Beggars & Players' Ill Report: Polonius Measuring, Being Measured (Part 4) (Updated)
THIS IS PART 4 in a series on the ghost’s allusion to the parable of Lazarus and the Rich Man from Luke 16 in Shakespeare’s Hamlet. For an index and brief descriptions of the posts in the series so far, scroll to the bottom of this post.
~
[Detail from the prefatory cycle to the Eadwine Psalter, Morgan Library leaf M.521 (recto), English c. 1160s. Image cropped. Public Domain, via Wikipedia.]
After the ghost evokes the name of Lazarus in Hamlet 1.5 to describe the poison’s effect on his skin, Shakespeare takes plot elements and themes of the Lazarus-rich man parable and situates them in other analogous moments of the play, giving them new local habitations and names (as Theseus of Midsummer Night's Dream might say).
[Oliver Ford Davies as Polonius, David Tennant as Hamlet, 2009, BBC, Directed by Gregory Doran. Image via david-tennant.co.uk. Fair use.]
One such moment occurs in 2.2, in discussion between Hamlet and Polonius regarding accommodations for the players. Polonius is like the rich man; the traveling players are in the role of Lazarus, like vagabonds begging for work and lodging.
WHAT IS NEW IN THIS MANIFESTATION OF THE PARABLE?
Every new manifestation of elements of the parable plot will introduce and explore new elements. Recall that in the Luke 16 parable version, after death, the rich man, now in hell, asks if Lazarus can be sent to warn his brothers not to live in such a way that they would receive the same fate. He is told, no, if they don't believe Moses, the Law and the Prophets, they won't believe one come back from the dead.
And yet in Hamlet, it seems the ghost has done just that: Come back from the dead with a warning.
[Kenneth Branagh and Kate Winslet in Hamlet (1996), dir. Branagh. Image via IMDB. Fair use.]
So in 2.1, the prince appeared in Ophelia's closet like one returned from hell; in 2.2, he is as if come back to warn her father, the habitually ungenerous Polonius.
Hamlet tells Polonius, “After your death you were better have a bad epitaph than their ill report while you live” (2.2.1565-66). Here, Hamlet seems to be an emissary of his father, a messenger from the afterlife, sent to warn Polonius to do the right thing by the players.
- One could say this is a secular theology of transcendent judgment that works without God or afterlife.
- Judgment occurs in the here-and-now, incarnate in how the rich treat the poor; in how kings, lords, and stewards treat traveling companies of players. The rich should fear a judgment that transcends them, manifest in the “ill report” of the poor and of artists.
(Some would say that this formulation of the judgment of the rich man, in the person of Polonius, sounds like a secular or atheistic translation of the same basic Christian idea conveyed by the gospel parable, perhaps suggesting that Shakespeare was an atheist. But others have noted that certain kinds of religious ideas were prohibited subject material in secular plays, so if it seems a secular translation, it was perhaps simply borne of necessity and legal restrictions, and doesn’t necessarily offer conclusive evidence about the playwright’s(/s’) religious allegiances or lack thereof. )
We should note the frequently-cited exchange between Hamlet and Polonius, after Hamlet explicitly requests generous accommodations for the players, which gives a larger context for Hamlet’s remarks cited above:
HAMLET [To Polonius]
Good my lord, will you see the players well bestowed? Do ye hear, let them be well used, for they are the abstracts and brief chronicles of the time. After your death you were better have a bad epitaph than their ill report while you live.
POLONIUS:
My lord, I will use them according to their desert.
HAMLET God's bodykins,* man, much better. Use every man after his desert and who should 'scape whipping? Use them after your own honor and dignity; the less they deserve, the more merit is in your bounty. Take them in. (2.2.1567-73)
[L-R: Grantham Coleman as Hamlet; Patrick Kerr as Polonius, Kevin Hafso-Koppman as Rosencrantz, and Nora Carroll as Guildenstern, directed by Barry Edelstein, The Old Globe Theater, San Diego, CA, 2017. Photo by Jim Cox. Via theoldglobe.org. Fair use.]
