The Three Heron's Feathers Part 22

Undoubtedly the cause of this is that they seek the solution of the riddle in the effect on Hamlet's relations to Ophelia of prior incidents in the play, his father's murder, his mother's marriage to the murderer, and the ghostly mission of revenge. But there are in the situation at the end of Act I of 'Hamlet' and wholly unconnected with these incidents, all the elements of a tragedy, few and simple, but profoundly significant. Thus, we have a prince who is an ardent lover, a court lady who has as ardently returned his love, the lady's sudden and unexplained refusal to see or hear from him, her ambitious and time-serving courtier father, and for a King a "remorseless, treacherous, lecherous, kindless villain." Let but a spark of jealous suspicion reach such a mixture, and there must be an explosion; with a war-hardened Oth.e.l.lo-like t.i.tanic rage and murder, but with the softer Hamlet renunciation and reproach, and with poor Ophelia, who represses her feelings always, heart-break, insanity, and death.

Now, Hamlet is pictured as one of the most suspicious of men, and in particular at this juncture about his mortal enemy the King. In addition, he is very proud and very revengeful, as he admits, and there is every indication that he has been pa.s.sionately fond of Ophelia. When therefore she persistently denies herself to him in private, though doubtless a regular attendant at the functions of the court, his suspicions are excited, his pride wounded, his anger aroused; and, with "the pangs of despis'd love" in his heart, and in his mind a tumult of conflicting thoughts, he suddenly presents himself before her, resolved to know the truth. "What d.a.m.ned moments counts he o'er Who dotes, yet doubts,--suspects, yet fondly loves." In Quarto I she says: "He found me walking in the gallery, all alone"; that is, in the gallery of the King's palace,--(compare lines 673 and 803),--and of course within reach of the King; and, though Shakespeare afterwards transferred this scene to her chamber in her father's house, it may not be overlooked that the remarkable interview of which Ophelia tells was conceived originally as occurring on the impulse of the moment and under stress of feeling caused apparently, by Hamlet's unexpected and dumbfoundering discovery:

"He took me by the wrist and held me hard.

Then goes he to the length of all his arm, And, with his other hand thus o'er his brow, He falls to such perusal of my face As he would draw it. Long time stayed he so.

At last--a little shaking of my arm, And thrice his head thus waving up and down-- He raised a sigh so piteous and profound As it did seem to shatter all his bulk And end his being. That done, he lets me go, And with his head over his shoulder turned He seemed to find his way without his eyes; For out o' doors he went without their help, And to the last bended their light on me."

In that harsh grip is anger, in that long study of her face the search for truth, in his silence the wounded pride that cannot utter his suspicions, in the triple nod the confirmation of their verity, in the sigh the efflux of his love, in the hand-shaking a farewell, and in the retroverted face a hope yet lingering but doomed to disappointment. For Ophelia still utters no word of explanation, and Hamlet the lover leaves her forever.

The renunciation of Ophelia at this interview is generally conceded, but the reason a.s.signed for it is the incompatibility of Hamlet's pa.s.sion for her with his mission of revenge;--a most unsatisfactory explanation, because after the Ghost's command was laid on him he still pursued her, for it was after that that she says: "I did refuse his letters and denied his access to me." There is apparently an interval of two months between Acts I and II of Hamlet, and during this period Hamlet has evidently been brooding over his father's murder and considering the means of executing his dread command, and he has doubtless been vexing his soul over the conduct of Ophelia until he can stand the strain no longer. In immediate sequence in the play his silent interview with her follows upon her denial of herself to him, and an echo of the bitter feeling then aroused in him is subsequently heard, when he tells her that the prologue to the players' scene is brief "as woman's love";--sometimes mistakenly supposed to refer to the Queen, whose defection did not occur for more than thirty years after her marriage. If Hamlet's belief in an intrigue between her and the King be a.s.sumed, it fully explains his conduct before, at, and after his renunciation of Ophelia, and it would seem that no other theory can explain it adequately.

When Oth.e.l.lo is brooding over the supposed delinquencies of Desdemona, tortured by commingled love and hate, in his wrath he strikes her.

Afterwards he demands: "Let me see your eyes; look in my face"; and as she does so, and he searches there for her innocence and finds it not, he bitterly adjures her: "Swear thou art honest," though all the while a.s.sured that she is "false as h.e.l.l." And he weeps and laments over her at the very moment that he determines upon an eternal separation.

Oth.e.l.lo's interview with Desdemona and this interview of Hamlet's with Ophelia are identical in outline, and they differ in detail only as the character of the two men differ. Shakespeare has told us in words that Oth.e.l.lo is jealously suspicious of Desdemona, and with equal faithfulness he has depicted jealous suspicion in the acts of Hamlet.

