of hell together over five years. 

Hopefully, you'll never have to experience this yourself, but when two men are in a situation like me and your dad were for as long as we were, 

You take on certain responsibilities of The Other. 

If it'd been me who'd - not made it, Major Coolidge'd be talking right now to my son Jim. 

But the way it turned out, I'm talking to you. 

Butch. I got somethin' for ya. 

This watch I got here was first purchased by your great-grandfather during the first World War. 

It was bought in a little general store in Knoxville, Tennessee. 

[ It's a Pocket Watch mounted onto a wrist strap ]

Made by the first company to ever make wrist watches.

 Up 'til then, people just carried pocket watches. 

It was bought by Private Doughboy Erine Coolidge on the day he set sail for Paris. 

This was your great-grandfather's war watch and he wore it everyday he was in that war, and when he'd done his duty, he went home to your great-grandmother, took the watch off, put it in an old coffee can, and in that can it stayed until your granddad, Dane Coolidge, was called upon by his country to go overseas and fight the Germans once again. 

This time they called it World War II.

Your great-grandfather gave this watch to your granddad for good luck. 

Unfortunately,  
Dane's luck wasn't as good as his old man's. 

[ Hamlet ]

Dane was a Marine and he was killed -- along with all the other Marines at the battle of Wake Island. 

Your granddad was facing death. 

He knew it. 

None of those boys had any illusions about ever leavin' that island alive, so three days before the Japanese took the island, 

Your granddad asked a gunner on an Air Force transport, name of Winocki 

- a man he had never met before in his life - 

to deliver to his infant son who he'd never seen in the flesh, 

his gold watch. 

Three days later, your granddad was dead, 

but Winocki kept his word. 

After the war was over, he paid a visit to your grandmother, delivering to your infant father his dad's gold watch. 

This watch. 

[He holds the watch up] 

This watch was on your daddy's wrist when he was shot down over Hanoi.

 He was captured, put in a Vietnamese prison camp. 

He knew that if the gooks ever saw the watch, it'd be confiscated and taken away. 

The way your Dad looked at it, this watch was your birthright.

 He'd be damned if any slope's gonna put their greasy, yellow hands on his boy's birthright, so he hid it in one place he knew he could hide something - his ass. 

Five long years he wore this watch up his ass. 

And when, he died of dysentery, he gave me the watch. 

I hid this uncomfortable hunk of metal up my ass two years. 

Then, after seven years, I was sent home to my family.

 Now, little man, I give the watch to you.

“He’s fat, and scant of breath”

Fat people are not inhuman, they are fat.

"I suggest, finally, that the inclusion of the line “He’s fat, and scant of breath” in similar productions has the potential to encourage the audience to feel, and finally to interrogate, the dehumanizing implications of our fatphobic constructs."

No it doesn't.

Hamlet is fat, unhappy and over-privileged; young, white and 21.

And there is no such word as "fatophobic"

The play is about how Hamlet's Pride and Sense of Entitlement causes him to utterly destroy himself, everyone he loves, his entire birthright bequeathed to him by his late father, the Kingdom of Denmark - after having been given just the tiniest nudge to get it started by The Devil pretending to be the ghost of his dead father, who spins him a tissue of lies which are precisely what he wants to hear. Because he is proud, and immodest.

It's autobiographical.

Of *course* Hamlet is fat - he expects to win this final, epic duel to the death with this man who is not his enemy (Laertes is his foil, not his enemy or his Nemesis), not through skill or athletic ability, but by God's Grace and favour and the Divine Right of Kings.

“He’s fat, and scant of breath”: The Rise of a Modern Fatphobia in Nineteenth- and Twentieth-Century Commentary on Hamlet

Abstract: This essay examines the extensive critical commentary on a single line of Hamlet — “He’s fat, and scant of breath” (5.2.287) — in order to trace the emergence of a modern understanding of the fat body. Unremarkable in the eighteenth century, the line becomes the center of debate in the nineteenth century at precisely the period in which fat bodies come to be seen as having an essential nature, assumed to be cowardly, lazy, and undisciplined. Attributed to Goethe and developed by a German Shakespeare tradition, Hamlet’s supposed weakness of character is explained by his fat character. In response, English-speaking Shakespeare critics develop scholarly methods to distance Hamlet from “fat” altogether, initially by offering bibliographical arguments for emending the word and finally by offering etymological arguments that redefine it to mean anything other than corpulent. The final section of this essay considers the extent to which this same understanding of the fat body was employed in responses to Simon Russell Beale’s performance of Hamlet. I suggest, finally, that the inclusion of the line “He’s fat, and scant of breath” in similar productions has the potential to encourage the audience to feel, and finally to interrogate, the dehumanizing implications of our fatphobic constructs.