Note how Hamlet is quite explicit, repeating himself: He wants Polonius to be sure the players are “well bestowed,” “well used” (1563-4). If Polonius were really listening, he would not have missed that.
Still, Polonius says he will “use them according to their desert” (1568). Polonius, here, is like the ungenerous rich man.
We should also note that it was not too much earlier in the same scene when Polonius praised the arrival of the players, perhaps reading from an advertisement boasting of their skill in many genres (1444-50). But now Polonius (who Hamlet described earlier in this same scene as “Jephthah, judge of Israel”), sets himself up as a judge regarding the sort of accommodations they deserve, contrary to the prince’s request.
It is as if the prince is saying, “give them the best possible accommodations you can find for them,” or “be sure to give them the kind of accommodations that will honor and please them and make an excellent impression.” But Polonius, being like the unwise judge, Jephthah (who sacrificed his own daughter), is also here being unwise.
JUDGE NOT THE PLAYERS: MEASURE FOR MEASURE
What Hamlet says to Polonius about how “the less they deserve, the more merit is in your bounty” relates to what may be one of Shakespeare’s favorite gospel passages, found in both Matthew 7:1-5, and also in Luke 6:36-42: This includes not only the injunction to remove the beam or plank from one’s own eye before attempting to take the speck from a neighbor’s eye, but also “Judge not that ye be not judged,” for the standard one uses to measure (or judge) others will be the standard by which one is measured, perhaps both in the judgment of God and in the judgment of others.
So if we paraphrase this passage for the rich man, it might say: Rich man, treat the beggar Lazarus well if you wish to be well-treated in the afterlife. Do not judge Lazarus harshly and unworthy of your charity, or when you and Lazarus die, he will be the one feasting in heaven, and you will be the one begging to have your thirst quenched in hell.
[Richard Katz as Polonius in Hamlet at Shakespeare's Globe, London, 24 april, 2018. Image by shakespearesglobe.com via thestage.co.uk. Fair use.
- One might ask: given that Polonius is ungenerous with the players, and also with his daughter, does the casting of Richard Katz, a Jewish actor, as Polonius play into anti-Semitic stereotypes in ways that would normally be viewed as unfavorable, especially in the UK, where almost any sympathy for Palestine from Labor leaders is quickly labeled as anti-Semitic?]
If we paraphrase it for Polonius, it might say: Polonius, treat the players well if you wish to be treated well by historians. Do not judge the players harshly and unworthy of the best possible accommodations, or else, worse than having a bad epitaph on your tombstone, historians might record the unfavorable report of the players, that you were an ungenerous host, which might say a lot about your character.
And, as discussed in previous blog posts, if Polonius is at all a satire of William Cecil, Elizabeth’s former Lord Treasurer, then Hamlet’s words may suggest the ill report of the players regarding a possibly ungenerous Lord Treasurer.
A broader significance of this exchange between Hamlet and rich-man Polonius:
- Shakespeare’s company of actors toured, especially when theaters in London were closed due to the plague. They may have, at times, suffered the poor hospitality of wealthy but judgmental hosts. So in that sense, this slice of the scene sounds as if it might be speaking to the experience in Shakespeare’s playing company as much as of the fictional players and Polonius.
Players as prophets, and their "ill report" calling society to repent:
There were people in England who claimed to be prophets in Elizabethan times, who may have been feared for how they might mislead people by trying to predict the future (the death of the queen, the identify her successor), so prophecy of this sort was outlawed and likened to witchcraft.**
But in the Hebrew scripture tradition, the prophet was more often the one who would name the sins of the people, especially the powerful, and call people to repent.
- The mere presence of beggars at the gates of the rich is in itself an indictment against the ungenerous rich; biblical prophets merely took this a step further and put it into words in their “ill report” of the rich who do not care for the widow, the orphan, the poor.
- So the “ill report” of the players, of which Hamlet speaks, is like a secular version of this second sense of the religious prophet, not as one who foretells the future, but as one who names the sins and calls people to repent.