This mute interview between Hamlet and Ophelia reminds one of the "Dumb Shew," which precedes the scene from the drama of 'Gonzago's Murder'; and as in the latter instance the Duke and d.u.c.h.ess afterwards put into words the thoughts which the pantomime foreshadows, so on examination will this be found to be the case in the second interview between Hamlet and Ophelia, which immediately follows upon his great soliloquy.

This second interview concludes Scene i of Act III in Quarto II and in the Folios, but in Quarto I it is in Act II, and logically it belongs there. Act I of 'Hamlet' was designed to disclose the relation of the several characters to each other, and the command imposed on Hamlet to avenge his Father's death upon the King; and Act II was originally intended to exhibit Hamlet erratically making ready to obey the Ghost's command, and the various artifices which the King employs to detect his hidden purpose. When Ophelia tells her father of Hamlet's wordless interview with her, Polonius promptly goes to the King with the story of their amours and his termination of them, and with the announcement that Hamlet is mad for his daughter's love; and, after hearing his reasons for this opinion, being impressed by them, naturally the first thought of the King is: "How may we try it further?" To this Polonius replies: "I'll loose my daughter to him" during one of his walks in the gallery here, whilst you and I, unseen but seeing, will witness their encounter. In Quarto I the meeting between Hamlet and Ophelia follows at once, and when it fails Polonius undertakes to board him, and when that fails Rosencrantz and Guildenstern a.s.say him. Afterwards Shakespeare saw fit to change the order of these scenes, but this particular scene may properly be considered now, and before others which it logically precedes.

In the interpretation of this interview, as of the former, commentators have been misled by the a.s.sumption that it is in some way connected with Hamlet's mission of revenge, and consequently they have found it, as has been suggested, a veritable _pons asinorum_. Apart from the three theories above referred to, there is an attempt to explain it on the hypothesis that when Hamlet meets Ophelia in the palace, whither he has been sent for by the King for the express purpose of meeting her, but "as 'twere by accident," he at once suspects the ruse, and therefore talks in the extraordinary manner recorded of him; that is, that he is rude and brutal, and refuses to yield to his feelings of affection, in order to deceive the King, who he well knows is within hearing, or to punish Ophelia, who he is a.s.sured is spying on him. But this theory seems to be wholly without support in the text. In the first place, there is not a word which indicates that he suspects the King's presence, and, on the contrary, the delivery of the soliloquy, the admission that he is revengeful and ambitious, and the covert threat to kill the King, all tend to prove that he does not suspect it.

Further, such a suspicion could reasonably originate only in the fact that the King had sent for him, and that instead of the King he found Ophelia, but it is to be remembered that in Quarto I the King does not send for him, and that the meeting is in fact accidental. Conceding the suspicion, however, for argument's sake, whilst it might induce Hamlet to be reticent or cautious in his speech, it does not explain why Shakespeare put into his mouth the denunciatory language he employs, and this is after all the vital question. It cannot have been in order to deceive the King by concealing his love for Ophelia, for such concealment must necessarily undeceive him; the King, Queen, and Polonius are all deluded into believing him mad for Ophelia's love, and this test is expected to confirm them in it; but we know that in fact the King is undeceived, for his comment is: "Love! His affections do not that way tend; Nor what he spake, though it lack'd form a little, Was not like madness." Were he profuse in his protestations of love, the King might indeed be deceived into believing that it is not his conduct, but Ophelia's, which troubles Hamlet; for herein the situation differs from that narrated by Belleforest, the lady there being a mere vulgar temptress, whose preconcerted blandishments Hamlet shrewdly refuses to yield to. As for Ophelia's spying on him, it is untenable; for she also expects that Hamlet will exhibit affection for her, and, were he to do so, instead of betraying his secret, she would aid him in concealing it. It seems plain from his inquiry that Hamlet sees Polonius during the interview, but it is not probable that he believes Ophelia to be cognizant of his presence; her answer is a denial of such knowledge, and Hamlet's succeeding sarcastic speech is meant for the conscience of Polonius, not for hers. The worst that he could say to her is said before the discovery of her father, and before her falsehood, and hence the discovery and the falsehood do not serve to explain it. Nothing can explain it satisfactorily, but Hamlet's conviction that she has transferred her affections to the King.