§

This essay offers a reading of nineteenth-century and early twentieth-century responses to a single line of Hamlet. The line, present in the First Folio, the Second Quarto, and all modern critical editions, has Queen Gertrude, when watching her son, Hamlet, fence with Laertes, cry out with motherly concern, “He’s fat, and scant of breath” (5.2.287).¹Most today find the line incongruous: why, after all, would Gertrude call her son fat? Such a response, I argue, has a history. The line, unremarkable in the eighteenth century, inspired intense scholarly scrutiny in the Victorian period, when understandings of “fat” take on a modern form. Fat is now seen as an outward sign of an inner, essential nature, where the fat person is assumed to be cowardly, lazy, and undisciplined. Only with the emergence of this modern understanding of fat does it become “ludicrous” and “impossible” for most to accept that the heroic Hamlet — “The glass of fashion and the mould of form” (3.1.153) — could be fat. Such an understanding of fat gains central importance in the period in which the play is increasingly seen through the character of Hamlet and his interiority (de Grazia). The modern understanding of fat can explain what comes to be seen as the central problem of the play: namely, what in Hamlet’s character accounts for his failure to act (Dixon, “Line”).² In an 1887 lecture, James Russell Lowell gives voice to this new modern sentiment when he confidently asserts that “A fat Hamlet is as inconceivable as a lean Falstaff” (189).³

This essay participates in what I term in The Culture of Obesity in Early and Late Modernity a “fat history,” a scholarly project to excavate past responses to the fat body in order to better understand and critique our own contemporary understandings of, and widespread stigmatization of, the fat body (Levy-Navarro 1-34). Much like presentism in Shakespeare studies, a fat history does not reject historicism per se, but only a historicism that does not explicitly situate itself in the present historical moment. A fat history acknowledges that, as Hugh Grady argues, “there is no historicism without a latent presentism” (115). In The Culture of Obesity, I focus on early modern moralistic constructions of fat, especially those found in “puritan” narratives. I turn here to Victorian responses to Hamlet in order to examine an understanding of fat even more immediately relevant today. What Frederic Jameson has described as the overdeveloped West is significantly indebted to the essentialist construction of fat that emerges in the Victorian period, albeit interpreted through a moralistic framework that has a much longer legacy (xviii). Joyce L. Huff made this point well over a decade ago (“Horror,” 42).⁴ I would now add that this modern understanding of fat — whereby the fat person is assumed to have a nature that is weak-willed, unhealthy, and out of control — is even more hegemonic in this post-9/11 world where national and international agencies are involved in what is frequently characterized as a “war against obesity.” In these terms of warfare, the disembodied “obesity” is often described as a detrimental force, whether a “terror within” or a “disease” that threatens to destroy society (Levy-Navarro, Culture 1-19). Those who have the misfortune to be labeled “obese” or “overweight” are increasingly subject to surveillance, whether from their employers, physicians, insurance companies, or, indeed, themselves.⁵ With this growing cultural panic concerning “obesity,” the constructions surrounding “fat” need more scholarly attention. Precisely because these constructions have become so pervasive, however, it is particularly difficult to see them as anything other than transhistorical and natural conditions.⁶

Shakespeare criticism has for the most part remained silent on the issue of body size, even as it admirably explores many other aspects of embodiment, including those of gender, sexuality, and race. Because it solicited so much scholarly analysis from the middle of the nineteenth century until the middle of the twentieth century, criticism of the line “He’s fat, and scant of breath” offers us a convenient way to document this silence. The year 1951 marks a useful turning point, after which “The rest is silence.” Three articles on the line appeared that year in scholarly journals, but subsequently, the topic went underground, discussed in brief but important editorial footnotes and in more informal academic venues like the academic listserv (Dickson; Stoll; Maxwell).⁷ This silence does not result from resolution to the ostensible problems the line presents. As editors observe, no evidence has been found to rid us of “fat Hamlet”; nonetheless, we remain convinced that Hamlet must not be fat. I therefore contend that our current silence on the matter results from our own fatphobia, which makes a fat Hamlet increasingly “inconceivable” despite what Gertude plainly says. One sign of the extent to which it is inconceivable is the widespread tendency to omit the line in productions, thereby preserving intact our cultural assumption that Hamlet must be thin.

The lone voices breaking this silence belong, in fact, to the editors, whose sustained attention to the critical debate around the line makes them more likely to recognize some of the assumptions evident in previous criticism. The editors of the Arden 3 Hamlet, Ann Thompson and Neil Taylor, note, “This word ['fat'] has been much discussed by commentators who do not want it to mean ‘overweight’” (5.2.269n). Gone from this note are all attempts to argue that the word “fat” is a printer’s error, as well as the obsessive insistence that the character of Hamlet cannot possibly be fat (and thus must presumably be thin). Even those editors who continue in the critical tradition of glossing “fat” as anything other than corpulent acknowledge that there is no real evidence for such a reading. T.J.B. Spencer begins his note by observing that the word “fat” is “incongruous,” only to admit, “There is slight evidence that it could mean ‘sweaty,’ but the usual meaning was the same as today” (5.2.281n). Harold Jenkins, editor of Arden 2, concludes that “no certain and authenticated parallel has been given for fat as an epithet for the condition, rather than the cause of the sweating” (5.2.290LN). The editor of the New Cambridge Shakespeare, Philip Edwards, similarly agrees that the word, “fat” must mean “sweaty” or “out of training,” even as he admits that both interpretations are “not properly attested” (5.2.264n). Outside of these important exceptions, Shakespeare scholars have tended not to take a fat Hamlet seriously, and thus not to reflect on or historicize their own attitudes about body size.

