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+Project Gutenberg's Time in the Play of Hamlet, by Edward P. Vining
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Time in the Play of Hamlet
+
+Author: Edward P. Vining
+
+Release Date: April 30, 2011 [EBook #36002]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TIME IN THE PLAY OF HAMLET ***
+
+
+
+
+Produced by Tor Martin Kristiansen, Joseph Cooper, Jana
+Srna and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+  [ Transcriber's Notes:
+
+    Every effort has been made to replicate this text as faithfully
+    as possible, including inconsistencies in spelling and hyphenation.
+    Some corrections of spelling have been made. They are listed at the
+    end of the text.
+
+    Italic text has been marked with _underscores_.
+  ]
+
+
+
+
+  The Shakespeare Society of New York,
+
+  INCORPORATED APRIL 20, 1885.
+
+  To promote the knowledge and study of the Works
+  of Wm. Shakespeare, and the Shakespearean
+  and Elizabethan Drama.
+
+
+
+
+IN EXECUTIVE COMMITTEE,
+
+JUNE 15, 1885.
+
+
+_Resolved_, That in order that the papers printed under authority of
+this Society may be of the highest character, and of value from all
+standpoints, the Society does not stand pledged as responsible for the
+opinions expressed or conclusions arrived at in the said papers, but
+considers itself only responsible in so far as it certifies by its
+Imprimatur that it considers them as original contributions to
+Shakespearean study, and as showing upon their face care, labor and
+research.
+
+
+
+
+  Papers of N. Y. Shakespeare Society, No. 5.
+
+
+  Time in the Play of Hamlet,
+
+  BY
+  EDWARD P. VINING.
+
+  Read before the Society December 3d, 1885.
+
+  Press of the New York Shakespeare Society.
+  1886.
+
+
+
+
+Time in the Play of Hamlet.
+
+
+If it were not for the fact that we find conflicting opinions as to the
+force and meaning of some one or more words or phrases in almost every
+scene of Shakespeare's dramas, and that--as to "Hamlet" in
+particular--nearly every critic differs in many vital points from all
+others of his army of co-laborers, it might be a matter of some surprise
+to see the great divergence of opinion as to the length of time covered
+by the action of this tragedy.
+
+On the one side it has been seriously contended that its entire action
+transpired within a period of not more than ten days; while on the other
+it has been thought to extend over at least ten years. Nay, more, there
+have been those who, in eloquent phrase, have urged the view that
+Shakespeare's method of dealing with the dramatic element of time is to
+artfully convey two opposite ideas of its flight--swiftness and
+slowness--so that by one series of allusions we receive the impression
+that the action of the drama is driving on in hot haste, and that all
+the events are compressed within a period of but a few days; while by
+another series we are insensibly beguiled into the belief that they
+extend over months or years. "So," say they, "whenever time comes in as
+an element, we are subject to Shakespeare's glamour and gramarye--to his
+legerdemain. We are held in a confusion and delusion about the time."
+
+This theory is so pretty and striking--it harmonizes so nicely with our
+natural love of mysticism and transcendental lore, and with the vague
+views of those who fancy that they are diving into the depths of
+Shakespeare when they do but skim the surface--that it is a pity that
+the facts are all against it.
+
+Now, the truth is that our immortal poet has laid out the action of the
+different scenes with minute consideration both of the time occupied by
+each and of the interval elapsing between them, when any occurs, and he
+has so carefully indicated the lapse of time that he who runs may read,
+if he will but look as he runs. There is no conflict, no glamour;
+neither confusion nor delusion.
+
+Henry A. Clapp has recently shown this so clearly that it may seem a
+work of supererogation to again discuss the matter. He, however,
+considered the general subject of the passage of time in all of
+Shakespeare's plays, and, therefore, could devote but little space to
+the one drama of "Hamlet"; hence, it seems possible that to his masterly
+presentation of the subject something may be added which will be of
+interest to Shakespearean students.
+
+ACT I., Scene i., of the tragedy of "Hamlet" opens at midnight and
+continues until dawn, and at its close, Marcellus, speaking of Hamlet,
+says:
+
+    I this morning know
+    Where we shall find him most conveniently.
+
+In Scene ii. Horatio says of the ghost:
+
+    My lord, I think I saw him yesternight,
+
+and Hamlet declares:
+
+    I'll watch to-night.
+    Upon the platform, 'twixt eleven and twelve
+    I'll visit you.
+
+This watch and its events are given in Scenes iv. and v., while the
+third scene fills out the day, before the night comes on.
+
+Between the first and second acts, one--and the principal one--of the
+two intervals in the play occurs; a lapse of time, as will hereafter be
+shown, of a little more than two months.
+
+In ACT II., Scene i., Polonius says:
+
+    I will go seek the king.
+
+and in Scene ii. he enters the Audience Chamber and announces that he
+has found
+
+    The very cause of Hamlet's lunacy.
+
+In the same scene the players arrive, and Hamlet says of the play of
+"The Murder of Gonzago:"
+
+    We'll ha't to-morrow night.
+
+This act, therefore, covers but one day, while the first scene of the
+next act occurs on the following day, as is proven by the words of
+Rosencranz in reference to the actors:
+
+              They have already order
+    This night to play before him.
+
+In Scene ii. this mimic drama is given, and Scenes iii. and iv. occur
+the same night, Hamlet's interview with his mother taking place, in
+accordance with the message brought to him, immediately after the
+breaking up of the play:
+
+    She desires to speak with you in her closet ere you go to bed.
+
+Act iv. commences with a continuation of the events of the same night,
+as is shown by Gertrude's words:
+
+    Ah, my good lord, what have I seen to-night!
+
+while the king declares:
+
+    The sun no sooner shall the mountains touch,
+    But we will ship him hence.
+
+Morning has not dawned at the close of Scene iii., for among the last
+words of the king is the declaration:
+
+    I'll have him hence to-night.
+
+Between Scenes iii. and v. the second interval of the play occurs; a
+period, probably, of not less than two weeks, nor more than about a
+month.
+
+In the last words of Scene v. the king says to Laertes:
+
+    I pray you go with me,
+
+and the conversation between them is concluded in Scene vii. In the same
+scene the letter from Hamlet is read, in which he writes:
+
+    To-morrow shall I beg leave to see your kingly eyes.
+
+Ophelia's burial, in Act v., Scene i., takes place on the following day,
+for the king says to Laertes:
+
+    Strengthen your patience in our last night's speech:
+
+and there is no reason for thinking the action of the final scene to be
+delayed beyond the close of the same day, for in it Hamlet concludes his
+explanations to Horatio, and is welcomed "back to Denmark" by Osric, who
+must, therefore, then meet him for the first time since his return.
+Moreover, the words of the king in his last speech, in Scene i.,
+
+    We'll put the matter to the present push,
+
+indicate clearly that it was not his intention to allow any delay to
+occur.
+
+It, therefore, appears that ACT I. represents the events of two nights
+and the intervening day, and that some interval of time then elapses.
+ACT II., Scene i., to ACT IV., Scene iii., inclusive, covers two days
+and the night following the second day; and, after a second interval,
+the events of two days are given in ACT IV., Scene v., and the remaining
+scenes of the play.
+
+It now remains to determine the length of the two intervals.
+
+ACT I. opens when the late king was
+
+    But two months dead; nay, not so much, not two;
+
+while in the third act the time since his death is stated to be "twice
+two months." The interval is, therefore, two months, or a little more.
+During this time Hamlet, in pursuance of his studied plan,
+
+    Fell into a sadness, then into a fast,
+    Thence to a watch, thence into a weakness,
+    Thence to a lightness, and by this declension
+
+into his feigned madness. During this time Ophelia, in accordance with
+her father's commands,
+
+    Did repel his letters, and denied
+    His access to her.
+
+That she had not spoken with him for some length of time is shown by her
+statement that the presents given her by him she had
+
+    Longed long to re-deliver,
+
+and it was only on the day preceding the opening of ACT II. that Hamlet
+had carried his feigned insanity so far as to force his way into her
+closet and frighten her with his antics. It was at about this time also
+that the king decided upon his "hasty sending" for Rosencranz and
+Guildenstern, that they, by associating with him, might learn the cause
+of his affliction. The ambassadors, whose departure for Norway is
+mentioned in the first act, are welcomed home again in the second, thus
+giving us another evidence of the lapse of time. Still another
+indication of the length of the interval is contained in the fact that
+Lamond, a gentleman of Normandy, reached the Danish court after Laertes'
+departure and "two months" before his return.
+
+In the second interval there has been time enough for the news of the
+death of Polonius to reach Laertes in Paris, and for him, "in secret,"
+to return and spend some time in hiding, while he
+
+    Feeds on his wonder, keeps himself in clouds,
+    And wants not buzzers to infect his ear
+    With pestilent speeches of his father's death:
+
+until at last he raises the body of men by whose aid he breaks through
+the defences of the king and demands vengeance for the death of his
+father. The interval had also been sufficient for Fortinbras to march
+from Denmark to Poland, win a victory there, and then return as far as
+the Danish court on his way home. It was not sufficient, however, for
+Rosencranz and Guildenstern to reach England, there to meet their
+deaths, and for the news to be brought back from England to Denmark.
+Although Hamlet leaped upon the "pirate" ship when only two days out at
+sea, it is likely that a much greater time would elapse before his
+return. If it were only for appearances' sake, it would be necessary
+that he should remain on the ship for some little length of time to keep
+up the pretence that it was a "pirate" that had attacked him, and in
+order that the fact might not become known that it was in reality one of
+the vessels of Fortinbras that had rescued him in accordance with a plot
+agreed upon between the two princes. On his return he recognized the
+fact that the interim before the arrival of the news from England would
+be but short, and that in this time, if ever, he must act. In truth he
+had not an hour to spare, for the English ambassadors reached the Danish
+court only a few minutes after the death of the king.
+
+The best clue to the length of the interval between Scenes iii. and iv.
+of the fourth act is, however, given by the flowers that were in bloom
+at each of the two periods.