After Hamlet has for some time been in the King's chamber, whether it is with or without the King's request, he meets Ophelia there, and he finds her apparently waiting for some one, and whiling away the time by reading. So it has been pre-arranged, and so it seems to him. Plainly she has not been waiting for him, for, though he himself has been waiting, she has not addressed him, and in the end he first accosts her. Indeed, it has been planned that their meeting shall seem to him to be "by accident," and, so seeming, the idea of her waiting for him is precluded. Hence to him, already suspicious of her integrity, she must have come to meet the King. But he has before this been convinced of such an intrigue, as above shown, and because of it has renounced her; and accordingly he pet.i.tions her lightly, if not ironically: "Nymph, in thy orisons Be all my sins remember'd." Their meeting is on the same day as, or certainly not more than one day later than, the speechless interview; but Ophelia ignores that, and ignores his pet.i.tion also, and inquires into the state of his health "for this many a day,"--that is, since Polonius has separated them,--to which he responds gravely, and without show of affection. Thereupon ensues the following conversation:

"_Oph_. My lord, I have remembrances of yours That I have longed long to redeliver; I pray you now receive them.

"_Ham_. No, not I; I never gave you aught.

"_Oph_. My honor'd lord, you know right well you did, And with them words of so sweet breath compos'd As made the things more rich. Their perfume lost, Take them again; for to the n.o.ble mind Rich gifts wax poor when givers prove unkind."

It seems clear that Ophelia returns these remembrances in pursuance of her father's orders, express or implied; that Hamlet repudiates them because, proud and sensitive, he would blot their old a.s.sociations from his memory; and that Ophelia insists on their return with a sad and tender recollection of those music-vows of love that he has made so often. But why she should accuse him of unkindness towards her is not so clear, since it is she who has broken off their intimacy. Her meaning is not doubtful in Quarto I, where this reference to Hamlet's unkindness follows upon his comments on her honesty, and evidently refers to them. But in Quarto II Shakespeare changes the order of the conversation, and so apparently intends to make Ophelia's suggestion of unkindness refer to Hamlet's visit to her closet. Hence he had not only frightened her at that interview, as she informed her father, but he had hurt her, she realizes that he had renounced her, and in this gentle way she now upbraids him. But Hamlet, wrought to sudden fury by the reminiscence, like Oth.e.l.lo, can see nothing but the supposed wrong which she has done him, and, like Oth.e.l.lo, charges her with unchast.i.ty, without indicating the suspected man:

"_Ham_. Ha, ha! are you honest?

"_Oph_. My lord?

"_Ham_. Are you fair?

"_Oph_. What means your lords.h.i.+p!

"_Ham_. That if you be honest and fair, your honesty should admit of no discourse to your beauty.

"_Oph_. Could beauty, my lord, have better commerce than with honesty?

"_Ham_. Ay, truly; for the power of beauty will sooner transform honesty from what it is to a bawd, than the force of honesty can translate beauty into his likeness. This was sometime a paradox, but now the time gives it proof."

Though expressed figuratively, there can be no doubt of Hamlet's intention in this pa.s.sage to warn Ophelia against some temptation then a.s.sailing her, which is attacking her virtue through the medium of her beauty, and which will probably prevail over it. It concerns her "honesty,"--a virtuous woman being honest in respect of others who have claims on her, and chaste in respect of herself,--and undoubtedly it refers to the temptation which a.s.sails all women who win unscrupulous admirers by their charms, and to which they sometimes succ.u.mb. In Ophelia's case it has been to Hamlet an impossible possibility that she could prove unfaithful to him, but here and now, since he has discovered her secret visit to the King, it has become reality.

Then, as the scene proceeds, Hamlet in a breath admits and denies his former love for her, thus plainly repudiating any present affection.

(This conclusion is entirely consistent with his declaration "I lov'd Ophelia" in the grave-yard scene). Here he renounces her in words, as formerly he had renounced her by signs. Then he denounces himself and his "old stock" as being without virtue, and concludes the subject by declaring: "We are arrant knaves, all; believe none of us. Go thy ways to a nunnery." Here he unmistakeably warns her against the King, for of that old stock only they two are left. To the blandishments of both she has yielded, as he supposes, and since Hamlet no longer loves her, and the King but l.u.s.ts after her, her only safe retreat is in a nunnery. In those old days a nunnery was often the only refuge for a woman who was fancied by a king, if she would retain her purity.

At this juncture Hamlet discovers Polonius, as is evident by his suggestion that he had better remain at home when he desires to play the fool; if the remark were not intended for his ear, it would be absurd. Of course he realizes that Polonius has been listening to their conversation, but he does not betray his knowledge, though the rest of his comments are perhaps more particularly intended for Polonius's ear.