I. Fat Hamlet and the Essential Fat Identity

Before the nineteenth century, the line excited little to no commentary. Eighteenth-century editors showed virtually no interest in the line. Insofar as they discussed it at all, they did so to take up issues concerning the theatrical history of the play, and gradually those concerning theatrical decorum. The line is first singled out for notice by John Roberts in his 1729Answer to Mr. Pope’s Preface to Shakespear. (The question Roberts raises subsequently enters into the Second Variorum commentary.) Roberts cites the line to support his contention that John Lowin, a fat man, was the “original Hamlet”: “That he was Sizeable to play Henry the Eighth, and yet perform’d the Part of Hamlet is reconciled by observing the Queen says, in the fighting Scene between Him and Laertes, ‘He is FAT and scant of Breath’” (36). Roberts, proudly self-identified on the title page as a “strolling Player,” is interested in the performance history of Shakespeare, having written An Answer to counter Pope’s purely poetic analysis. As an actor with a considerable knowledge of theater history, Roberts understands that actors’ bodies do not always ideally match the audience’s expectations. His use of the word “sizable” is likely to strike the contemporary reader as a euphemism, but notably, the word need not so much signify “large” as suitably or appropriately proportioned (OED “sizeable,” adj.). Although there is apparently some discussion about whether Lowin is less than “sizable” (appropriately sized) for the role of Hamlet, there seems to be no sense in this discussion that fatness indicates of a flawed or cowardly nature. 

Variorum editors use the line to answer the same question about the identity of the original Hamlet, first arguing that it was John Lowin (initially suggested by John Roberts), then Joseph Taylor (added to the list of possibilities by George Steevens and supported by Edmund Malone, who explicitly rejects Lowin), and then finally, in Malone and Boswell’s Third Varorium, Richard Burbage.⁸ Later commentators accept the final verdict that Burbage did, in fact, originate the role (the evidence being further developed by John Payne Collier in 1843), but they begin to focus attention increasingly on the general question of whether, as Steevens notes in his 1778 edition, the “words are employed, with reference to the obesity of the actor” (Johnson-Steevens 408 n.7).⁹ Editors place increasing attention on theatrical decorum, or the issue of which shapes and sizes of bodies are appropriate to what roles. Even more than Roberts, Steevens focuses on the unsuitability of Lowin for the role, and thus the unsuitability of the fat body for a role such as Hamlet. As he conjectures, Shakespeare added the line to “apologize” for the fatness of the actor: 

If he [John Lowin] was adapted, by the corpulence of his figure, to appear with propriety in the two former of these characters [Falstaff and Henry VIII], Shakespeare might have put this observation into the mouth of her majesty, to apologize for the want of such elegance of person as an audience might expect to meet with in the representation of the youthful Prince of Denmark, whom Ophelia speaks of as “the glass of fashion and the mould of form.” (408n.7)

Steevens imagines here an audience who expects certain bodies to play certain roles. A fat actor, then, would ideally play a clown or an older king, but not ideally a young royal, especially one who is seen as a suitor. Such an understanding of body types and sizes is certainly fatphobic: it assumes the fat body has a “want of such elegance.” But this fatphobia is largely based on a certain understanding of theatrical decorum. The idea of a fat Hamlet is not something that is ludicrous, inconceivable, or monstrous, but simply theatrically inconvenient.

A more dangerous form of fatphobia emerges in the nineteenth century, when the fat body comes to be seen as having a certain innate character. Such a modern understanding of fat becomes useful during the period in which, as de Grazia has argued, the play is read through the lens of Hamlet’s (flawed) character. Thus, his supposed failure to act can be linked to his own nature by drawing on the new understanding of fat. Pat Rogers, in his masterful “Fat is a Fictional Issue,” demonstrates how by the second half of the nineteenth century in England, “corporeal codes became easier and easier to read as more of personal identity became lodged in physical shape” (31). Sharrona Pearl argues similarly that artists of all kinds could rely on a widespread popular “physiognomical literacy,” where body shape and size signify certain essential character types.¹⁰So pervasive do these ideas become that artists can use a few words or a few lines to summon up these character types for the audience. 