+
+In the last scene there are named pansies, columbines, daisies,
+crowflowers, nettles and long-purples; flowers which in England (and it
+is the English rather than the Danish flora that is referred to by
+Shakespeare) are all in bloom during the month of April. The time of
+Polonius's death is fixed with beautiful precision by the words of
+Ophelia:
+
+    I would give you some violets, but they withered all when my father
+    died.
+
+It is in March that the English violets bloom and pass away.
+
+The early violets of the United States, the "Johnny Jump-ups" of the
+children, have a curious synchronism in their flowering, which
+distinguishes them from other plants, and which seems to have passed
+unnoticed. Go at the right time, and you may find the grass beneath the
+trees and in moist or shady spots fairly blue with unnumbered myriads of
+these blossoms. Go two days later, and you may look in vain for a single
+specimen. They wither, literally, in a day. This little phrase of
+Shakespeare's shows the same peculiarity to be true of the English
+violets; and yet Shakespeare is the only writer who has observed it.
+Many another poet would have made it the basis of a dozen similes, and
+would have spun out verse after verse with varying references to it, yet
+Shakespeare in his wealth makes but this unnoticed and incidental
+allusion to the fact, and refers to it no more forever.
+
+The flowers that are mentioned, therefore, show that the tragedy ends in
+April, and that it was some time during the month of March that Polonius
+was slain. The action commenced some two months, or a little more,
+before that time, or during the first half of the month of January, a
+time when
+
+    The air bites shrewdly; it is very cold.
+
+About two months before this, or early in November, the treacherous
+Claudius stole upon his sleeping brother,
+
+    With juice of cursed hebenon in a vial,
+    And in the porches of his ear did pour
+    The leperous distilment.
+
+And it was in December, or
+
+                Within a month--
+
+    A little month!
+
+after her first husband's death that Gertrude married his murderer.
+
+Why was it that for thirty days the perturbed spirit of the former king
+allowed
+
+    The royal bed of Denmark (to) be
+    A couch for luxury and damned incest,
+
+and made no sign?
+
+The answer is given by Marcellus:
+
+        Ever 'gainst that season comes
+    Wherein our Saviour's birth is celebrated
+    The bird of dawning singeth all night long;
+    And then, they say no spirit dare stir abroad.
+
+It was, therefore, not until after the Christmas holidays were passed,
+that the ghost of Hamlet's father could bring his message from the
+grave.
+
+Here it may be well to notice a variation between the first quarto and
+the following editions of Hamlet, the only one in which the time is
+changed. In the first form of the play that has come down to us,
+Gertrude's marriage did not occur until about two months after her first
+husband's death, and the drama opens immediately after her wedding. The
+winter's cold is but slightly referred to, and the season of the year
+seems not to have been as firmly fixed in Shakespeare's mind as it was
+by further thought and study.
+
+There are two passages which seem to indicate warmer weather than is
+consistent either with the "bitter cold," which is twice referred to, or
+with a January night. These are:
+
+    The morn, in russet mantle clad,
+    Walks o'er the dew of yon high eastern hill
+
+and
+
+    The glow-worm shows the matin to be near,
+    And 'gins to pale his uneffectual fire.
+
+These I can only account for by the theory that they formed part of the
+drama in an earlier state, before the time of the play had been fully
+developed, and that their beauty saved them in the later forms that we
+now have, notwithstanding their inconsistency with the "bitter cold" of
+a winter's night.
+
+It cannot escape attention that the first days of November would be very
+late for the elder Hamlet to be able to continue his afternoon custom of
+sleeping within his orchard. Still, it is not impossible that pleasant
+autumn weather might continue until that season of the year.
+
+It may be worthy of notice that the action in the original "Hystorie of
+Hamblet," on which the drama is founded, covers a period of "many
+years," and that in the German play, "Fratricide Punished," which by
+some is thought to be an adaptation of an early form of the drama which
+has not otherwise reached us, there is not a single indication of any
+definite lapse of time or of the season of the year.
+
+In the tragedy, as we now possess it, there are, as shown above, two or
+three passages in which there is some apparent conflict with the
+remainder of the play, as to the season of the year in which the action
+took place; but for any evidence of uncertainty as to the lapse of time;
+for any legerdemain or glamour, the student will look in vain. On the
+contrary, there are but few creations of the intellect in which the
+passage of time is as clearly and unmistakably indicated.
+
+As for the various points that have been thought to show some confusion
+in the mind of our poet, there are none which upon careful examination
+will not be found to have melted into air--thin air--leaving not a rack
+behind.
+
+When Hamlet learned the truth of his suspicions, and resolved to obey
+his father's entreaties for revenge, he needed the aid of a stronger
+mind, and felt the want of sympathy and counsel; but it is not
+remarkable that Horatio should have remained unnoticed about the court
+for some two months after his arrival, during the time that Hamlet was
+first occupied in brooding over his father's death and his mother's
+shame; for then his melancholy filled his mind to the exclusion of all
+other thoughts, and he had not felt it necessary to take any immediate
+action. Polonius was surprised at Ophelia's account of the outbreak of
+Hamlet, for it had but just occurred, and no such indication of violent
+madness had preceded it; Hamlet's former state having been that of a
+gradual passage from sadness to fasting, sleeplessness, weakness and
+lightness, and his feigned insanity had but just reached a state which
+frightened the king into sending for the former companions of the prince
+to keep him company.
+
+Ophelia had longed for a considerable period to re-deliver Hamlet's
+remembrances, for, in accordance with her father's instructions, she had
+denied him all access to her for some two months, and on the occasion
+(the day before she returned his gifts) when Hamlet, in fantastic
+attire, came suddenly before her, no word was spoken, and her surprise
+and agitation would naturally have prevented all thought of his
+remembrances.
+
+When Hamlet tells Rosencrantz and Guildenstern that he has "of late
+foregone all custom of exercises," it is merely as an excuse for his
+loss of mirth, in order that they may not learn its true cause; but the
+fact was, as Hamlet confessed to Horatio, that since the time when
+Laertes went into France (that is to say, since the time when the ghost
+first appeared to him) he had been in continual practice with the foils.
+
+Laertes had been at home, "in secret," for some little time before he
+forced his way into the presence of the king, gathering the populace to
+his side and maturing his plans for rebellion. There is no reason to
+believe that he had failed to take time to go to his own home after
+returning from France. On the contrary, Ophelia's words,
+
+    My brother shall know of it,
+
+indicate that even in her madness there remained in her mind a knowledge
+of her brother's presence near her. Laertes was surprised at her
+insanity, for her mind had but just given way, and he, with the king and
+queen, saw her first violent outbreak.
+
+It seems strange that the King should propose a fencing match but a few
+hours after the burial of Ophelia, and that her brother should be
+willing to engage in it; but the King's fear of Hamlet, and Laertes'
+desire for revenge, were so great as to override all other
+considerations.
+
+The discrepancy between Hamlet's apparent "youth" and the thirty years
+which are fixed as his age by the words of the grave-digger and of the
+player King, is the last point to which reference need be made; and,
+without stopping to discuss the subject here, it may be briefly said
+that much of the apparent discrepancy disappears upon careful
+examination, and that sufficient explanation may be found for the little
+that may appear to remain.
+
+In this, as in other cases, the truth is, that Shakespeare wrote with
+all care, and indulged in neither legerdemain nor clap-trap. We may
+safely conclude that whenever faults appear to us to exist in his work,
+they are much more likely to lie in our own carelessness and ignorance
+than in any imperfection in the poet.
+
+
+
+
+COMMUNICATION
+FROM
+J. O. HALLIWELL-PHILLIPPS, Esq.
+
+
+
+
+COMMUNICATION
+
+
+From J. O. Halliwell-Phillipps, F. R. S., F. S. A., Hon. M. R. S. L.,
+Hon. M. R. I. A.: First Honorary Member of the Shakespeare Society of
+New York.
+
+(Read in Society December 3rd, 1885, and ordered incorporated in the
+Minutes.)
+
+    Hollinbury Copse, Brighton, England, }
+                14th November, 1885.     }
+
+_Dear Mr. Appleton Morgan_,
+
+It will, I fear, be too difficult for me to express, in adequate terms,
+my appreciation of the compliment that the Shakespeare Society of New
+York propose to bestow upon me. I take it as exceedingly kind of them so
+to notice an old bookworm, and let me hope that you will offer my
+responsive acknowledgements.
+
+But it occurs to me to submit to their notice a few memoranda on the
+history of the first Shakespeare Society that was ever formed, in the
+hope that they may prove of some little interest, especially as
+evidences that it is possible for Shakespearean research and criticism
+to be amicably and temperately conducted for a lengthened period, and
+thence presumably forever.
+
+The Shakespeare Society of London was instituted in the year 1840, the
+then leading members of the council being the director, Mr. Payne
+Collier; the secretary, Mr. F. G. Tomlins; the treasurer, Mr. Dilke,
+grandfather of the present Sir Charles Dilke; Rev. William Harness;
+Charles Knight; Campbell, the poet; Macready, Alexander Dyce, Douglas
+Jerrold, Sergeant Talfourd, Thomas Wright, and Young, the tragedian. To
+these were added shortly afterward Bolton Corney, Charles Dickens, Henry
+Hallam, J. R. Planche and Peter Cunningham, the last named taking the
+place of Mr. Dilke as treasurer. Later acquisitions included Boyle
+Bernard, Knight Bruce, John Forster, Rev. H. H. Milman and Sir George
+Rose.
+
+The society was especially fortunate in the selection of its director. A
+fluent speaker, courteous to all, ever in a good humor, always ready to
+encourage younger men in his favourite pursuits, and, withal, a good
+financier, Payne Collier was the beau ideal of the chairman of a
+literary society.
+
+Mr. Tomlins, a journalist and dramatic critic, made in every respect an
+excellent secretary. Replete with good humor and fun, he frequently
+enlivened what might otherwise have been a somewhat too dull and
+technical meeting of the council; without allowing all this, I need
+scarcely add, to interfere with the legitimate duties of his office.