(UPDATE:) LEST WE END ON A META-THEATRICAL NOTE...
To end with theater as prophetic (and actors, in their play, complaining about how poorly actors are provided for when they are on tour) would be to end on a meta-theatrical note, a testing (if not breaking) of the "fourth wall." That would not seem right on a topic like manifestations of the Lazarus-Rich Man parable in various scenes of Hamlet.
Perhaps more importantly, we might observe that if Polonius, Denmark's chief counselor (or "steward" - to use a Biblical parable term?) is ungenerous with players who have come to entertain the court, it would not be unrealistic to guess that he might be even less generous with beggars at the gate, especially those with sores all over their bodies like Lazarus. Except for various characters who are portrayed as "poor" or "begging" by analogy, there are no literal Lazarus figures at the gate of Elsinore, perhaps because Denmark has been as efficient in criminalizing beggars and vagabonds as Elizabethan England was, as mentioned in last week's post. Instead, Prince Hamlet himself is the one most often described as "poor" or "begging." I will end on that.
PLENTY MORE TO COME
What more can be said about echoes of the parable of "Lazarus and the Rich Man" in Hamlet?
Plenty. See the index below for links to more posts in this series, and visit again next week for the next installment.
NOTES:
* * “God’s bodykins, man!”
Hamlet begins his scolding of Polonius with a mild or blasphemous curse or oath, “God’s bodykins, man!” The meaning of this has been debated:
- Some note that “God’s body” was an oath by the body of Jesus, many claiming this is Jesus on the cross.
- But the Eucharist was also called “the body of Christ,” and “bodykin” might mean “little body.” There were still many secret Catholics or recusant Catholics in England in Shakespeare’s time, so it’s possible that Hamlet might swear or curse by the Eucharist (little “hosts” of bread), like a person today under duress exclaiming, “Sweet Jesus!”
- An armor-piercing weapon of the time was called a bodykin, so some claim that “God’s bodykin” refers to the spikes that were used to nail Jesus to the cross.
- It might be odd to curse or swear by the armor-piercing weapon of God, but if God is considered omnipotent, and if in the end, vengeance belongs not to use but to God, then it’s possible.
**On Elizabethan laws against prophecy, see
“Oedipus in Arcadia: The Literary and Political Implications of Prophetic Inversion in Elizabethan England” by Melissa Pullara, (pages 29-39, especially page 31),
from Prophecy and Conspiracy in Early Modern England: Selected Papers from the “Shakespeare and His Contemporaries” Graduate Conference, Florence, 22 April 2016, Ed. Giuliana Iannaccaro and Massimiliano Morini. Download PDF here (via working link 3/9/2021). Pullara has an excellent list of references for those interested in further reading.
~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~
INDEX OF POSTS IN THIS SERIES ON THE RICH MAN AND LAZARUS:
See this link:
https://pauladrianfried.blogspot.com/2021/02/index-series-on-rich-man-and-beggar.html
~~~~~~~~~~~~~~~~~~~
Hamlet quotes: All quotes from Hamlet (in this particular series on The Rich Man and Lazarus in Hamlet) are taken from the Modern (spelling), Editor's Version at InternetShakespeare via the University of Victoria in Canada.
- To find them in the first place, I often use the advanced search feature at OpenSourceShakespeare.org.
Bible quotes from the Geneva translation, widely available to people of Shakespeare's time, are taken from an internet source somewhat close to their original spelling, from studybible.info, and in a modern spelling, from biblegateway.com.
- Quotes from the Bishop's bible, also available in Shakespeare's lifetime and read in church, are taken from studybible.info.
~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
YOU CAN SUPPORT ME on a one-time "tip" basis on Ko-Fi:
https://ko-fi.com/pauladrianfried
IF YOU WOULD PREFER to support me on a REGULAR basis,
you may do so on Ko-Fi, or here on Patreon:
https://patreon.com/PaulAdrianFried
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Disclaimer: If and when I quote or paraphrase bible passages or mention religion in many of my blog posts, I do not intend to promote any religion over another, nor am I attempting to promote religious belief in general; only to explore how the Bible and religion influenced Shakespeare, his plays, and his age.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Thanks for reading!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
My current project is a book tentatively titled Hamlet’s Bible, about biblical allusions and plot echoes in Hamlet.
