Hamlet on the Prairie

Cub, a Tragedy in Three Acts 

In crossing the Platte this morning, the grizzly bear cub came on the scene in his final act.

It will be remembered by the patient and attentive future reader of this dry and methodical narrative, that its first appearance on any stage, was in "high" tragedy—that the first act embraced an unusual amount of sanguinary incident—that an innocent brother, (or sister,) being ruthlessly slain, and the baffled lady-mother left (unceremoniously) full of towering and demonstrative rage,— the imprisoned hero himself sank overwhelmed,—or in a well-acted counterfeit of death, (and was borne off, remember, on a "real" horse). That in the next act, (and three acts shall do for the tragedy of my bear,—originally they had but one,—but that was at the sacrifice of a goat,) he came to life in a manner that might very well have been criticized as an overdone piece of stage-effect,—but that in fact, the spectators were much moved, and gave full credit to the dangerous passion of his howl.

To-day, then,—for I scorn anachronism— was performed the final act. The stage (wagon) was on "real water." Enraged at his wrongs, his losses, and his galling chain, the "robustious beast" acted in a ridiculous and unbearable manner; aye, ''tore his passion to tatters, to very rags,"—splinters; the stage (wagon) could not hold him: and finally in despair, he "imitated humanity so abominably," as to throw himself headlong, and so drown—or hang himself: (the author cannot decide which—even after a post mortem examination;—and so leaves the decision of this important point to the commentators).

My tragedy is all true,—and if not quite serious, has, as is proper, its moral;—but rather, as I have alluded to the primitive tragedy, let that "future reader" here imagine the entry of Chorus, and their song to Freedom! That dumb beasts prefer death to slavery! Liberty lost, they can die without the excitement of the world's applause, or hopes of a grateful posterity! (It is not possible, I think, that the cub could have known that I would immortalize him.)

Scenes Beyond the Western Border, Southern Literary Messenger 19 (March 1853): 159
and Scenes and Adventures in the Army (1857), 390

Along with borrowed words from Herman Melville's Pierre, and borrowed words from the negative review of  Pierre in the New York Herald, and borrowed words from the negative review of Pierre in the New York Literary World, the mock tragedy of the grizzly bear cub explicitly quotes the advice of Hamlet to the players in Act 3, Scene 2 of Shakespeare's Hamlet. 

Breaking all the usual aesthetic rules, even Hamlet's, the uncontrollable cub remains defiant to the end.

ACT III SCENE II	A hall in the castle.
[Enter HAMLET and Players]
HAMLET	Speak the speech, I pray you, as I pronounced it to
	you, trippingly on the tongue: but if you mouth it,
	as many of your players do, I had as lief the
	town-crier spoke my lines. Nor do not saw the air
	too much with your hand, thus, but use all gently;	5
	for in the very torrent, tempest, and, as I may say,
	the whirlwind of passion, you must acquire and beget
	a temperance that may give it smoothness. O, it
	offends me to the soul to hear a robustious
	periwig-pated fellow tear a passion to tatters, to	10
	very rags, to split the ears of the groundlings, who
	for the most part are capable of nothing but
	inexplicable dumbshows and noise: I would have such
	a fellow whipped for o'erdoing Termagant; it
	out-herods Herod: pray you, avoid it.	15
First Player	I warrant your honour.
HAMLET	Be not too tame neither, but let your own discretion
	be your tutor: suit the action to the word, the
	word to the action; with this special observance o'erstep not
	the modesty of nature: for any thing so overdone is	20
	from the purpose of playing, whose end, both at the
	first and now, was and is, to hold, as 'twere, the
	mirror up to nature; to show virtue her own feature,
	scorn her own image, and the very age and body of
	the time his form and pressure. Now this overdone,	25
	or come tardy off, though it make the unskilful
	laugh, cannot but make the judicious grieve; the
	censure of the which one must in your allowance
	o'erweigh a whole theatre of others. O, there be
	players that I have seen play, and heard others	30
	praise, and that highly, not to speak it profanely,
	that, neither having the accent of Christians nor
	the gait of Christian, pagan, nor man, have so
	strutted and bellowed that I have thought some of
	nature's journeymen had made men and not made them	35
	well, they imitated humanity so abominably.
First Player	I hope we have reformed that indifferently with us,
	sir.
HAMLET	O, reform it altogether. And let those that play
	your clowns speak no more than is set down for them;	40
	for there be of them that will themselves laugh, to
	set on some quantity of barren spectators to laugh
	too; though, in the mean time, some necessary
	question of the play be then to be considered:
	that's villanous, and shows a most pitiful ambition	45
	in the fool that uses it. Go, make you ready.
[Exeunt Players]

--HAMLET, ACT III SCENE II