+
+Mr. Cunningham--kind-hearted, genial Peter--was our excellent treasurer
+from nearly the commencement to the termination of our society. In
+common with most literary and scientific bodies, the power of government
+rested in an oligarchy, and I have specially mentioned these three
+names, being those in whom the real control of the society was vested,
+however wisely they accepted the services or adopted the advices of
+others. But there was, indeed, no one who desired to share in the
+absolute responsibility of the management; least of all, no one who was
+foolish enough to aim at the position of a supreme dictator. A few
+observations from recollection of two or three of the other members of
+the council may, perhaps, be admissible.
+
+Macready only attended occasionally, but one of his first steps (he
+being then the lessee of the Drury Lane Theater) was an announcement
+that he had placed the names of every member of the council on the free
+list of that establishment, made an indelible impression on my memory.
+It was a delightful communication, money then being an exceedingly
+scarce commodity with me; and thus I was enabled to witness and study
+nearly every evening the best acting of the day, including the unrivaled
+personification of _Imogen_ by Helen Faucit.
+
+Alexander Dyce was a frequent attendant. Although sometimes caustic in
+his writings, he was the reverse at the council and in conversation, and
+that he was personally one of the kindest and best hearted of men few
+can vouch with more accuracy than myself, having enjoyed the advantage
+of his friendship from the days of my boyhood until his death in the
+year 1869.
+
+Planche, the most prolific English dramatist England has seen since the
+days of Heywood, was also a frequent attendant. He was one of the most
+amiable and genial of men, one whose genius and graceful humor have not
+as yet been adequately recognized.
+
+There was not, in fact, a single member of the council in whom was
+embedded an element of discord in respect to the objects or management
+of the society, and having belonged to the council from the time of its
+institution in 1840, until its dissolution in 1853, I can bear
+sufficient testimony to the enduring harmony that prevailed.
+
+The same kind feelings and good humor characterized the annual general
+meetings, where, I verily believe, if an egotistical literary firebrand
+had ventured to disturb the general concord--and no one else could have
+managed such an achievement--he would have been gently and courteously
+lynched. It is true that I am speaking of a primitive and unenlightened
+period, before it had been suggested that Shakespeare was somebody else:
+but even the enunciation of so startling a theory as that would not, I
+am persuaded, have disturbed the serenity of a body who had perfect
+reliance on freedom of criticism, leading eventually to the victory of
+truth.
+
+A similar catholicity of spirit--the absence of a specific platform--the
+trenchant and spontaneous rejection, if I understand your scheme
+rightly, of nothing but offensive dogmatism and insolent
+criticism--these are the elements that will commend the Shakespeare
+Society of New York to every temperate student, and demand his earnest
+wishes for its influence and permanency.
+
+With a reiteration of my grateful acknowledgments to your society for
+their kindness, and apologies for intruding upon them this little
+specimen of an old man's garrulity, believe me, yours faithfully.
+
+  [Signed]      J. O. Halliwell-Phillipps.
+
+To Appleton Morgan, Esq., President of the Shakespeare Society of New
+York.
+
+
+
+
+  [ Transcriber's Note:
+
+    The following is a list of corrections made to the original.
+    The first line is the original line, the second the corrected one.
+
+    of Wm. Shakespeare, and the Shakesperean
+    of Wm. Shakespeare, and the Shakespearean
+
+  ACT II., Scene i, to ACT IV., Scene iii., inclusive, covers two days
+  ACT II., Scene i., to ACT IV., Scene iii., inclusive, covers two days
+
+  financier, Payne Collier was the beau idea of the chairman of a
+  financier, Payne Collier was the beau ideal of the chairman of a
+
+  common with most literary and scientific bodies, the power of goverment
+  common with most literary and scientific bodies, the power of government
+
+    [Signed]      J. O. Halliwell-Phillips.
+    [Signed]      J. O. Halliwell-Phillipps.
+
+  ]
+
+
+
+
+
+
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+<pre>
+
+Project Gutenberg's Time in the Play of Hamlet, by Edward P. Vining
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Time in the Play of Hamlet
+
+Author: Edward P. Vining
+
+Release Date: April 30, 2011 [EBook #36002]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TIME IN THE PLAY OF HAMLET ***
+
+
+
+
+Produced by Tor Martin Kristiansen, Joseph Cooper, Jana
+Srna and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+<div id="tnote">
+<p class="center"><b>Transcriber's Notes:</b></p>
+
+<p class="no-indent">Every effort has been made to replicate this text
+as faithfully as possible, including inconsistencies in spelling and
+hyphenation.</p>
+
+<p>Some corrections of spelling have been made.
+<span class="screen">They are marked <ins title="transcriber's note">like
+this</ins> in the text. The original text appears when hovering the cursor
+over the marked text.</span> A <a href="#tn-bottom">list of amendments</a> is
+at the end of the text.</p>
+</div>
+
+<div class="center page-break">
+<p><a name="front-matter">The Shakespeare Society of New York,</a></p>
+
+<p>INCORPORATED APRIL 20, 1885.</p>
+
+<p>To promote the knowledge and study of the Works<br/>
+of Wm. Shakespeare, and the <ins title="Shakesperean">Shakespearean</ins><br/>
+and Elizabethan Drama.</p>
+</div>
+
+<p class="center page-break" style="line-height: 1.5em;"><big>IN EXECUTIVE COMMITTEE,</big><br/>
+JUNE 15, 1885.</p>
+
+<p><i>Resolved</i>, That in order that the papers printed under
+authority of this Society may be of the highest
+character, and of value from all standpoints, the Society
+does not stand pledged as responsible for the opinions
+expressed or conclusions arrived at in the said
+papers, but considers itself only responsible in so far as
+it certifies by its Imprimatur that it considers them as
+original contributions to Shakespearean study, and as
+showing upon their face care, labor and research.</p>
+
+<p class="center page-break">Papers of N.&nbsp;Y. Shakespeare Society, No.&nbsp;5.</p>
+
+<h1>Time in the Play of Hamlet,</h1>
+
+<p class="center" style="line-height: 2em;">BY<br/>
+EDWARD P. VINING.</p>
+
+<p class="center" style="margin: 2em auto;">Read before the Society December 3d, 1885.</p>
+
+<p class="center" style="line-height: 1.5em;">Press of the New York Shakespeare Society.<br/>
+1886.</p>
+
+<h2><a class="pagenum" name="Page_5" title="5"> </a>Time in the Play of Hamlet.</h2>
+
+<p>If it were not for the fact that we find conflicting
+opinions as to the force and meaning
+of some one or more words or phrases in
+almost every scene of Shakespeare's dramas,
+and that&mdash;as to &ldquo;Hamlet&rdquo; in particular&mdash;nearly
+every critic differs in many vital points
+from all others of his army of co-laborers, it
+might be a matter of some surprise to see the
+great divergence of opinion as to the length
+of time covered by the action of this tragedy.</p>
+
+<p>On the one side it has been seriously contended
+that its entire action transpired within
+a period of not more than ten days; while
+on the other it has been thought to extend
+over at least ten years. Nay, more, there
+have been those who, in eloquent phrase, have
+urged the view that Shakespeare's method of
+dealing with the dramatic element of time is
+to artfully convey two opposite ideas of its
+flight&mdash;swiftness and slowness&mdash;so that by one
+<a class="pagenum" name="Page_6" title="6"> </a>
+series of allusions we receive the impression
+that the action of the drama is driving on in
+hot haste, and that all the events are compressed
+within a period of but a few days;
+while by another series we are insensibly beguiled
+into the belief that they extend over
+months or years. &ldquo;So,&rdquo; say they, &ldquo;whenever
+time comes in as an element, we are subject
+to Shakespeare's glamour and gramarye&mdash;to
+his legerdemain. We are held in a confusion
+and delusion about the time.&rdquo;</p>
+
+<p>This theory is so pretty and striking&mdash;it
+harmonizes so nicely with our natural love of
+mysticism and transcendental lore, and with
+the vague views of those who fancy that they
+are diving into the depths of Shakespeare
+when they do but skim the surface&mdash;that it is
+a pity that the facts are all against it.</p>
+
+<p>Now, the truth is that our immortal poet
+has laid out the action of the different scenes
+with minute consideration both of the time
+occupied by each and of the interval elapsing
+between them, when any occurs, and he has so
+carefully indicated the lapse of time that he
+<a class="pagenum" name="Page_7" title="7"> </a>
+who runs may read, if he will but look as he
+runs. There is no conflict, no glamour;
+neither confusion nor delusion.</p>
+
+<p>Henry A. Clapp has recently shown this so
+clearly that it may seem a work of supererogation
+to again discuss the matter. He, however,
+considered the general subject of the
+passage of time in all of Shakespeare's plays,
+and, therefore, could devote but little space
+to the one drama of &ldquo;Hamlet&rdquo;; hence, it
+seems possible that to his masterly presentation
+of the subject something may be added
+which will be of interest to Shakespearean
+students.</p>
+
+<p>ACT&nbsp;I., Scene&nbsp;i., of the tragedy of &ldquo;Hamlet&rdquo;
+opens at midnight and continues until
+dawn, and at its close, Marcellus, speaking of
+Hamlet, says:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">I this morning know<br/></div>
+<div class="line">Where we shall find him most conveniently.<br/></div>
+</div>
+</div>
+
+<p>In Scene&nbsp;ii. Horatio says of the ghost:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">My lord, I think I saw him yesternight,<br/></div>
+</div>
+</div>
+
+<p class="no-indent">and Hamlet declares:</p>
+
+<div class="poetry">
+<div class="stanza">
+<a class="pagenum" name="Page_8" title="8"> </a><div class="line">I'll watch to-night.<br/></div>
+<div class="line">Upon the platform, 'twixt eleven and twelve<br/></div>
+<div class="line">I'll visit you.<br/></div>
+</div>
+</div>
+
+<p>This watch and its events are given in
+Scenes&nbsp;iv. and v., while the third scene fills
+out the day, before the night comes on.</p>
+
+<p>Between the first and second acts, one&mdash;and
+the principal one&mdash;of the two intervals in the
+play occurs; a lapse of time, as will hereafter
+be shown, of a little more than two months.</p>
+
+<p>In ACT&nbsp;II., Scene&nbsp;i., Polonius says:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">I will go seek the king.<br/></div>
+</div>
+</div>
+
+<p class="no-indent">and in Scene&nbsp;ii. he enters the Audience Chamber
+and announces that he has found</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">The very cause of Hamlet's lunacy.<br/></div>
+</div>
+</div>
+
+<p>In the same scene the players arrive, and
+Hamlet says of the play of &ldquo;The Murder of
+Gonzago:&rdquo;</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">We'll ha't to-morrow night.<br/></div>
+</div>
+</div>
+
+<p>This act, therefore, covers but one day,
+while the first scene of the next act occurs on
+the following day, as is proven by the words
+of Rosencranz in reference to the actors:</p>
+
