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Vining—A Project Gutenberg eBook</title> +<link rel="coverpage" href="images/title-page.jpg"/> +<style type="text/css"> +<!-- +p +{ + text-align: justify; + text-indent: 1.5em; +} + +p.center, +.center p, +p.right, +#tnote p, +#tnote-bottom p, +p.no-indent +{ + text-indent: 0; +} + +h1, +h2 +{ + text-align: center; + clear: both; + font-weight: normal; +} + +h1 +{ + font-size: x-large; + margin: 1.5em auto 1em auto; +} + +h2 +{ + margin: 4em auto 1em auto; +} + +a:link, +a:visited +{ + text-decoration: none; +} + +ins +{ + text-decoration: none; + border-bottom: 1px dashed #add8e6; +} + +.center, +.center p +{ + text-align: center; +} + +.right +{ + text-align: right; +} + +.small-caps +{ + font-variant: small-caps; +} + +blockquote +{ + margin: 1em 0 1em 1.5em; + font-style: italic; +} + +.poetry +{ + text-align: left; + font-style: italic; +} + +.poetry .stanza +{ + margin: 1em 0 1em 3em; +} + +.poetry .line +{ + margin: 0; + padding-left: 3em; + text-indent: -3em; +} + +.poetry .indent4 +{ + margin-left: 2.5em; +} + +.poetry .indent10 +{ + margin-left: 4.5em; +} + +.poetry .indent12 +{ + margin-left: 5em; +} + +a[title].pagenum +{ + position: absolute; + right: 3%; +} + +a[title].pagenum:after +{ + content: attr(title); + border: 1px solid silver; + display: inline; + font-size: x-small; + text-align: right; + color: #808080; + background-color: inherit; + font-style: normal; + padding: 1px 4px 1px 4px; + font-variant: normal; + font-weight: normal; + text-decoration: none; + text-indent: 0; + letter-spacing: 0; +} + +#tnote, +#tnote-bottom +{ + max-width: 95%; + border: 1px dashed #808080; + background-color: #fafafa; + text-align: justify; + padding: 0 0.75em; + margin: 6em auto; +} + +#tnote a:link, +#tnote a:visited, +#tnote-bottom a:link, +#tnote-bottom a:visited +{ + text-decoration: none; +} + +#corrections +{ + list-style-type: none; + margin: 0; + padding: 0; +} + +#corrections li +{ + margin: 0.5em 0.25em; +} + +#corrections .correction +{ + text-decoration: underline; +} + +@page +{ + margin: 0.25em; +} + +@media screen +{ + body + { + width: 80%; + max-width: 45em; + margin: 120px auto; + } + + p + { + margin: 0.75em auto; + } + + .page-break + { + margin-top: 8em; + } + + #tnote + { + width: 26em; + } + + #tnote-bottom + { + width: 31em; + } +} + +@media print, handheld +{ + p + { + margin: 0; + } + + #tnote, + #tnote-bottom + { + background-color: white; + border: none; + width: 100%; + } + + #tnote p, + #tnote-bottom p + { + margin: 0.25em 0; + } + + #tnote .screen, + .pagenum + { + display: none; + } + + ins + { + border: none; + } + + a:link, + a:visited + { + color: black; + } + + #tnote, + #tnote-bottom, + h2, + .page-break + { + page-break-before: always; + } +} + +@media handheld +{ + body + { + margin: 0; + padding: 0; + width: 95%; + } + + #corrections li + { + margin: 0; + } +} +--> +</style> +<!--[if lt IE 8]> +<style type="text/css"> +a[title].pagenum +{ + position: static; +} +</style> +<![endif]--> +</head> +<body> + + +<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. Y. Shakespeare Society, No. 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—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.</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—swiftness and slowness—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. “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.”</p> + +<p>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.</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 “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.</p> + +<p>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:</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 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 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—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.</p> + +<p>In ACT II., Scene 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 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 “The Murder of +Gonzago:”</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 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:</p> + +<blockquote> +<p>She desires to speak with you in her closet ere you +go to bed.</p> +</blockquote> + +<p>Act 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 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 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 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 v., Scene 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 “back to Denmark” 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 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 I. represents +the events of two nights and the intervening +day, and that some interval of time +then elapses. ACT II., Scene <ins title="i">i.</ins>, 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.</p> + +<p>It now remains to determine the length of +the two intervals.</p> + +<p>ACT 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 “twice two months.” 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 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, +<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 +“two months” 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, “in +secret,” 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 “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.</p> + +<p>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.</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 +“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 +<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—<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 “bitter cold,” 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 “bitter cold” 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 “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.</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—thin air—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 “of late foregone all +custom of exercises,” 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, “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,</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 +“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.</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. 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. O. Halliwell-Phillipps</span>, 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.</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. 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.</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—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 <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—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.</p> + +<p>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.</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. 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 II., Scene <span class="correction">i</span>, to ACT IV.,<br/>then elapses. ACT II., Scene <span class="correction">i.</span>, to ACT 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. O. Halliwell-<span class="correction">Phillips</span>.</span><br/>[Signed] <span class="small-caps" style="float: right; margin-right: 1.5em;">J. 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. 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