Conceptual blending theory imagines a network of associated spaces primed for the composition of meaning on the stage of hearing; it provides a tool to explain the densely poetic and the seemingly simple. Hamlet’s depiction of the aims of theater receives very little editorial comment or exegesis in the editions I have read: apparently we continue to understand what he means and thus do not need editors to explain it. The fact that it remains comprehensible suggests that although the audience at the Globe in the early 1600s might have a very different reference for “mirror” (let alone Virtue or Scorn), the process of composing the meaning of Hamlet’s mirror is flexible enough to withstand such differences. CBT supports and extends other critical assessments of Hamlet’s mirror, it suggests avenues of historical research and illuminates the connective tissue between ideas within the play—connective tissue that generates a cognitive scaffolding.