+<div class="poetry">
+<div class="stanza">
+<a class="pagenum" name="Page_9" title="9"> </a><div class="line indent10">They have already order<br/></div>
+<div class="line">This night to play before him.<br/></div>
+</div>
+</div>
+
+<p>In Scene&nbsp;ii. this mimic drama is given, and
+Scenes&nbsp;iii. and iv. occur the same night,
+Hamlet's interview with his mother taking
+place, in accordance with the message brought
+to him, immediately after the breaking up of
+the play:</p>
+
+<blockquote>
+<p>She desires to speak with you in her closet ere you
+go to bed.</p>
+</blockquote>
+
+<p>Act&nbsp;iv. commences with a continuation of
+the events of the same night, as is shown by
+Gertrude's words:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">Ah, my good lord, what have I seen to-night!<br/></div>
+</div>
+</div>
+
+<p class="no-indent">while the king declares:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">The sun no sooner shall the mountains touch,<br/></div>
+<div class="line">But we will ship him hence.<br/></div>
+</div>
+</div>
+
+<p>Morning has not dawned at the close of Scene
+iii., for among the last words of the king is
+the declaration:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">I'll have him hence to-night.<br/></div>
+</div>
+</div>
+
+<p>Between Scenes&nbsp;iii. and v. the second interval
+of the play occurs; a period, probably,
+<a class="pagenum" name="Page_10" title="10"> </a>
+of not less than two weeks, nor more than
+about a month.</p>
+
+<p>In the last words of Scene&nbsp;v. the king says
+to Laertes:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">I pray you go with me,<br/></div>
+</div>
+</div>
+
+<p class="no-indent">and the conversation between them is concluded
+in Scene&nbsp;vii. In the same scene the
+letter from Hamlet is read, in which he
+writes:</p>
+
+<blockquote>
+<p>To-morrow shall I beg leave to see your kingly
+eyes.</p>
+</blockquote>
+
+<p>Ophelia's burial, in Act&nbsp;v., Scene&nbsp;i., takes
+place on the following day, for the king says
+to Laertes:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">Strengthen your patience in our last night's speech:<br/></div>
+</div>
+</div>
+
+<p class="no-indent">and there is no reason for thinking the action
+of the final scene to be delayed beyond the
+close of the same day, for in it Hamlet concludes
+his explanations to Horatio, and is
+welcomed &ldquo;back to Denmark&rdquo; by Osric,
+who must, therefore, then meet him for the
+first time since his return. Moreover, the
+<a class="pagenum" name="Page_11" title="11"> </a>
+words of the king in his last speech, in
+Scene&nbsp;i.,</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">We'll put the matter to the present push,<br/></div>
+</div>
+</div>
+
+<p class="no-indent">indicate clearly that it was not his intention
+to allow any delay to occur.</p>
+
+<p>It, therefore, appears that ACT&nbsp;I. represents
+the events of two nights and the intervening
+day, and that some interval of time
+then elapses. ACT&nbsp;II., Scene&nbsp;<ins title="i">i.</ins>, to ACT&nbsp;IV.,
+Scene&nbsp;iii., inclusive, covers two days and the
+night following the second day; and, after a
+second interval, the events of two days are
+given in ACT&nbsp;IV., Scene&nbsp;v., and the remaining
+scenes of the play.</p>
+
+<p>It now remains to determine the length of
+the two intervals.</p>
+
+<p>ACT&nbsp;I. opens when the late king was</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">But two months dead; nay, not so much, not two;<br/></div>
+</div>
+</div>
+
+<p class="no-indent">while in the third act the time since his death
+is stated to be &ldquo;twice two months.&rdquo; The interval
+is, therefore, two months, or a little
+more. During this time Hamlet, in pursuance
+of his studied plan,</p>
+
+<div class="poetry">
+<div class="stanza">
+<a class="pagenum" name="Page_12" title="12"> </a><div class="line">Fell into a sadness, then into a fast,<br/></div>
+<div class="line">Thence to a watch, thence into a weakness,<br/></div>
+<div class="line">Thence to a lightness, and by this declension<br/></div>
+</div>
+</div>
+
+<p class="no-indent">into his feigned madness. During this time
+Ophelia, in accordance with her father's commands,</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">Did repel his letters, and denied<br/></div>
+<div class="line">His access to her.<br/></div>
+</div>
+</div>
+
+<p class="no-indent">That she had not spoken with him for some
+length of time is shown by her statement that
+the presents given her by him she had</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">Longed long to re-deliver,<br/></div>
+</div>
+</div>
+
+<p class="no-indent">and it was only on the day preceding the
+opening of ACT&nbsp;II. that Hamlet had carried
+his feigned insanity so far as to force his
+way into her closet and frighten her with his
+antics. It was at about this time also that the
+king decided upon his &ldquo;hasty sending&rdquo; for
+Rosencranz and Guildenstern, that they, by
+associating with him, might learn the cause of
+his affliction. The ambassadors, whose departure
+for Norway is mentioned in the first
+act, are welcomed home again in the second,
+<a class="pagenum" name="Page_13" title="13"> </a>
+thus giving us another evidence of the lapse
+of time. Still another indication of the length
+of the interval is contained in the fact that
+Lamond, a gentleman of Normandy, reached
+the Danish court after Laertes' departure and
+&ldquo;two months&rdquo; before his return.</p>
+
+<p>In the second interval there has been time
+enough for the news of the death of Polonius
+to reach Laertes in Paris, and for him, &ldquo;in
+secret,&rdquo; to return and spend some time in
+hiding, while he</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">Feeds on his wonder, keeps himself in clouds,<br/></div>
+<div class="line">And wants not buzzers to infect his ear<br/></div>
+<div class="line">With pestilent speeches of his father's death:<br/></div>
+</div>
+</div>
+
+<p class="no-indent">until at last he raises the body of men by
+whose aid he breaks through the defences of
+the king and demands vengeance for the death
+of his father. The interval had also been
+sufficient for Fortinbras to march from Denmark
+to Poland, win a victory there, and then
+return as far as the Danish court on his
+way home. It was not sufficient, however,
+for Rosencranz and Guildenstern to reach
+England, there to meet their deaths, and for
+<a class="pagenum" name="Page_14" title="14"> </a>
+the news to be brought back from England
+to Denmark. Although Hamlet leaped upon
+the &ldquo;pirate&rdquo; ship when only two days out at
+sea, it is likely that a much greater time
+would elapse before his return. If it were
+only for appearances' sake, it would be necessary
+that he should remain on the ship for
+some little length of time to keep up the pretence
+that it was a &ldquo;pirate&rdquo; that had attacked
+him, and in order that the fact might not become
+known that it was in reality one of the
+vessels of Fortinbras that had rescued him in
+accordance with a plot agreed upon between
+the two princes. On his return he recognized
+the fact that the interim before the arrival of
+the news from England would be but short,
+and that in this time, if ever, he must act.
+In truth he had not an hour to spare, for the
+English ambassadors reached the Danish court
+only a few minutes after the death of the king.</p>
+
+<p>The best clue to the length of the interval
+between Scenes&nbsp;iii. and iv. of the fourth
+act is, however, given by the flowers that
+were in bloom at each of the two periods.</p>
+
+<p><a class="pagenum" name="Page_15" title="15"> </a>In the last scene there are named pansies,
+columbines, daisies, crowflowers, nettles and
+long-purples; flowers which in England (and
+it is the English rather than the Danish flora
+that is referred to by Shakespeare) are all in
+bloom during the month of April. The time
+of Polonius's death is fixed with beautiful
+precision by the words of Ophelia:</p>
+
+<blockquote>
+<p>I would give you some violets, but they withered
+all when my father died.</p>
+</blockquote>
+
+<p>It is in March that the English violets
+bloom and pass away.</p>
+
+<p>The early violets of the United States, the
+&ldquo;Johnny Jump-ups&rdquo; of the children, have a
+curious synchronism in their flowering, which
+distinguishes them from other plants, and
+which seems to have passed unnoticed. Go
+at the right time, and you may find the grass
+beneath the trees and in moist or shady spots
+fairly blue with unnumbered myriads of these
+blossoms. Go two days later, and you may
+look in vain for a single specimen. They
+wither, literally, in a day. This little phrase
+of Shakespeare's shows the same peculiarity
+<a class="pagenum" name="Page_16" title="16"> </a>
+to be true of the English violets; and yet
+Shakespeare is the only writer who has observed
+it. Many another poet would have
+made it the basis of a dozen similes, and
+would have spun out verse after verse with
+varying references to it, yet Shakespeare in
+his wealth makes but this unnoticed and incidental
+allusion to the fact, and refers to it
+no more forever.</p>
+
+<p>The flowers that are mentioned, therefore,
+show that the tragedy ends in April, and that
+it was some time during the month of March
+that Polonius was slain. The action commenced
+some two months, or a little more,
+before that time, or during the first half of
+the month of January, a time when</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">The air bites shrewdly; it is very cold.<br/></div>
+</div>
+</div>
+
+<p>About two months before this, or early in
+November, the treacherous Claudius stole
+upon his sleeping brother,</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">With juice of cursed hebenon in a vial,<br/></div>
+<div class="line">And in the porches of his ear did pour<br/></div>
+<div class="line">The leperous distilment.<br/></div>
+</div>
+</div>
+
+<p class="no-indent"><a class="pagenum" name="Page_17" title="17"> </a>And it was in December, or</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line indent12">Within a month&mdash;<br/></div>
+</div>
+<div class="stanza">
+<div class="line">A little month!<br/></div>
+</div>
+</div>
+
+<p class="no-indent">after her first husband's death that Gertrude
+married his murderer.</p>
+
+<p>Why was it that for thirty days the perturbed
+spirit of the former king allowed</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">The royal bed of Denmark (to) be<br/></div>
+<div class="line">A couch for luxury and damned incest,<br/></div>
+</div>
+</div>
+
+<p class="no-indent">and made no sign?</p>
+
+<p>The answer is given by Marcellus:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line indent4">Ever 'gainst that season comes<br/></div>
+<div class="line">Wherein our Saviour's birth is celebrated<br/></div>
+<div class="line">The bird of dawning singeth all night long;<br/></div>
+<div class="line">And then, they say no spirit dare stir abroad.<br/></div>
+</div>
+</div>
+
+<p class="no-indent">It was, therefore, not until after the Christmas
+holidays were passed, that the ghost of
+Hamlet's father could bring his message from
+the grave.</p>
+
+<p>Here it may be well to notice a variation
+between the first quarto and the following
+editions of Hamlet, the only one in which the
+time is changed. In the first form of the
+play that has come down to us, Gertrude's
+<a class="pagenum" name="Page_18" title="18"> </a>
+marriage did not occur until about two
+months after her first husband's death, and
+the drama opens immediately after her wedding.