The argument that Hamlet was fat and that his fatness explains his weakness of character was initially ascribed to Goethe through a particular (mis)reading of his influential bildungsroman, Wilhelm Meister’s Apprenticeship. The importance of Wilhelm Meister’s Apprenticeship on the century’s Shakespeare criticism cannot be overestimated. Horace Howard Furness, the American editor of the New Variorum edition of Hamlet(1877), acknowledged the central significance of the commentary: “Goethe’s interpretation, [is] everywhere as widely known as the play itself” (xiii). For English readers, Goethe’s interpretation was known through translation by the great Victorian critic Thomas Carlyle. First published in 1824 and reissued throughout the nineteenth century, Carlyle’s translation of Wilhelm Meister’s Apprenticeshiphad, as Russell Jackson notes, “the status Proust’s masterpiece enjoys with us – it was the book everyone hoped you thought they had read – and knowing citation of the Hamlet comments was obligatory” (113).¹¹

Goethe’s text, then, was mediated by Carlyle’s translation, and by a German critical tradition that ascribed to Goethe the genius of having invented “constitutional criticism.”¹² An examination of the German criticism lies outside the confines of this study, but ubiquitous in English criticism are references to German critics and to Goethe as the German critic of the first order.¹³ In Shakespeare’s Tragedy of Hamlet (translated in 1882), for instance, Karl Elze draws on Goethe’s Wilhelm Meister to argue that “It is a masterly stroke of the poet to bring Hamlet’s indecision and inertness, his melancholy and heartache, into connexion [sic] with his physique, so as to account physiologically for his turn of mind and character” (246n). This German “insight” into Hamlet also introduces into English criticism a connection between fat and what is called variously “nature,” naturelle, “constitution,” or “non-executive or lymphatic temperament.”¹⁴ In the 1862 American Civil War, pro-Union, and abolitionist periodical The Continental Monthly, Edward C. agrees with what he takes to be Goethe’s remarks: “if the theory is true, the enigma of Hamlet’s character can be solved through calculations of his pinguitude” (571). The British actor and editor Thomas Wade, in a published lecture on Hamlet, interrupts his train of thought to “reflect upon this singular fact in Hamlet’s physical history” (31).¹⁵ That Hamlet had become fat by the time he fenced Laertes is taken as a sign of his degeneration of character – in effect the reverse process of our cultural view of slimming today or Bantingism in the period. In a more recognizably scientific vein, E. Vale Blake, in Popular Science Monthly, argues that Hamlet offers a “celebrated case” of “fatty degeneration” (61). As he writes, “a redundance of adipose matter essentially weakens and impedes the power of the will,” thereby explaining Hamlet’s infamous failure to act decisively to avenge his father (61).

Despite the influence of these German Hamlets, most critics writing in English reject a reading in which the supposed failure of Hamlet’s character is explained through a specific reading of the fat body. Many critics, however, both implicitly and explicitly offer counter-arguments to the reading that is ascribed to the massive figure of Goethe. What critics did not see at the time is that Goethe’s Wilhelm Meister’s Apprenticeshipactually offers three very different, competing interpretations of Gertrude’s line – by Wilhelm; Serlo, the actor-manager; and Aurelia, Serlo’s sister – and conceivably any of them could be given the weight of Goethe’s authority. Their interpretations, moreover, are in dialogue with one another, with no single interpretation winning the day. The fact that Wilhelm’s interpretation was taken up by critics as Goethe’s own suggests the degree to which bodies were predisposed to be read as suggestive of character types.

Much like the eighteenth-century Roberts, Serlo considers roles in terms of the exigencies of theater, and thus he understands that roles are played by all types of bodies, even if some of those bodies might be less than ideal for the role. When Wilhelm insists that he is not suitable for the role of Hamlet because “in my whole form and physiognomy, there is not one feature such as Shakespeare meant for Hamlet,” Serlo offers the perfect actor-manager response that surely “the actor fits himself to his part as he can, and the part to him as it must” (Goethe 2:290). Serlo finds Wilhelm’s physiognomic character criticism impertinent insofar as it insists on a singular and stable sense of character that exists independently of any specific theatrical production. Whereas Wilhelm believes in the existence of a character, Hamlet, as Shakespeare intended him, Serlo looks rather to a Hamlet that is a product of particular productions, where actors, actor-managers, and audiences work to co-create character. According to this view, the theatrical company is not constrained to reproduce the so-called authentic Hamlet as Shakespeare intended him.

Even as Serlo rejects Wilhelm’s reading as impertinent, Aurelia rejects it as ugly. Shakespeare’s intention or Hamlet’s character type do not matter to Aurelia; all that matters is what pleasure the play can provide the audience. Regardless as to how compelling a physiognomic interpretation may seem, the players are not so straight-jacketed. Aurelia thus counters Wilhelm’s reading of Hamlet’s character with her own aesthetic criticism:

“In the first place," answered Wilhelm, “he is fair-haired.”

“That I call far-fetched,” observed Aurelia. “How do you infer that?”

“As a Dane, as a Northman, he is fair-haired and blue-eyed by descent.”

“And you think Shakespeare had this in view?”

“I do not find it specially expressed; but, by comparison of passages, I think it incontestable. The fencing tires him; the sweat is running from his brow; and the Queen remarks, He’s fat and scant of breath. Can you conceive him to be otherwise than plump and fair-haired? Brown complexioned people, in their youth, are seldom plump. And does not his wavering melancholy, his soft lamenting, his irresolute activity, accord with such a figure? From a dark-haired young man, you would look for more decision and impetuosity.”