Below is a link to a list of some of my top posts (“greatest hits”), including a description of my book project (last item on the list):
https://pauladrianfried.blogspot.com/2019/12/top-20-hamlet-bible-posts.html
I post every week, so please visit as often as you like and consider FOLLOWING.
To find the FOLLOW button, go to the home page: https://pauladrianfried.blogspot.com/
see the = drop-down menu with three lines in the upper left.
From there you can click FOLLOW and see options.
~
After the ghost evokes the name of Lazarus in Hamlet 1.5 to describe the poison’s effect on his skin, Shakespeare takes plot elements and themes of the Lazarus-rich man parable and situates them in other analogous moments of the play, giving them new local habitations and names (as Theseus of Midsummer Night's Dream might say).
One such moment occurs in 2.2, in discussion between Hamlet and Polonius regarding accommodations for the players. Polonius is like the rich man; the traveling players are in the role of Lazarus, like vagabonds begging for work and lodging.
WHAT IS NEW IN THIS MANIFESTATION OF THE PARABLE?
Every new manifestation of elements of the parable plot will introduce and explore new elements. Recall that in the Luke 16 parable version, after death, the rich man, now in hell, asks if Lazarus can be sent to warn his brothers not to live in such a way that they would receive the same fate. He is told, no, if they don't believe Moses, the Law and the Prophets, they won't believe one come back from the dead.
And yet in Hamlet, it seems the ghost has done just that: Come back from the dead with a warning.
So in 2.1, the prince appeared in Ophelia's closet like one returned from hell; in 2.2, he is as if come back to warn her father, the habitually ungenerous Polonius.
Hamlet tells Polonius, “After your death you were better have a bad epitaph than their ill report while you live” (2.2.1565-66). Here, Hamlet seems to be an emissary of his father, a messenger from the afterlife, sent to warn Polonius to do the right thing by the players.
- One could say this is a secular theology of transcendent judgment that works without God or afterlife.
- Judgment occurs in the here-and-now, incarnate in how the rich treat the poor; in how kings, lords, and stewards treat traveling companies of players. The rich should fear a judgment that transcends them, manifest in the “ill report” of the poor and of artists.
(Some would say that this formulation of the judgment of the rich man, in the person of Polonius, sounds like a secular or atheistic translation of the same basic Christian idea conveyed by the gospel parable, perhaps suggesting that Shakespeare was an atheist. But others have noted that certain kinds of religious ideas were prohibited subject material in secular plays, so if it seems a secular translation, it was perhaps simply borne of necessity and legal restrictions, and doesn’t necessarily offer conclusive evidence about the playwright’s(/s’) religious allegiances or lack thereof. )
We should note the frequently-cited exchange between Hamlet and Polonius, after Hamlet explicitly requests generous accommodations for the players, which gives a larger context for Hamlet’s remarks cited above:
HAMLET [To Polonius]
Good my lord, will you see the players well bestowed? Do ye hear, let them be well used, for they are the abstracts and brief chronicles of the time. After your death you were better have a bad epitaph than their ill report while you live.
POLONIUS:
My lord, I will use them according to their desert.
HAMLET God's bodykins,* man, much better. Use every man after his desert and who should 'scape whipping? Use them after your own honor and dignity; the less they deserve, the more merit is in your bounty. Take them in. (2.2.1567-73)
Note how Hamlet is quite explicit, repeating himself: He wants Polonius to be sure the players are “well bestowed,” “well used” (1563-4). If Polonius were really listening, he would not have missed that.
Still, Polonius says he will “use them according to their desert” (1568). Polonius, here, is like the ungenerous rich man.
We should also note that it was not too much earlier in the same scene when Polonius praised the arrival of the players, perhaps reading from an advertisement boasting of their skill in many genres (1444-50). But now Polonius (who Hamlet described earlier in this same scene as “Jephthah, judge of Israel”), sets himself up as a judge regarding the sort of accommodations they deserve, contrary to the prince’s request.