+The winter's cold is but slightly referred
+to, and the season of the year seems
+not to have been as firmly fixed in Shakespeare's
+mind as it was by further thought
+and study.</p>
+
+<p>There are two passages which seem to indicate
+warmer weather than is consistent either
+with the &ldquo;bitter cold,&rdquo; which is twice referred
+to, or with a January night. These are:</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">The morn, in russet mantle clad,<br/></div>
+<div class="line">Walks o'er the dew of yon high eastern hill<br/></div>
+</div>
+</div>
+
+<p class="no-indent">and</p>
+
+<div class="poetry">
+<div class="stanza">
+<div class="line">The glow-worm shows the matin to be near,<br/></div>
+<div class="line">And 'gins to pale his uneffectual fire.<br/></div>
+</div>
+</div>
+
+<p>These I can only account for by the theory
+that they formed part of the drama in an earlier
+state, before the time of the play had
+been fully developed, and that their beauty
+saved them in the later forms that we now
+have, notwithstanding their inconsistency
+with the &ldquo;bitter cold&rdquo; of a winter's night.</p>
+
+<p><a class="pagenum" name="Page_19" title="19"> </a>It cannot escape attention that the first
+days of November would be very late for the
+elder Hamlet to be able to continue his afternoon
+custom of sleeping within his orchard.
+Still, it is not impossible that pleasant autumn
+weather might continue until that season of
+the year.</p>
+
+<p>It may be worthy of notice that the action
+in the original &ldquo;Hystorie of Hamblet,&rdquo; on
+which the drama is founded, covers a period
+of &ldquo;many years,&rdquo; and that in the German
+play, &ldquo;Fratricide Punished,&rdquo; which by some
+is thought to be an adaptation of an early
+form of the drama which has not otherwise
+reached us, there is not a single indication
+of any definite lapse of time or of the season
+of the year.</p>
+
+<p>In the tragedy, as we now possess it, there
+are, as shown above, two or three passages in
+which there is some apparent conflict with the
+remainder of the play, as to the season of the
+year in which the action took place; but for
+any evidence of uncertainty as to the lapse of
+time; for any legerdemain or glamour, the
+<a class="pagenum" name="Page_20" title="20"> </a>
+student will look in vain. On the contrary,
+there are but few creations of the intellect in
+which the passage of time is as clearly and
+unmistakably indicated.</p>
+
+<p>As for the various points that have been
+thought to show some confusion in the mind
+of our poet, there are none which upon careful
+examination will not be found to have
+melted into air&mdash;thin air&mdash;leaving not a rack
+behind.</p>
+
+<p>When Hamlet learned the truth of his suspicions,
+and resolved to obey his father's entreaties
+for revenge, he needed the aid of a
+stronger mind, and felt the want of sympathy
+and counsel; but it is not remarkable that
+Horatio should have remained unnoticed
+about the court for some two months after
+his arrival, during the time that Hamlet was
+first occupied in brooding over his father's
+death and his mother's shame; for then his
+melancholy filled his mind to the exclusion
+of all other thoughts, and he had not felt it
+necessary to take any immediate action.
+Polonius was surprised at Ophelia's account
+<a class="pagenum" name="Page_21" title="21"> </a>
+of the outbreak of Hamlet, for it had but
+just occurred, and no such indication of
+violent madness had preceded it; Hamlet's
+former state having been that of a gradual
+passage from sadness to fasting, sleeplessness,
+weakness and lightness, and his feigned insanity
+had but just reached a state which
+frightened the king into sending for the former
+companions of the prince to keep him
+company.</p>
+
+<p>Ophelia had longed for a considerable
+period to re-deliver Hamlet's remembrances,
+for, in accordance with her father's instructions,
+she had denied him all access to her
+for some two months, and on the occasion (the
+day before she returned his gifts) when Hamlet,
+in fantastic attire, came suddenly before
+her, no word was spoken, and her surprise
+and agitation would naturally have prevented
+all thought of his remembrances.</p>
+
+<p>When Hamlet tells Rosencrantz and Guildenstern
+that he has &ldquo;of late foregone all
+custom of exercises,&rdquo; it is merely as an excuse
+for his loss of mirth, in order that they may
+<a class="pagenum" name="Page_22" title="22"> </a>
+not learn its true cause; but the fact was, as
+Hamlet confessed to Horatio, that since the
+time when Laertes went into France (that is
+to say, since the time when the ghost first appeared
+to him) he had been in continual
+practice with the foils.</p>
+
+<p>Laertes had been at home, &ldquo;in secret,&rdquo; for
+some little time before he forced his way into
+the presence of the king, gathering the populace
+to his side and maturing his plans for
+rebellion. There is no reason to believe that
+he had failed to take time to go to his own
+home after returning from France. On the
+contrary, Ophelia's words,</p>
+
+<blockquote>
+<p>My brother shall know of it,</p>
+</blockquote>
+
+<p class="no-indent">indicate that even in her madness there remained
+in her mind a knowledge of her
+brother's presence near her. Laertes was
+surprised at her insanity, for her mind had
+but just given way, and he, with the king and
+queen, saw her first violent outbreak.</p>
+
+<p>It seems strange that the King should propose
+a fencing match but a few hours after
+<a class="pagenum" name="Page_23" title="23"> </a>
+the burial of Ophelia, and that her brother
+should be willing to engage in it; but the
+King's fear of Hamlet, and Laertes' desire
+for revenge, were so great as to override all
+other considerations.</p>
+
+<p>The discrepancy between Hamlet's apparent
+&ldquo;youth&rdquo; and the thirty years which are fixed
+as his age by the words of the grave-digger
+and of the player King, is the last point to
+which reference need be made; and, without
+stopping to discuss the subject here, it may
+be briefly said that much of the apparent discrepancy
+disappears upon careful examination,
+and that sufficient explanation may be found
+for the little that may appear to remain.</p>
+
+<p>In this, as in other cases, the truth is, that
+Shakespeare wrote with all care, and indulged
+in neither legerdemain nor clap-trap. We
+may safely conclude that whenever faults appear
+to us to exist in his work, they are much
+more likely to lie in our own carelessness and
+ignorance than in any imperfection in the
+poet.</p>
+
+<p class="center page-break small-caps" style="font-size: large; line-height: 2em;"><a class="pagenum" name="Page_25" title="25"> </a><big>COMMUNICATION</big><br/>
+<small>FROM</small><br/>
+J.&nbsp;O. HALLIWELL-PHILLIPPS, Esq.</p>
+
+<h2><a class="pagenum" name="Page_27" title="27"> </a>COMMUNICATION</h2>
+
+<p class="no-indent">From <span class="small-caps">J.&nbsp;O. Halliwell-Phillipps</span>, F.&nbsp;R.&nbsp;S.,
+F.&nbsp;S.&nbsp;A., Hon. M.&nbsp;R.&nbsp;S.&nbsp;L., Hon. M.&nbsp;R.&nbsp;I.&nbsp;A.:
+First Honorary Member of the Shakespeare
+Society of New York.</p>
+
+<p class="center">(Read in Society December 3rd, 1885, and ordered incorporated in the Minutes.)</p>
+
+<p class="right"><span class="small-caps">Hollinbury Copse, Brighton, England</span>,<br/>
+14th November, 1885.</p>
+
+<p class="no-indent"><i>Dear Mr. Appleton Morgan</i>,</p>
+
+<p>It will, I fear, be too difficult for me to express, in
+adequate terms, my appreciation of the compliment
+that the Shakespeare Society of New York propose to
+bestow upon me. I take it as exceedingly kind of them
+so to notice an old bookworm, and let me hope that you
+will offer my responsive acknowledgements.</p>
+
+<p>But it occurs to me to submit to their notice a few
+memoranda on the history of the first Shakespeare Society
+that was ever formed, in the hope that they may
+prove of some little interest, especially as evidences
+that it is possible for Shakespearean research and criticism
+to be amicably and temperately conducted for a
+lengthened period, and thence presumably forever.</p>
+
+<p>The Shakespeare Society of London was instituted in
+the year 1840, the then leading members of the council
+being the director, Mr. Payne Collier; the secretary,
+Mr. F.&nbsp;G. Tomlins; the treasurer, Mr. Dilke, grandfather
+of the present Sir Charles Dilke; Rev. William
+Harness; Charles Knight; Campbell, the poet;
+Macready, Alexander Dyce, Douglas Jerrold, Sergeant
+Talfourd, Thomas Wright, and Young, the tragedian.