“You are spoiling my imagination,” cried Aurelia: “away with your fat Hamlets! Do not set your well-fed Prince before us! Give us rather a succedaneum that will move us, will delight us. The intention of the author is of less importance to us than our own enjoyment, and we need a charm that is adapted for us.” (2:290)

Aurelia initially seems to concede that Wilhelm’s argument is rationally sound, yet she does so in a manner that critiques his stabilizing approach. The question that Wilhelm insists should be paramount — namely, what physiognomic type did Shakespeare intend? — is irrelevant because what matters is “our” (fatphobic) desires. Aurelia does not argue, as later English-speaking commentators do, that Shakespeare could not have intended a fat Hamlet. Instead, she shifts the ground of the argument entirely away from Shakespeare’s intention to what the contemporary audience — and indeed, she herself — desires. Contemporaries should create Hamlets (and Hamlets) that have a “charm that is adapted for us.” At the same time, Aurelia exposes Wilhelm’s own supposedly rationally sound reading as expressive of his own particular desires and needs. Her exclamation “Away with your fat Hamlets!” underscores the fact that it is, after all, “your” fat Hamlet that is the problem. Both Wilhelm and Aurelia display fatphobic assumptions, but ones that operate by a different understanding of the fat body. Aurelia sees the fat body as ugly and undesirable, but she does not insist, as Wilhelm does, that fat is associated with a certain character type. Her critique of Wilhelm’s remarks is leveled more at his stabilizing, essentialist interpretation, which would insist that the Hamlet we construct (and love) must be limited to the Hamlet Shakespeare intended. 

Wilhelm’s remarks wielded quite a bit of authority in English and German criticism simply because they were ascribed to Goethe. Yet they also generated anxiety insofar as they were seen as commenting on the shared racial identity of the “Northman.” In the German critical tradition, Wilhelm’s remarks were used to explain the continual delay in German unification. Most famously, German poet Ferdinand Freiligrath, in a poem translated into English, wrote that “Germany is Hamlet.” Focusing on Germany’s inability to act, Freiligrath expands upon Wilhelm’s diagnosis:

It comes from dawdling overmuch — 
Lounging and reading, — tired to death, — 
Sloth holds him in its iron clutch. 
He's grown too ‘fat and scant of breath.’ 
He spun his learned yarn away, 
His best of action was but thinking,
Too long in Wittenberg his stay. 
Employed with lectures — or with drinking. (105) 

Subsequently, the German critical tradition would see some essential weakness in the character of the Germanic race, a weakness that would apply to the British race as well.

G.G. Gervinus, whose Hamlet criticism appeared in English translation in 1877, offered a simple binary whereby the Northman was characterized by his fat body, the “dark-haired” southerner by his thin one. The fat body brought with it an essential character that was indecisive, irresolute, and thus inactive, whereas the thin body was characterized by “impetuosity” (565). Citing the infamous line, Gervinus sums up this critical tradition with the following remark: Hamlet “lacked, therefore, says Goethe, the external strength of the hero, or we might say, more simply, the strength of a practical and active nature” (561). Hamlet’s fat body is a sign of “faintheartedness,” “anxious-uneasiness and weakness” (561). Gervinus’s criticism of Hamlet’s character is revealed, ultimately, to be a criticism of the “German race,” for as Gervinus later insists, “Hamlet is a type of our German race at the present day” (575).¹⁶Gervinus uses Hamlet for his own political purposes; the two Nordic races, Germany and Britain, are overburdened by their modern existence. Their active natures are made passive, rendered weak by their modernity, and their passive modernity in turn, as Hillel Schwartz elsewhere demonstrates, is associated with obesity ( “Three Body”). Gervinus looks to two opposing body types: the lean body of Prince Hal associated with the active (imperialist) nature, and the fat body of Prince Hamlet associated with the passive one. Referring to Hamlet’s promise to avenge his father, Gervinus explains that “Hamlet, a master in intelligence, can only utter this principle; he cannot carry it out, as that [King] Henry [from Shakespeare’s Henry V] did who is a master in life and action” (573). Hamlet embodies the character of the modern man, who cannot rise to the challenges of the time – an “age in which everything hinges upon physical power and the desire for action” (573). Thus, “our modern sensibility is anticipated, as it were, by two centuries in Hamlet” (574). His “superabundant emotion of his soul” has in the “last century spread like an epidemic in England and Germany” (573).

