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diff --git a/36002.txt b/36002.txt new file mode 100644 index 0000000..1bed902 --- /dev/null +++ b/36002.txt @@ -0,0 +1,1013 @@ +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 + +*** END OF THIS PROJECT GUTENBERG EBOOK TIME IN THE PLAY OF HAMLET *** + +***** This file should be named 36002.txt or 36002.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/0/0/36002/ + +Produced by Tor Martin Kristiansen, Joseph Cooper, Jana +Srna and the Online Distributed Proofreading Team at +http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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