It is as if the prince is saying, “give them the best possible accommodations you can find for them,” or “be sure to give them the kind of accommodations that will honor and please them and make an excellent impression.” But Polonius, being like the unwise judge, Jephthah (who sacrificed his own daughter), is also here being unwise.
JUDGE NOT THE PLAYERS: MEASURE FOR MEASURE
What Hamlet says to Polonius about how “the less they deserve, the more merit is in your bounty” relates to what may be one of Shakespeare’s favorite gospel passages, found in both Matthew 7:1-5, and also in Luke 6:36-42: This includes not only the injunction to remove the beam or plank from one’s own eye before attempting to take the speck from a neighbor’s eye, but also “Judge not that ye be not judged,” for the standard one uses to measure (or judge) others will be the standard by which one is measured, perhaps both in the judgment of God and in the judgment of others.
So if we paraphrase this passage for the rich man, it might say: Rich man, treat the beggar Lazarus well if you wish to be well-treated in the afterlife. Do not judge Lazarus harshly and unworthy of your charity, or when you and Lazarus die, he will be the one feasting in heaven, and you will be the one begging to have your thirst quenched in hell.
- One might ask: given that Polonius is ungenerous with the players, and also with his daughter, does the casting of Richard Katz, a Jewish actor, as Polonius play into anti-Semitic stereotypes in ways that would normally be viewed as unfavorable, especially in the UK, where almost any sympathy for Palestine from Labor leaders is quickly labeled as anti-Semitic?]
If we paraphrase it for Polonius, it might say: Polonius, treat the players well if you wish to be treated well by historians. Do not judge the players harshly and unworthy of the best possible accommodations, or else, worse than having a bad epitaph on your tombstone, historians might record the unfavorable report of the players, that you were an ungenerous host, which might say a lot about your character.
And, as discussed in previous blog posts, if Polonius is at all a satire of William Cecil, Elizabeth’s former Lord Treasurer, then Hamlet’s words may suggest the ill report of the players regarding a possibly ungenerous Lord Treasurer.
A broader significance of this exchange between Hamlet and rich-man Polonius:
- Shakespeare’s company of actors toured, especially when theaters in London were closed due to the plague. They may have, at times, suffered the poor hospitality of wealthy but judgmental hosts. So in that sense, this slice of the scene sounds as if it might be speaking to the experience in Shakespeare’s playing company as much as of the fictional players and Polonius.
Players as prophets, and their "ill report" calling society to repent:
There were people in England who claimed to be prophets in Elizabethan times, who may have been feared for how they might mislead people by trying to predict the future (the death of the queen, the identify her successor), so prophecy of this sort was outlawed and likened to witchcraft.**
But in the Hebrew scripture tradition, the prophet was more often the one who would name the sins of the people, especially the powerful, and call people to repent.
- The mere presence of beggars at the gates of the rich is in itself an indictment against the ungenerous rich; biblical prophets merely took this a step further and put it into words in their “ill report” of the rich who do not care for the widow, the orphan, the poor.
- So the “ill report” of the players, of which Hamlet speaks, is like a secular version of this second sense of the religious prophet, not as one who foretells the future, but as one who names the sins and calls people to repent.
(UPDATE:) LEST WE END ON A META-THEATRICAL NOTE...
To end with theater as prophetic (and actors, in their play, complaining about how poorly actors are provided for when they are on tour) would be to end on a meta-theatrical note, a testing (if not breaking) of the "fourth wall." That would not seem right on a topic like manifestations of the Lazarus-Rich Man parable in various scenes of Hamlet.
Perhaps more importantly, we might observe that if Polonius, Denmark's chief counselor (or "steward" - to use a Biblical parable term?) is ungenerous with players who have come to entertain the court, it would not be unrealistic to guess that he might be even less generous with beggars at the gate, especially those with sores all over their bodies like Lazarus. Except for various characters who are portrayed as "poor" or "begging" by analogy, there are no literal Lazarus figures at the gate of Elsinore, perhaps because Denmark has been as efficient in criminalizing beggars and vagabonds as Elizabethan England was, as mentioned in last week's post. Instead, Prince Hamlet himself is the one most often described as "poor" or "begging." I will end on that.