Unlike Gervinus, most English critics simply assert that Hamlet is not fat, and thus does not have a fat constitution. Why they might be so vociferous in their insistence, however, can be seen if we consider the response to this line of criticism found in the essays of the popular writer Edward Bulwer-Lytton. A man involved in the British empire, both in his financial dealings with the Crown Colony of British Columbia and as Secretary of State for the Colonies under the government of Lord Derby (1858-1859), Bulwer-Lytton engages at some length with Wilhelm’s remarks in his essay “On the Moral Effect of Writers.” Bulwer-Lytton accepts that “intricate moral character” is revealed by a “physical clew” such as body shape and size, and he accepts as well that there is a general racial type like Wilhelm’s Northman (120). He only takes issue with the characterization of the Northman as having an innate fat character. In contrast, he insists, the Northmen, especially in their British incarnation, are characterized by a thin body and the concomitant thin character type. As he explains, 

The dogmas conveyed in this criticism are neither historically nor physiologically correct. If, as Wilhelm Meister had just before asserted, “Hamlet must be fair-haired and blued-eyed — as a Dane, as a Northman,” certainly, of all the populations of the earth, the Dane, the Northman, has ever been the least characterized by “wavering melancholy” or “soft lamenting.” The old Scandinavian Vikings did not yield to dark-haired warriors “in decision and impetuosity.” To this day, those districts in England, wherein the old Danish race left their descendants — where the blue eyed and the light sandy hair are most frequently seen . . . the superior activity, the practical long-headedness, the ready adaptation of shrewd wit to immediate circumstance — in short, all the attributes most opposed to the character of Hamlet, are proverbially evident. Nor is it true that the fair-haired children of the North are more inclined in youth to be plump than the dark-haired inhabitants of the same climate. The Yorkshireman and Lowlander are generally high cheek-boned and lean. But is it clear that the Queen’s remark is intended to signify that Hamlet is literally fat? (121)

Bulwer-Lytton does not dispute that a “pinguous temperament” brings with it “wavering melancholy” and “soft lamenting,” or that Hamlet is a type of a the Danish race. He argues only that Wilhelm’s conclusion is "neither historically nor physiologically correct." That is, the Northman, especially its English descendents, is not characterized by the fat body and thus not by the fat character type. Historically, Bulwer-Lytton insists, the Northman possessed an “active” nature, that of a warrior; and physiologically, he is characterized by a “lean” body. One sees in his characterization, then, that Bulwer-Lytton accepts a corporeal code that reads innate personality traits in fat and thin bodies: the fat body is associated with an innate cowardliness, the lean body with an active conquering nature. Those committed to the British empire thus had good reasons to reject the German critical tradition, which used Hamlet to argue that the shared Germanic race was characterized by a fat nature.

II. Cutting the Fat, or Scholarly Emendation

Bulwer-Lytton adopts the solution preferred among English-speaking Shakespeareans. Rather than directly engaging with the argument attributed to Goethe, English Shakespeareans seek out a scholarly solution to the ostensible problem posed by Gertrude’s line. Initially, that solution involves a call for a textual emendation, where it is proposed that the word must be a printer’s error. Shakespeare must have written “hot,” “faint,” or “fey.”¹⁷ The basis for this argument is simply that it is inconceivable that Shakespeare would have meant to apply the word "fat" to Hamlet. Those who recommend an emendation, then, often prove to be offended by the word. John Bulloch illustrates this point when he recommends the emendation of “fey” because “The idea that Hamlet, the young man, the avenger of his father’s murder could have grown fat, is contrary to all likelihood” (240). Another commentator recommends the emendation of “hot” because “we are quit of the most unsympathetic fat Hamlet” (Leo 108). In 1885, Matthias Mull prefaces his own suggestion that the word “fat” is a printer’s error for “faint” with the following tirade: 

The accepted reading, it seems to me, is as gross in the mouth of the Queen as it is repugnant to the situation of the facts. The coarseness of the word fat well befits the stupidity of the mutilation. "The mould of form" corpulent! (lix) 

“Fat” becomes a (textual and corporeal) mutilation that must be trimmed; just as the text must be trimmed of the word to restore the true authorial intention, so too must Hamlet’s body be trimmed to its rightful (fighting) form.

The call for such emendations ends by the beginning of the twentieth century when advances in bibliography make the argument untenable: the word “fat” has the witness of the Second Quarto and the First Folio. One of the last published arguments in favor of textual emendation came in 1919, and its author, editor Elmer Edgar Stoll, apologizes: “That is not sound textual criticism, I know; but if ever an emendation seemed imperative it is here” (67n.8). As early as 1866, W.G. Clark, J. Glover and W.A. Wright, editors of the first Cambridge Shakespeare edition of Hamlet, offer the suggested emendations as “conjectural” (5.2.274n).¹⁸ The new way to rid the text of the unwanted fat was to offer a reading of the word that would make it mean anything other than corpulent. A number of the most prominent Shakespeare scholars rushed to find parallel texts from the early modern period that would offer some authority for such a reading, but ultimately, as contemporary editors conclude, no such passage was found. The two glosses suggested in the first half of the twentieth century are still assumed today. George Lyman Kittredge offered “out of training” (5.2.298LN), and J. Dover Wilson “sweaty” (5.2.285n).¹⁹ Although scholars would search for parallel texts, the arguments were largely designed to appeal to a shared common sense. Both Kittredge and Wilson refer to present-day meanings, as when Kittredge explains that the word “fat” means “out of training,” or “A modern trainer might use the same word, or he might say that Hamlet is ‘rather soft.’ Fat does not here mean ‘corpulent’” (5.2.298LN).