+To these were added shortly afterward Bolton Corney,
+Charles Dickens, Henry Hallam, J.&nbsp;R. Planche and
+Peter Cunningham, the last named taking the place of
+Mr. Dilke as treasurer. Later acquisitions included
+Boyle Bernard, Knight Bruce, John Forster, Rev. H.&nbsp;H.
+Milman and Sir George Rose.</p>
+
+<p>The society was especially fortunate in the selection
+of its director. A fluent speaker, courteous to all, ever
+<a class="pagenum" name="Page_28" title="28"> </a>
+in a good humor, always ready to encourage younger
+men in his favourite pursuits, and, withal, a good financier,
+Payne Collier was the beau <ins title="idea">ideal</ins> of the chairman
+of a literary society.</p>
+
+<p>Mr. Tomlins, a journalist and dramatic critic, made
+in every respect an excellent secretary. Replete with
+good humor and fun, he frequently enlivened what
+might otherwise have been a somewhat too dull and
+technical meeting of the council; without allowing all
+this, I need scarcely add, to interfere with the legitimate
+duties of his office.</p>
+
+<p>Mr. Cunningham&mdash;kind-hearted, genial Peter&mdash;was
+our excellent treasurer from nearly the commencement
+to the termination of our society. In common
+with most literary and scientific bodies, the power of <ins title="goverment">government</ins>
+rested in an oligarchy, and I have specially
+mentioned these three names, being those in whom the
+real control of the society was vested, however wisely
+they accepted the services or adopted the advices of
+others. But there was, indeed, no one who desired to
+share in the absolute responsibility of the management;
+least of all, no one who was foolish enough to
+aim at the position of a supreme dictator. A few observations
+from recollection of two or three of the
+other members of the council may, perhaps, be admissible.</p>
+
+<p>Macready only attended occasionally, but one of his
+first steps (he being then the lessee of the Drury Lane
+Theater) was an announcement that he had placed the
+names of every member of the council on the free list
+of that establishment, made an indelible impression on
+my memory. It was a delightful communication,
+money then being an exceedingly scarce commodity
+with me; and thus I was enabled to witness and study
+nearly every evening the best acting of the day, including
+the unrivaled personification of <i>Imogen</i> by Helen
+Faucit.</p>
+
+<p>Alexander Dyce was a frequent attendant. Although
+sometimes caustic in his writings, he was the reverse at
+the council and in conversation, and that he was personally
+one of the kindest and best hearted of men few
+<a class="pagenum" name="Page_29" title="29"> </a>
+can vouch with more accuracy than myself, having enjoyed
+the advantage of his friendship from the days of
+my boyhood until his death in the year 1869.</p>
+
+<p>Planche, the most prolific English dramatist England
+has seen since the days of Heywood, was also a frequent
+attendant. He was one of the most amiable and
+genial of men, one whose genius and graceful humor
+have not as yet been adequately recognized.</p>
+
+<p>There was not, in fact, a single member of the council
+in whom was embedded an element of discord in respect
+to the objects or management of the society, and having
+belonged to the council from the time of its institution
+in 1840, until its dissolution in 1853, I can bear sufficient
+testimony to the enduring harmony that prevailed.</p>
+
+<p>The same kind feelings and good humor characterized
+the annual general meetings, where, I verily believe,
+if an egotistical literary firebrand had ventured
+to disturb the general concord&mdash;and no one else could
+have managed such an achievement&mdash;he would have been
+gently and courteously lynched. It is true that I am
+speaking of a primitive and unenlightened period, before
+it had been suggested that Shakespeare was somebody
+else: but even the enunciation of so startling a
+theory as that would not, I am persuaded, have disturbed
+the serenity of a body who had perfect reliance
+on freedom of criticism, leading eventually to the victory
+of truth.</p>
+
+<p>A similar catholicity of spirit&mdash;the absence of a specific
+platform&mdash;the trenchant and spontaneous rejection, if I
+understand your scheme rightly, of nothing but offensive
+dogmatism and insolent criticism&mdash;these are the
+elements that will commend the Shakespeare Society of
+New York to every temperate student, and demand his
+earnest wishes for its influence and permanency.</p>
+
+<p>With a reiteration of my grateful acknowledgments
+to your society for their kindness, and apologies for intruding
+upon them this little specimen of an old man's
+garrulity, believe me, yours faithfully.</p>
+
+<p>[Signed] <span class="small-caps" style="float: right; margin-right: 1.5em;">J.&nbsp;O. Halliwell-<ins title="Phillips">Phillipps</ins>.</span></p>
+
+<p class="no-indent">To Appleton Morgan, Esq., President of the Shakespeare
+Society of New York.</p>
+
+<div id="tnote-bottom">
+<p class="center"><a name="tn-bottom"><b>Transcriber's Note:</b></a></p>
+<p>The following is a list of corrections made to the original. The
+first passage is the original passage, the second the corrected one.</p>
+
+<ul id="corrections">
+<li><a href="#front-matter">Front matter</a>:<br/>of Wm. Shakespeare, and the <span class="correction">Shakesperean</span><br/>of Wm. Shakespeare, and the <span class="correction">Shakespearean</span></li>
+<li><a href="#Page_11">Page 11</a>:<br/>then elapses. ACT&nbsp;II., Scene&nbsp;<span class="correction">i</span>, to ACT&nbsp;IV.,<br/>then elapses. ACT&nbsp;II., Scene&nbsp;<span class="correction">i.</span>, to ACT&nbsp;IV.,</li>
+<li><a href="#Page_28">Page 28</a>:<br/>Payne Collier was the beau <span class="correction">idea</span> of the chairman<br/>Payne Collier was the beau <span class="correction">ideal</span> of the chairman</li>
+<li><a href="#Page_28">Page 28</a>:<br/>with most literary and scientific bodies, the power of <span class="correction">goverment</span><br/>with most literary and scientific bodies, the power of <span class="correction">government</span></li>
+<li><a href="#Page_29">Page 29</a>:<br/>[Signed] <span class="small-caps" style="float: right; margin-right: 1.5em;">J.&nbsp;O. Halliwell-<span class="correction">Phillips</span>.</span><br/>[Signed] <span class="small-caps" style="float: right; margin-right: 1.5em;">J.&nbsp;O. Halliwell-<span class="correction">Phillipps</span>.</span></li>
+</ul>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Time in the Play of Hamlet, by Edward P. Vining
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+Project Gutenberg's Time in the Play of Hamlet, by Edward P. Vining
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Time in the Play of Hamlet
+
+Author: Edward P. Vining
+
+Release Date: April 30, 2011 [EBook #36002]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TIME IN THE PLAY OF HAMLET ***
+
+
+
+
+Produced by Tor Martin Kristiansen, Joseph Cooper, Jana
+Srna and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+  [ Transcriber's Notes:
+
+    Every effort has been made to replicate this text as faithfully
+    as possible, including inconsistencies in spelling and hyphenation.
+    Some corrections of spelling have been made. They are listed at the
+    end of the text.
+
+    Italic text has been marked with _underscores_.
+  ]
+
+
+
+
+  The Shakespeare Society of New York,
+
+  INCORPORATED APRIL 20, 1885.
+
+  To promote the knowledge and study of the Works
+  of Wm. Shakespeare, and the Shakespearean
+  and Elizabethan Drama.
+
+
+
+
+IN EXECUTIVE COMMITTEE,
+
+JUNE 15, 1885.
+
+
+_Resolved_, That in order that the papers printed under authority of
+this Society may be of the highest character, and of value from all
+standpoints, the Society does not stand pledged as responsible for the
+opinions expressed or conclusions arrived at in the said papers, but
+considers itself only responsible in so far as it certifies by its
+Imprimatur that it considers them as original contributions to
+Shakespearean study, and as showing upon their face care, labor and
+research.
+
+
+
+
+  Papers of N. Y. Shakespeare Society, No. 5.
+
+
+  Time in the Play of Hamlet,
+
+  BY
+  EDWARD P. VINING.
+
+  Read before the Society December 3d, 1885.
+
+  Press of the New York Shakespeare Society.
+  1886.
+
+
+
+
+Time in the Play of Hamlet.
+
+
+If it were not for the fact that we find conflicting opinions as to the
+force and meaning of some one or more words or phrases in almost every
+scene of Shakespeare's dramas, and that--as to "Hamlet" in
+particular--nearly every critic differs in many vital points from all
+others of his army of co-laborers, it might be a matter of some surprise
+to see the great divergence of opinion as to the length of time covered
+by the action of this tragedy.
+
+On the one side it has been seriously contended that its entire action
+transpired within a period of not more than ten days; while on the other
+it has been thought to extend over at least ten years. Nay, more, there
+have been those who, in eloquent phrase, have urged the view that
+Shakespeare's method of dealing with the dramatic element of time is to
+artfully convey two opposite ideas of its flight--swiftness and
+slowness--so that by one series of allusions we receive the impression
+that the action of the drama is driving on in hot haste, and that all
+the events are compressed within a period of but a few days; while by
+another series we are insensibly beguiled into the belief that they
+extend over months or years. "So," say they, "whenever time comes in as
+an element, we are subject to Shakespeare's glamour and gramarye--to his
+legerdemain. We are held in a confusion and delusion about the time."
+
+This theory is so pretty and striking--it harmonizes so nicely with our
+natural love of mysticism and transcendental lore, and with the vague
+views of those who fancy that they are diving into the depths of
+Shakespeare when they do but skim the surface--that it is a pity that
+the facts are all against it.
+
+Now, the truth is that our immortal poet has laid out the action of the
+different scenes with minute consideration both of the time occupied by
+each and of the interval elapsing between them, when any occurs, and he
+has so carefully indicated the lapse of time that he who runs may read,
+if he will but look as he runs. There is no conflict, no glamour;
+neither confusion nor delusion.
+
+Henry A. Clapp has recently shown this so clearly that it may seem a
+work of supererogation to again discuss the matter. He, however,
+considered the general subject of the passage of time in all of
+Shakespeare's plays, and, therefore, could devote but little space to
+the one drama of "Hamlet"; hence, it seems possible that to his masterly
+presentation of the subject something may be added which will be of
+interest to Shakespearean students.
