NOTE G.
HAMLET"S APOLOGY TO LAERTES.
Johnson, in commenting on the pa.s.sage (V. ii. 237-255), says: "I wish Hamlet had made some other defence; it is unsuitable to the character of a good or a brave man to shelter himself in falsehood." And Seymour (according to Furness) thought the falsehood so ign.o.ble that he rejected lines 239-250 as an interpolation!
I wish first to remark that we are mistaken when we suppose that Hamlet is here apologising specially for his behaviour to Laertes at Ophelia"s grave. We naturally suppose this because he has told Horatio that he is sorry he "forgot himself" on that occasion, and that he will court Laertes" favours (V. ii. 75 ff.). But what he says in that very pa.s.sage shows that he is thinking chiefly of the greater wrong he has done Laertes by depriving him of his father:
For, by the image of my cause, I see The portraiture of his.
And it is also evident in the last words of the apology itself that he is referring in it to the deaths of Polonius and Ophelia:
Sir, in this audience, Let my disclaiming from a purposed evil Free me so far in your most generous thoughts, _That I have shot mine arrow o"er the house, And hurt my brother._
But now, as to the falsehood. The charge is not to be set aside lightly; and, for my part, I confess that, while rejecting of course Johnson"s notion that Shakespeare wanted to paint "a good man," I have momentarily shared Johnson"s wish that Hamlet had made "some other defence" than that of madness. But I think the wish proceeds from failure to imagine the situation.
In the first place, _what_ other defence can we wish Hamlet to have made? I can think of none. He cannot tell the truth. He cannot say to Laertes, "I meant to stab the King, not your father." He cannot explain why he was unkind to Ophelia. Even on the false supposition that he is referring simply to his behaviour at the grave, he can hardly say, I suppose, "You ranted so abominably that you put me into a towering pa.s.sion." _Whatever_ he said, it would have to be more or less untrue.
Next, what moral difference is there between feigning insanity and a.s.serting it? If we are to blame Hamlet for the second, why not equally for the first?
And, finally, even if he were referring simply to his behaviour at the grave, his excuse, besides falling in with his whole plan of feigning insanity, would be as near the truth as any he could devise. For we are not to take the account he gives to Horatio, that he was put in a pa.s.sion by the bravery of Laertes" grief, as the whole truth. His raving over the grave is not _mere_ acting. On the contrary, that pa.s.sage is the best card that the believers in Hamlet"s madness have to play. He is really almost beside himself with grief as well as anger, half-maddened by the impossibility of explaining to Laertes how he has come to do what he has done, full of wild rage and then of sick despair at this wretched world which drives him to such deeds and such misery. It is the same rage and despair that mingle with other feelings in his outbreak to Ophelia in the Nunnery-scene. But of all this, even if he were clearly conscious of it, he cannot speak to Horatio; for his love to Ophelia is a subject on which he has never opened his lips to his friend.
If we realise the situation, then, we shall, I think, repress the wish that Hamlet had "made some other defence" than that of madness. We shall feel only tragic sympathy.
As I have referred to Hamlet"s apology, I will add a remark on it from a different point of view. It forms another refutation of the theory that Hamlet has delayed his vengeance till he could publicly convict the King, and that he has come back to Denmark because now, with the evidence of the commission in his pocket, he can safely accuse him. If that were so, what better opportunity could he possibly find than this occasion, where he has to express his sorrow to Laertes for the grievous wrongs which he has unintentionally inflicted on him?
NOTE H.
THE EXCHANGE OF RAPIERS.
I am not going to discuss the question how this exchange ought to be managed. I wish merely to point out that the stage-direction fails to show the sequence of speeches and events. The pa.s.sage is as follows (Globe text):
_Ham._ Come, for the third, Laertes: you but dally; I pray you, pa.s.s with your best violence; I am afeard you make a wanton of me.
_Laer._ Say you so? come on. [_They play._
_Osr._ Nothing, neither way.
_Laer._ Have at you now!
[_Laertes wounds Hamlet; then, in scuffling, they change rapiers, and Hamlet wounds Laertes._[264]
_King._ Part them; they are incensed.
_Ham._ Nay, come, again. _The Queen falls._[265]
_Osr._ Look to the Queen there, ho!
_Hor._ They bleed on both sides. How is it, my lord?
_Osr._ How is"t, Laertes?
The words "and Hamlet wounds Laertes" in Rowe"s stage-direction destroy the point of the words given to the King in the text. If Laertes is already wounded, why should the King care whether the fencers are parted or not? What makes him cry out is that, while he sees his purpose effected as regards Hamlet, he also sees Laertes in danger through the exchange of foils in the scuffle. Now it is not to be supposed that Laertes is particularly dear to him; but he sees instantaneously that, if Laertes escapes the poisoned foil, he will certainly hold his tongue about the plot against Hamlet, while, if he is wounded, he may confess the truth; for it is no doubt quite evident to the King that Laertes has fenced tamely because his conscience is greatly troubled by the treachery he is about to practise. The King therefore, as soon as he sees the exchange of foils, cries out, "Part them; they are incensed."
But Hamlet"s blood is up. "Nay, come, again," he calls to Laertes, who cannot refuse to play, and _now_ is wounded by Hamlet. At the very same moment the Queen falls to the ground; and ruin rushes on the King from the right hand and the left.
The pa.s.sage, therefore, should be printed thus:
_Laer._ Have at you now!
[_Laertes wounds Hamlet; then, in scuffling, they change rapiers._
_King._ Part them; they are incensed.
_Ham._ Nay, come, again.
[_They play, and Hamlet wounds Laertes. The Queen falls._
FOOTNOTES:
[Footnote 264: So Rowe. The direction in Q1 is negligible, the text being different. Q2 etc. have nothing, Ff. simply "In scuffling they change rapiers."]
[Footnote 265: Capell. The Quartos and Folios have no directions.]
NOTE I.
THE DURATION OF THE ACTION IN _OTh.e.l.lO_.
The quite unusual difficulties regarding this subject have led to much discussion, a synopsis of which may be found in Furness"s Variorum edition, pp. 358-72. Without detailing the facts I will briefly set out the main difficulty, which is that, according to one set of indications (which I will call A), Desdemona was murdered within a day or two of her arrival in Cyprus, while, according to another set (which I will call B), some time elapsed between her arrival and the catastrophe. Let us take A first, and run through the play.
(A) Act I. opens on the night of Oth.e.l.lo"s marriage. On that night he is despatched to Cyprus, leaving Desdemona to follow him.
In Act II. Sc. i., there arrive at Cyprus, first, in one ship, Ca.s.sio; then, in another, Desdemona, Iago, and Emilia; then, in another, Oth.e.l.lo (Oth.e.l.lo, Ca.s.sio, and Desdemona being in three different ships, it does not matter, for our purpose, how long the voyage lasted). On the night following these arrivals in Cyprus the marriage is consummated (II. iii.
9), Ca.s.sio is cashiered, and, on Iago"s advice, he resolves to ask Desdemona"s intercession "betimes in the morning" (II. iii. 335).
In Act III. Sc. iii. (the Temptation scene), he does so: Desdemona does intercede: Iago begins to poison Oth.e.l.lo"s mind: the handkerchief is lost, found by Emilia, and given to Iago: he determines to leave it in Ca.s.sio"s room, and, renewing his attack on Oth.e.l.lo, a.s.serts that he has seen the handkerchief in Ca.s.sio"s hand: Oth.e.l.lo bids him kill Ca.s.sio within three days, and resolves to kill Desdemona himself. All this occurs in one unbroken scene, and evidently on the day after the arrival in Cyprus (see III. i. 33).