J. Dover Wilson makes a similar argument. In an audacious note, Wilson sets as his goal nothing less than to put down the entire Variorum tradition whereby the word “fat” was ever read as a comment on the corpulence of the original Hamlet. His argument depends less on any scholarly evidence, however, than on a fatphobia he assumes he shares with his readers:

The argument that “fat” refers to the corpulence (entirely hypothetical) of Richard Burbadge [sic], the actor who first played Ham., really cuts the other way; for if Burbadge in 1601 was getting over-stout for the part of a young student, Sh. would hardly deliberately call attention to the fact. (Wilson 5.2.285n) 

The idea that the adjective referenced Burbage’s corpulence was of course not illogical to a century of readers from Roberts through Collier. Yet Wilson draws on the reader’s own internalized sense that “fat” is an epithet, and thus a word that genteel company would never apply to their friends, at least “deliberately.”

Even in the subjunctive universe in which Wilson momentarily imagines Burbage to have become fat, he cannot bring himself to apply the word to him. Thus, Wilson performs the very courtesy he imagines Shakespeare would have performed for the fat Burbage by using the euphemism “over-stout.” Given that Wilson is generally quite carefully attentive to the etymology and meaning of words, it is striking that he employs a euphemism more proper to the twentieth century than to the early seventeenth (OED “stout,” adj. and adv., 12a). By using the term “over-stout” as a euphemism for “fat,” Wilson draws on his reader’s shared sense that it is impolite to use the word “fat” as a mere descriptor, especially of one’s friends. Those readers who have internalized this form of fatphobia will feel with Dover, as with other twentieth-century critics, that it is “illogical” that Shakespeare would have used the word in this way (Keyes 90). Such an argument, I want to underscore, does not rely on parallel texts from the early modern period, but on our own sense that there is a transhistorical shame attached to the fat body. 

Even the most brilliant Shakespeareans scholars of the early twentieth century proved unable to find early modern examples of the use of “fat” as “an epithet for the condition, rather than the cause of the sweating.” Perhaps they even knew such use never existed, as they began to quote proverbial, folksy Americans for examples of parallel usage. Kittredge asserts, “Nobody who remembers how fat was used by old people in New England sixty years ago will be misled by this adjective” (5.2.298LN). Others turn to the American Midwest, offering various versions of a Midwestern farmwife exclaiming upon seeing perspiring students, “how fat you all are!” (Dunn 375).²⁰

III. Simon Russell Beale's Fat Hamlet

The line "He's fat, and scant of breath" may have been restored to critical editions of the play, but it has yet to be included in most performances. The theatrical tradition from the nineteenth century on has for the most part conformed to Aurelia’s taste of featuring Hamlets that are beautiful, or at least thin. Hamlets have fallen into two recognizable body types: some have had the shorter and muscular frame of Derek Jacobi or Richard Burton, and some have had the taller and leaner frame of a Laurence Olivier or Peter O’Toole. In being confronted with a “fat” Hamlet, these differences seem to fade away into the conviction that the conventional theatrical Hamlet must be thin, or at least not fat. Yet our own perceptions about Hamlet have recently been challenged by an “unconventional” Hamlet: Simon Russell Beale's in the 2000 production mounted by the Royal National Theatre and directed by John Caird. Although the play was almost universally praised, reviewers nonetheless had to remind us that Beale was an unconventional Hamlet because he was too old and too fat.

Responses to Beale’s body underscore the extent to which we labor under a fatphobia informed by essentialist constructions that emerged in the Victorian period. Insofar as the play is still seen as presenting a problem of consciousness, such conceptions of fatness serve for many to explain Hamlet’s presumed limitations. Reviewers focus on Beale’s fat body, even as they refuse to use the word “fat.” He has been variously called “soft,” “chunky,” “stocky,” “plump,” “pudgy,” “portly,” “rounded of figure,” “one of the plumpest Hamlets on record,” or simply “not slim” (Gamerman; Kissel; Gale; Dezell; Taylor; Speirs; Lamb). For some, the fat joke seems irresistible; however, it is often offered delicately by quoting Beale’s own remarks that, in turn, often quote with some distinct irony fatphobic responses to his body. After describing Beale’s body in a somewhat joking manner, one reviewer quotes Beale as making the quip “Tubby or not tubby,” itself a quote from the headline of one of the initial reviews (Lamb). Beale had to go on what seems like an apology tour, in which he repeatedly responded to the fatphobic expectations of the interviewer. One reviewer seems to have called Beale up only (it would seem) to ask him to comment on his unconventional fat body. Beale is quoted, then, as saying the following: “Yes, yes, overweight and too old. . . . Awfully sorry about that” (Gale). Another interview with two unconventional Hamlets — Beale alongside the black British actor Adrian Lester — begins with the same inevitable question about their supposed divergence from the Hamlet of tradition (something that Beale insists is non-existent). Once again, Beale must finally comment on his own fat body: “(Sighs) Tubby or not tubby, which is my dreadlock. Oh, the fat thing. Yes” (Beale).