+
+ACT I., Scene i., of the tragedy of "Hamlet" opens at midnight and
+continues until dawn, and at its close, Marcellus, speaking of Hamlet,
+says:
+
+    I this morning know
+    Where we shall find him most conveniently.
+
+In Scene ii. Horatio says of the ghost:
+
+    My lord, I think I saw him yesternight,
+
+and Hamlet declares:
+
+    I'll watch to-night.
+    Upon the platform, 'twixt eleven and twelve
+    I'll visit you.
+
+This watch and its events are given in Scenes iv. and v., while the
+third scene fills out the day, before the night comes on.
+
+Between the first and second acts, one--and the principal one--of the
+two intervals in the play occurs; a lapse of time, as will hereafter be
+shown, of a little more than two months.
+
+In ACT II., Scene i., Polonius says:
+
+    I will go seek the king.
+
+and in Scene ii. he enters the Audience Chamber and announces that he
+has found
+
+    The very cause of Hamlet's lunacy.
+
+In the same scene the players arrive, and Hamlet says of the play of
+"The Murder of Gonzago:"
+
+    We'll ha't to-morrow night.
+
+This act, therefore, covers but one day, while the first scene of the
+next act occurs on the following day, as is proven by the words of
+Rosencranz in reference to the actors:
+
+              They have already order
+    This night to play before him.
+
+In Scene ii. this mimic drama is given, and Scenes iii. and iv. occur
+the same night, Hamlet's interview with his mother taking place, in
+accordance with the message brought to him, immediately after the
+breaking up of the play:
+
+    She desires to speak with you in her closet ere you go to bed.
+
+Act iv. commences with a continuation of the events of the same night,
+as is shown by Gertrude's words:
+
+    Ah, my good lord, what have I seen to-night!
+
+while the king declares:
+
+    The sun no sooner shall the mountains touch,
+    But we will ship him hence.
+
+Morning has not dawned at the close of Scene iii., for among the last
+words of the king is the declaration:
+
+    I'll have him hence to-night.
+
+Between Scenes iii. and v. the second interval of the play occurs; a
+period, probably, of not less than two weeks, nor more than about a
+month.
+
+In the last words of Scene v. the king says to Laertes:
+
+    I pray you go with me,
+
+and the conversation between them is concluded in Scene vii. In the same
+scene the letter from Hamlet is read, in which he writes:
+
+    To-morrow shall I beg leave to see your kingly eyes.
+
+Ophelia's burial, in Act v., Scene i., takes place on the following day,
+for the king says to Laertes:
+
+    Strengthen your patience in our last night's speech:
+
+and there is no reason for thinking the action of the final scene to be
+delayed beyond the close of the same day, for in it Hamlet concludes his
+explanations to Horatio, and is welcomed "back to Denmark" by Osric, who
+must, therefore, then meet him for the first time since his return.
+Moreover, the words of the king in his last speech, in Scene i.,
+
+    We'll put the matter to the present push,
+
+indicate clearly that it was not his intention to allow any delay to
+occur.
+
+It, therefore, appears that ACT I. represents the events of two nights
+and the intervening day, and that some interval of time then elapses.
+ACT II., Scene i., to ACT IV., Scene iii., inclusive, covers two days
+and the night following the second day; and, after a second interval,
+the events of two days are given in ACT IV., Scene v., and the remaining
+scenes of the play.
+
+It now remains to determine the length of the two intervals.
+
+ACT I. opens when the late king was
+
+    But two months dead; nay, not so much, not two;
+
+while in the third act the time since his death is stated to be "twice
+two months." The interval is, therefore, two months, or a little more.
+During this time Hamlet, in pursuance of his studied plan,
+
+    Fell into a sadness, then into a fast,
+    Thence to a watch, thence into a weakness,
+    Thence to a lightness, and by this declension
+
+into his feigned madness. During this time Ophelia, in accordance with
+her father's commands,
+
+    Did repel his letters, and denied
+    His access to her.
+
+That she had not spoken with him for some length of time is shown by her
+statement that the presents given her by him she had
+
+    Longed long to re-deliver,
+
+and it was only on the day preceding the opening of ACT II. that Hamlet
+had carried his feigned insanity so far as to force his way into her
+closet and frighten her with his antics. It was at about this time also
+that the king decided upon his "hasty sending" for Rosencranz and
+Guildenstern, that they, by associating with him, might learn the cause
+of his affliction. The ambassadors, whose departure for Norway is
+mentioned in the first act, are welcomed home again in the second, thus
+giving us another evidence of the lapse of time. Still another
+indication of the length of the interval is contained in the fact that
+Lamond, a gentleman of Normandy, reached the Danish court after Laertes'
+departure and "two months" before his return.
+
+In the second interval there has been time enough for the news of the
+death of Polonius to reach Laertes in Paris, and for him, "in secret,"
+to return and spend some time in hiding, while he
+
+    Feeds on his wonder, keeps himself in clouds,
+    And wants not buzzers to infect his ear
+    With pestilent speeches of his father's death:
+
+until at last he raises the body of men by whose aid he breaks through
+the defences of the king and demands vengeance for the death of his
+father. The interval had also been sufficient for Fortinbras to march
+from Denmark to Poland, win a victory there, and then return as far as
+the Danish court on his way home. It was not sufficient, however, for
+Rosencranz and Guildenstern to reach England, there to meet their
+deaths, and for the news to be brought back from England to Denmark.
+Although Hamlet leaped upon the "pirate" ship when only two days out at
+sea, it is likely that a much greater time would elapse before his
+return. If it were only for appearances' sake, it would be necessary
+that he should remain on the ship for some little length of time to keep
+up the pretence that it was a "pirate" that had attacked him, and in
+order that the fact might not become known that it was in reality one of
+the vessels of Fortinbras that had rescued him in accordance with a plot
+agreed upon between the two princes. On his return he recognized the
+fact that the interim before the arrival of the news from England would
+be but short, and that in this time, if ever, he must act. In truth he
+had not an hour to spare, for the English ambassadors reached the Danish
+court only a few minutes after the death of the king.
+
+The best clue to the length of the interval between Scenes iii. and iv.
+of the fourth act is, however, given by the flowers that were in bloom
+at each of the two periods.
+
+In the last scene there are named pansies, columbines, daisies,
+crowflowers, nettles and long-purples; flowers which in England (and it
+is the English rather than the Danish flora that is referred to by
+Shakespeare) are all in bloom during the month of April. The time of
+Polonius's death is fixed with beautiful precision by the words of
+Ophelia:
+
+    I would give you some violets, but they withered all when my father
+    died.
+
+It is in March that the English violets bloom and pass away.
+
+The early violets of the United States, the "Johnny Jump-ups" of the
+children, have a curious synchronism in their flowering, which
+distinguishes them from other plants, and which seems to have passed
+unnoticed. Go at the right time, and you may find the grass beneath the
+trees and in moist or shady spots fairly blue with unnumbered myriads of
+these blossoms. Go two days later, and you may look in vain for a single
+specimen. They wither, literally, in a day. This little phrase of
+Shakespeare's shows the same peculiarity to be true of the English
+violets; and yet Shakespeare is the only writer who has observed it.
+Many another poet would have made it the basis of a dozen similes, and
+would have spun out verse after verse with varying references to it, yet
+Shakespeare in his wealth makes but this unnoticed and incidental
+allusion to the fact, and refers to it no more forever.
+
+The flowers that are mentioned, therefore, show that the tragedy ends in
+April, and that it was some time during the month of March that Polonius
+was slain. The action commenced some two months, or a little more,
+before that time, or during the first half of the month of January, a
+time when
+
+    The air bites shrewdly; it is very cold.
+
+About two months before this, or early in November, the treacherous
+Claudius stole upon his sleeping brother,
+
+    With juice of cursed hebenon in a vial,
+    And in the porches of his ear did pour
+    The leperous distilment.
+
+And it was in December, or
+
+                Within a month--
+
+    A little month!
+
+after her first husband's death that Gertrude married his murderer.
+
+Why was it that for thirty days the perturbed spirit of the former king
+allowed
+
+    The royal bed of Denmark (to) be
+    A couch for luxury and damned incest,
+
+and made no sign?
+
+The answer is given by Marcellus:
+
+        Ever 'gainst that season comes
+    Wherein our Saviour's birth is celebrated
+    The bird of dawning singeth all night long;
+    And then, they say no spirit dare stir abroad.
+
+It was, therefore, not until after the Christmas holidays were passed,
+that the ghost of Hamlet's father could bring his message from the
+grave.
+
+Here it may be well to notice a variation between the first quarto and
+the following editions of Hamlet, the only one in which the time is
+changed. In the first form of the play that has come down to us,
+Gertrude's marriage did not occur until about two months after her first
+husband's death, and the drama opens immediately after her wedding. The
+winter's cold is but slightly referred to, and the season of the year
+seems not to have been as firmly fixed in Shakespeare's mind as it was
+by further thought and study.
+
+There are two passages which seem to indicate warmer weather than is
+consistent either with the "bitter cold," which is twice referred to, or
+with a January night. These are:
+
+    The morn, in russet mantle clad,
+    Walks o'er the dew of yon high eastern hill
+
+and
+
+    The glow-worm shows the matin to be near,
+    And 'gins to pale his uneffectual fire.
+
+These I can only account for by the theory that they formed part of the
+drama in an earlier state, before the time of the play had been fully
+developed, and that their beauty saved them in the later forms that we
+now have, notwithstanding their inconsistency with the "bitter cold" of
+a winter's night.
+
+It cannot escape attention that the first days of November would be very
+late for the elder Hamlet to be able to continue his afternoon custom of
+sleeping within his orchard. Still, it is not impossible that pleasant
+autumn weather might continue until that season of the year.
+
+It may be worthy of notice that the action in the original "Hystorie of
+Hamblet," on which the drama is founded, covers a period of "many
+years," and that in the German play, "Fratricide Punished," which by
+some is thought to be an adaptation of an early form of the drama which
+has not otherwise reached us, there is not a single indication of any
+definite lapse of time or of the season of the year.
