Now, sir, young Fortinbras, Of unimproved mettle hot and full, Hath in the skirts of Norway here and there Sharked up a list of lawless resolutes For food an diet to some enterprise That hath a stomach in’t; which is no other, As it doth well appear unto our state, But to recover of us by strong hand And terms compulsatory those foresaid lands So by his father lost.

A man hungry for glory
Full of ambition and hot air
But starving.
He sharks up things to feed himself
Consuming whatever is before him
Indiscriminate and determined
Moving ever forward
Like a great white
Consuming.
And is it an accident that this insatiable shark
Has his hand up the skirt of a nation?

Our last king, Whose image even but now appeared to us, Was, as you know, by Fortinbras of Norway, Thereto pricked on by a most emulate pride, Dared to the combat; in which our valiant Hamlet – For so this side of our know world esteemed him – Did slay this Fortibras; who, by a sealed compact Well ratified by law and heraldry, Did forfeit, with his life, all these lands Which he stood seised of, to the conqueror; Against the which a moiety competent Was gagéd by our King, which had returned The inheritance of Fortinbras, Had he been vanquisher, as, by the same covenant And carriage of the article designed, His fell to Hamlet.

Back story back story
Important back story
Political battle back story
That, unless you’re really keyed in to Danish/Norwegian political talk
You might just tune out
Because this is one sentence
One LONG sentence
That doesn’t even answer the question.
There were heroics
There was a duel
One king vanquished the other
And land was his reward.
This is the moment when our king became our hero
And then became our ghost.

That can I.

I’ve got this.
This one, I’ve got.
In this case, I have the answer
I’m the hero
I’m in the know
This one’s mine
I’ll hit this ball
I’ll kick that goal
I ring this bell.
I got it, I got it, I got it
Hand raised
Running across the field
At the chalkboard
In the studio
At the table
In the lab
I got it, I got it, I got it.

But, in the gross and scope of mine opinion, This bodes some strange eruption to our state.

A man who doesn’t believe in prophecy
Suddenly begins to read meaning in signs.
A ghost appears: Our country is fucked.
The one thing doesn’t usually follow the other
But in this case
He’s right.
He may preface his predictions
With qualifications
But the man has put his finger
On the volcano in the midst of Denmark
About to blow.
Then, in telling his friend about it
He hastens its explosion.

So frowned he once when, in an angry parle, he smote the sledded poleaxe on the ice.

How in the blazes does Horatio know how Hamlet, the king,
FROWNED
In a battle years ago?
Was he there watching?
Did someone sketch the frown of the king as he did his smiting?
It’s also not clear what a sledded poleaxe might be
Poleaxe, Pollacks. . .and what makes it, or them, sledded?
And who took notes?
Why return to this battle after death, King Hamlet?
Why freeze yourself anew, ready to smite upon the ice?
Horatio recognizes this expression, though. . .
It brings it all back to mind. . .
That particular frown
That particular SMOTE.

Before God, I might not this believe without the sensible and true avouch of mine own eyes.

If you heard it
You might not believe it.
If you felt it
You’d question it.
If you smelled it
You’d credit your imagination.
If you tasted it
Or sensed it in any other way,
It would not be enough.
It is the eyes
The judge and jury
The gavel banger of the senses.
We use all the others first.
We hear, nestled in the womb,
Feel the turn in the circle of fluid,
Smell the world as we raise our heads into it,
Seek out the breast with our feeling lips
And taste what will feed us.
Later, later, we begin to understand with these
Guiding balls of jelly
And as we do,
Sight takes over
Standing on all the other knowings
And shushing them.