From the perspective of this article, responses to the fat body seem oddly familiar, if anything having hardened into unexamined doxa. In a review of the American run, the critic of the New York Daily Newsobserves that Beale’s “short and chunky” Hamlet deviates from the conventional Hamlets, characterized by him as “trim, Byronic young men.” He argues that the fatness of Beale’s body is part of the brilliance of the production: 

But that may account for why he’s hanging out in a German college town with dolts like Rosencrantz and Guildenstern . . . at the advanced age of 30 instead of staying in Elsinore and taking on the responsibilities of a ruler. It may also account for why he’s so waspish and meditative and, more important, why he’s so reluctant to take on his evil uncle, Claudius. It wouldn’t be such a problem for a prince who’s combat-ready. (Kissel)

All of this is recognizable in that the fat person is seen as innately idle, cowardly, indulgent, whereas the thin person is implicitly seen as more active, responsible, and “combat-ready.” Another American reviewer operates by a similar assumption, now assuring the reader “How right it seems that Hamlet’s depression would leave him pudgy and unkempt. It’s easy to imagine him moping around the palace in a funk, getting up at two in the afternoon and snacking on the medieval Danish equivalent of Doritos all day” (Gammerman). It is so “easy” or “right” to make this set of associations because the ideological associations with the fat body that began in the Victorian period have hardened into an unquestioned truth today.

This production and responses to it have done quite a bit toward promoting the possibilities of a fat Hamlet, and showing some of the usefulness of having a “fat” actor play the role. I want to suggest, however, that the word “fat,” and thus the line “He’s fat, and scant of breath,” needs to be reintroduced into productions of the text. In some ways, our knowing insistence on omitting and ignoring the line underscores our own unwillingness to consider the ramifications of our targeted use of fatphobic constructions. Euphemisms and jokes allow us to draw upon the deleterious associations of these constructions without ever reflecting on their significance. Simon Russell Beale clearly offends many as Hamlet insofar as his body registers as “fat,” and yet somehow we avoid the word. Some think that the most polite response would be to allow that he somehow transcended his body because “the role is not about body type or age but about, to borrow from Spike Lee, how to ‘Do the Right Thing’” (Lamb). The critical tradition examined here suggests that this is far from the case: there has been a concerted effort to distance “Hamlet” from “fat,” one very literally seen in efforts to excise the line “He’s fat, and scant of breath” from the play or to redefine “fat” as meaning anything else but fat.

The offense is not in having a fat man play the role, but in having a fat man who owns his fatness play the role. Those who did not want Beale to play the role do not want the word “fat” associated with their Hamlet. Much like Lowell, they insist that “A fat Hamlet is as inconceivable as a lean Falstaff,” but it is only inconceivable, it would seem, with some hard work in eliminating or explaining away the line “He’s fat, and scant of breath.” No wonder, then, a famed American theater critic and producer dismisses the “portly” Beale and the line simultaneously: “While always clear-spoken and intelligent, Beale is obviously too portly for the role (yes, Gertrude mentions that Hamlet is ‘fat and scant of breath,’ but this is ridiculous)” (Brustein 65-6). His remarks remind us of how easily the line has been omitted in productions — including the production with Simon Russell Beale!

I want to end by imagining a production very much like this one that also included the line “He’s fat, and scant of breath.” One reviewer has argued that the line should have been included, offering the speculation that it was omitted because it might elicit laughter from the audience. As he explains, “Fearing laughter, perhaps, the ‘fat’ word is cut from the National production but they should have had more courage” (Johnstone). I have little doubt that some in the audience would laugh, and others would feel the urge to laugh as well. The courage in such a production would come from allowing for the laughter. Those who laugh, and those who feel the laugh coming on and understand the “instinct,” are subsequently faced with the realities of the sweating, laboring, and finally dying body of Hamlet. Some, at least, will feel something of the meanness of the inhumanity behind the laughter, and the inhumanity of a construction that sees the fat body before it as “ridiculous.” Perhaps Simon Russell Beale has understood part of this, as someone who has had to work through this laughter. In fact, he sees the whole play as coming down to the final scene, and the “Let be” soliloquy: “There’s this rather amazing moment, if you’re lucky enough to play Hamlet, when you realize that people have followed you for three hours through this terrible story, and you just say to them: ‘Look this is me. I’m worth watching, and I’m a human being’” (Beale). Such a moment becomes all the more humanizing if the audience member realizes that just moments before she was laughing at the very same human being. For a moment, the viciousness of the construction is uncovered, and some can come to realize that the limitations lie not in the fat body in and of itself, but in the emaciating constructions we apply to it.