+
+In the tragedy, as we now possess it, there are, as shown above, two or
+three passages in which there is some apparent conflict with the
+remainder of the play, as to the season of the year in which the action
+took place; but for any evidence of uncertainty as to the lapse of time;
+for any legerdemain or glamour, the student will look in vain. On the
+contrary, there are but few creations of the intellect in which the
+passage of time is as clearly and unmistakably indicated.
+
+As for the various points that have been thought to show some confusion
+in the mind of our poet, there are none which upon careful examination
+will not be found to have melted into air--thin air--leaving not a rack
+behind.
+
+When Hamlet learned the truth of his suspicions, and resolved to obey
+his father's entreaties for revenge, he needed the aid of a stronger
+mind, and felt the want of sympathy and counsel; but it is not
+remarkable that Horatio should have remained unnoticed about the court
+for some two months after his arrival, during the time that Hamlet was
+first occupied in brooding over his father's death and his mother's
+shame; for then his melancholy filled his mind to the exclusion of all
+other thoughts, and he had not felt it necessary to take any immediate
+action. Polonius was surprised at Ophelia's account of the outbreak of
+Hamlet, for it had but just occurred, and no such indication of violent
+madness had preceded it; Hamlet's former state having been that of a
+gradual passage from sadness to fasting, sleeplessness, weakness and
+lightness, and his feigned insanity had but just reached a state which
+frightened the king into sending for the former companions of the prince
+to keep him company.
+
+Ophelia had longed for a considerable period to re-deliver Hamlet's
+remembrances, for, in accordance with her father's instructions, she had
+denied him all access to her for some two months, and on the occasion
+(the day before she returned his gifts) when Hamlet, in fantastic
+attire, came suddenly before her, no word was spoken, and her surprise
+and agitation would naturally have prevented all thought of his
+remembrances.
+
+When Hamlet tells Rosencrantz and Guildenstern that he has "of late
+foregone all custom of exercises," it is merely as an excuse for his
+loss of mirth, in order that they may not learn its true cause; but the
+fact was, as Hamlet confessed to Horatio, that since the time when
+Laertes went into France (that is to say, since the time when the ghost
+first appeared to him) he had been in continual practice with the foils.
+
+Laertes had been at home, "in secret," for some little time before he
+forced his way into the presence of the king, gathering the populace to
+his side and maturing his plans for rebellion. There is no reason to
+believe that he had failed to take time to go to his own home after
+returning from France. On the contrary, Ophelia's words,
+
+    My brother shall know of it,
+
+indicate that even in her madness there remained in her mind a knowledge
+of her brother's presence near her. Laertes was surprised at her
+insanity, for her mind had but just given way, and he, with the king and
+queen, saw her first violent outbreak.
+
+It seems strange that the King should propose a fencing match but a few
+hours after the burial of Ophelia, and that her brother should be
+willing to engage in it; but the King's fear of Hamlet, and Laertes'
+desire for revenge, were so great as to override all other
+considerations.
+
+The discrepancy between Hamlet's apparent "youth" and the thirty years
+which are fixed as his age by the words of the grave-digger and of the
+player King, is the last point to which reference need be made; and,
+without stopping to discuss the subject here, it may be briefly said
+that much of the apparent discrepancy disappears upon careful
+examination, and that sufficient explanation may be found for the little
+that may appear to remain.
+
+In this, as in other cases, the truth is, that Shakespeare wrote with
+all care, and indulged in neither legerdemain nor clap-trap. We may
+safely conclude that whenever faults appear to us to exist in his work,
+they are much more likely to lie in our own carelessness and ignorance
+than in any imperfection in the poet.
+
+
+
+
+COMMUNICATION
+FROM
+J. O. HALLIWELL-PHILLIPPS, Esq.
+
+
+
+
+COMMUNICATION
+
+
+From J. O. Halliwell-Phillipps, F. R. S., F. S. A., Hon. M. R. S. L.,
+Hon. M. R. I. A.: First Honorary Member of the Shakespeare Society of
+New York.
+
+(Read in Society December 3rd, 1885, and ordered incorporated in the
+Minutes.)
+
+    Hollinbury Copse, Brighton, England, }
+                14th November, 1885.     }
+
+_Dear Mr. Appleton Morgan_,
+
+It will, I fear, be too difficult for me to express, in adequate terms,
+my appreciation of the compliment that the Shakespeare Society of New
+York propose to bestow upon me. I take it as exceedingly kind of them so
+to notice an old bookworm, and let me hope that you will offer my
+responsive acknowledgements.
+
+But it occurs to me to submit to their notice a few memoranda on the
+history of the first Shakespeare Society that was ever formed, in the
+hope that they may prove of some little interest, especially as
+evidences that it is possible for Shakespearean research and criticism
+to be amicably and temperately conducted for a lengthened period, and
+thence presumably forever.
+
+The Shakespeare Society of London was instituted in the year 1840, the
+then leading members of the council being the director, Mr. Payne
+Collier; the secretary, Mr. F. G. Tomlins; the treasurer, Mr. Dilke,
+grandfather of the present Sir Charles Dilke; Rev. William Harness;
+Charles Knight; Campbell, the poet; Macready, Alexander Dyce, Douglas
+Jerrold, Sergeant Talfourd, Thomas Wright, and Young, the tragedian. To
+these were added shortly afterward Bolton Corney, Charles Dickens, Henry
+Hallam, J. R. Planche and Peter Cunningham, the last named taking the
+place of Mr. Dilke as treasurer. Later acquisitions included Boyle
+Bernard, Knight Bruce, John Forster, Rev. H. H. Milman and Sir George
+Rose.
+
+The society was especially fortunate in the selection of its director. A
+fluent speaker, courteous to all, ever in a good humor, always ready to
+encourage younger men in his favourite pursuits, and, withal, a good
+financier, Payne Collier was the beau ideal of the chairman of a
+literary society.
+
+Mr. Tomlins, a journalist and dramatic critic, made in every respect an
+excellent secretary. Replete with good humor and fun, he frequently
+enlivened what might otherwise have been a somewhat too dull and
+technical meeting of the council; without allowing all this, I need
+scarcely add, to interfere with the legitimate duties of his office.
+
+Mr. Cunningham--kind-hearted, genial Peter--was our excellent treasurer
+from nearly the commencement to the termination of our society. In
+common with most literary and scientific bodies, the power of government
+rested in an oligarchy, and I have specially mentioned these three
+names, being those in whom the real control of the society was vested,
+however wisely they accepted the services or adopted the advices of
+others. But there was, indeed, no one who desired to share in the
+absolute responsibility of the management; least of all, no one who was
+foolish enough to aim at the position of a supreme dictator. A few
+observations from recollection of two or three of the other members of
+the council may, perhaps, be admissible.
+
+Macready only attended occasionally, but one of his first steps (he
+being then the lessee of the Drury Lane Theater) was an announcement
+that he had placed the names of every member of the council on the free
+list of that establishment, made an indelible impression on my memory.
+It was a delightful communication, money then being an exceedingly
+scarce commodity with me; and thus I was enabled to witness and study
+nearly every evening the best acting of the day, including the unrivaled
+personification of _Imogen_ by Helen Faucit.
+
+Alexander Dyce was a frequent attendant. Although sometimes caustic in
+his writings, he was the reverse at the council and in conversation, and
+that he was personally one of the kindest and best hearted of men few
+can vouch with more accuracy than myself, having enjoyed the advantage
+of his friendship from the days of my boyhood until his death in the
+year 1869.
+
+Planche, the most prolific English dramatist England has seen since the
+days of Heywood, was also a frequent attendant. He was one of the most
+amiable and genial of men, one whose genius and graceful humor have not
+as yet been adequately recognized.
+
+There was not, in fact, a single member of the council in whom was
+embedded an element of discord in respect to the objects or management
+of the society, and having belonged to the council from the time of its
+institution in 1840, until its dissolution in 1853, I can bear
+sufficient testimony to the enduring harmony that prevailed.
+
+The same kind feelings and good humor characterized the annual general
+meetings, where, I verily believe, if an egotistical literary firebrand
+had ventured to disturb the general concord--and no one else could have
+managed such an achievement--he would have been gently and courteously
+lynched. It is true that I am speaking of a primitive and unenlightened
+period, before it had been suggested that Shakespeare was somebody else:
+but even the enunciation of so startling a theory as that would not, I
+am persuaded, have disturbed the serenity of a body who had perfect
+reliance on freedom of criticism, leading eventually to the victory of
+truth.
+
+A similar catholicity of spirit--the absence of a specific platform--the
+trenchant and spontaneous rejection, if I understand your scheme
+rightly, of nothing but offensive dogmatism and insolent
+criticism--these are the elements that will commend the Shakespeare
+Society of New York to every temperate student, and demand his earnest
+wishes for its influence and permanency.
+
+With a reiteration of my grateful acknowledgments to your society for
+their kindness, and apologies for intruding upon them this little
+specimen of an old man's garrulity, believe me, yours faithfully.
+
+  [Signed]      J. O. Halliwell-Phillipps.
+
+To Appleton Morgan, Esq., President of the Shakespeare Society of New
+York.
+
+
+
+
+  [ Transcriber's Note:
+
+    The following is a list of corrections made to the original.
+    The first line is the original line, the second the corrected one.
+
+    of Wm. Shakespeare, and the Shakesperean
+    of Wm. Shakespeare, and the Shakespearean
+
+  ACT II., Scene i, to ACT IV., Scene iii., inclusive, covers two days
+  ACT II., Scene i., to ACT IV., Scene iii., inclusive, covers two days
+
+  financier, Payne Collier was the beau idea of the chairman of a
+  financier, Payne Collier was the beau ideal of the chairman of a
+
+  common with most literary and scientific bodies, the power of goverment
+  common with most literary and scientific bodies, the power of government
+
+    [Signed]      J. O. Halliwell-Phillips.
+    [Signed]      J. O. Halliwell-Phillipps.
+
+  ]
+
+
+
+
+
+
+End of Project Gutenberg's Time in the Play of Hamlet, by Edward P. Vining
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