PLENTY MORE TO COME
What more can be said about echoes of the parable of "Lazarus and the Rich Man" in Hamlet?
Plenty. See the index below for links to more posts in this series, and visit again next week for the next installment.
NOTES:
* * “God’s bodykins, man!”
Hamlet begins his scolding of Polonius with a mild or blasphemous curse or oath, “God’s bodykins, man!” The meaning of this has been debated:
- Some note that “God’s body” was an oath by the body of Jesus, many claiming this is Jesus on the cross.
- But the Eucharist was also called “the body of Christ,” and “bodykin” might mean “little body.” There were still many secret Catholics or recusant Catholics in England in Shakespeare’s time, so it’s possible that Hamlet might swear or curse by the Eucharist (little “hosts” of bread), like a person today under duress exclaiming, “Sweet Jesus!”
- An armor-piercing weapon of the time was called a bodykin, so some claim that “God’s bodykin” refers to the spikes that were used to nail Jesus to the cross.
- It might be odd to curse or swear by the armor-piercing weapon of God, but if God is considered omnipotent, and if in the end, vengeance belongs not to use but to God, then it’s possible.
**On Elizabethan laws against prophecy, see
“Oedipus in Arcadia: The Literary and Political Implications of Prophetic Inversion in Elizabethan England” by Melissa Pullara, (pages 29-39, especially page 31),
from Prophecy and Conspiracy in Early Modern England: Selected Papers from the “Shakespeare and His Contemporaries” Graduate Conference, Florence, 22 April 2016, Ed. Giuliana Iannaccaro and Massimiliano Morini. Download PDF here (via working link 3/9/2021). Pullara has an excellent list of references for those interested in further reading.
~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~
INDEX OF POSTS IN THIS SERIES ON THE RICH MAN AND LAZARUS:
See this link:
https://pauladrianfried.blogspot.com/2021/02/index-series-on-rich-man-and-beggar.html
~~~~~~~~~~~~~~~~~~~
Hamlet quotes: All quotes from Hamlet (in this particular series on The Rich Man and Lazarus in Hamlet) are taken from the Modern (spelling), Editor's Version at InternetShakespeare via the University of Victoria in Canada.
- To find them in the first place, I often use the advanced search feature at OpenSourceShakespeare.org.
Bible quotes from the Geneva translation, widely available to people of Shakespeare's time, are taken from an internet source somewhat close to their original spelling, from studybible.info, and in a modern spelling, from biblegateway.com.
- Quotes from the Bishop's bible, also available in Shakespeare's lifetime and read in church, are taken from studybible.info.
~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
YOU CAN SUPPORT ME on a one-time "tip" basis on Ko-Fi:
https://ko-fi.com/pauladrianfried
IF YOU WOULD PREFER to support me on a REGULAR basis,
you may do so on Ko-Fi, or here on Patreon:
https://patreon.com/PaulAdrianFried
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Disclaimer: If and when I quote or paraphrase bible passages or mention religion in many of my blog posts, I do not intend to promote any religion over another, nor am I attempting to promote religious belief in general; only to explore how the Bible and religion influenced Shakespeare, his plays, and his age.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Thanks for reading!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
My current project is a book tentatively titled Hamlet’s Bible, about biblical allusions and plot echoes in Hamlet.
Below is a link to a list of some of my top posts (“greatest hits”), including a description of my book project (last item on the list):
https://pauladrianfried.blogspot.com/2019/12/top-20-hamlet-bible-posts.html
I post every week, so please visit as often as you like and consider FOLLOWING.
To find the FOLLOW button, go to the home page: https://pauladrianfried.blogspot.com/
see the = drop-down menu with three lines in the upper left.
From there you can click FOLLOW and see options.
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