His words turn "wild and whirling," Ophelia notes the change, and her responses change in tone accordingly. He protests that though she marries she must lose that immediate jewel of her soul of which Iago prates, or that she will transform her husband into the horned monster of Oth.e.l.lo's fears. And then he inveighs against wanton womankind in general, but in such terms as might befit the woman he supposes that she has become. He puts on "an antic disposition" for the benefit of Polonius, but under it all is the pointed notice to Ophelia that their past relations.h.i.+p can never be renewed, and the masked charge that it is her adoption of the ways of her frail sisters that has made him mad,--as her words indicate that she supposes him to be,--and that has wrecked the future happiness of both of them.

When Hero is charged by Claudio with unchast.i.ty, she fancies that something must be wrong with him, and says: "Is my lord well, that he doth speak so wild?" Of Oth.e.l.lo's accusation Desdemona thinks that "something, sure, of state ... Hath puddled his clear spirit." In a similar frame of mind Ophelia entreats: "Ye heavenly powers restore him," and bewails the overthrow of Hamlet's reason. These three tender hearted women are singularly alike in their mental att.i.tudes under the accusation, and but too willing to extenuate the cruel blow and to forgive it. But both Hero and Desdemona defend themselves against the charge, whilst Ophelia, maintaining her habitual reticence, neither admits nor denies anything, and Hamlet's conviction of her wrongdoing with the King remains unchanged.

Thus far Hamlet has made no direct charge of the transfer of Ophelia's affections from him to another, but he seems to do this at their next interview, which takes place at the time of the play of 'Gonzago's Murder.' There is a bitterness towards her in his speech, a brutality in his obscene allusions, and a degree of heartlessness in it all, which can be excused--if indeed it be deemed excusable--only on the theory that he believes her to have herself become a heartless, wicked woman. When he is commenting on the facts of the play, and Ophelia suggests that he is "as good as a chorus," he snarlingly replies: "I could interpret between you and your love if I could see the puppets dallying." Everything which Hamlet says is pregnant with meaning, and Ophelia evidently regards this as a keen thrust at her, which it plainly is. Both of them know that they two are no longer lovers, and each of them therefore understands that the allusion is to some other man with whom she treads "the primrose path of dalliance." As usual Ophelia does not deny the charge, and it would not be singular if Hamlet were to accept her silence as an admission of its truth. To whom she thinks that he refers does not appear, but there can be no doubt that his conviction is that her new lover is the King.

The next incident indicating this conviction is the interview in which Polonius undertakes with much complacency to "board" the Prince:

"_Pol_. Do you know me, my lord?

"_Ham_. Excellent well; you are a fishmonger.

"_Pol_. Not I, my lord.

"_Ham_. Then I would you were so honest a man.

"_Pol_. Honest, my lord?

"_Ham_. Ay, sir; to be honest, as this world goes, is to be one man picked out of ten thousand.

"_Pol_. That's very true, my lord.

"_Ham_. For if the sun breed maggots in a dead dog, being a G.o.d kissing carrion--Have you a daughter?

"_Pol_. I have, my lord.

"_Ham_. Let her not walk i' the sun. Conception is a blessing, but not as your daughter may conceive. Friend, look to it.

"_Pol_. How say you by that? Still harping on my daughter. Yet he knew me not at first; he said I was a fishmonger. He is far gone, far gone." [_aside_].

There has been much discussion of this pa.s.sage, but no satisfactory solution of it. It is a good sample of the enigmatic style of speech characteristic of Hamlet, which presumably the audiences of Shakespeare's day comprehended, which of course the astute Polonius did not understand, and which puzzles later generations because they have lost the ancient significance of certain words. Polonius is so prejudiced in favor of his theory that it was "the very ecstacy of love" that troubled Hamlet, that he does not even attempt to fathom his allusions. And yet Hamlet's last remark, warning him about his daughter, rivets his attention, and he demands to know what is meant by it; but it is only for an instant, his illusion again diverts him from the matter, and the chance of explanation thus escapes.

Malone says that "fishmonger" was a cant term for a "wencher"; and in Barnabe Rich's 'Irish Hubbub' is the expression "senex fornicator, an old fishmonger." Possibly this is its primary significance in Hamlet's mind, for shortly afterwards he satirically says of Polonius to the players: "He's for a jig, or a tale of bawdry, or he sleeps." In several instances Shakespeare similarly alludes to "fis.h.i.+ng"; as in 'Measure for Measure,' i, 2, 91: "Groping for trouts in a peculiar river"; 'Winter's Tale,' i, 2, 195: "And his pond fish'd by his next neighbor"; and possibly in 'Antony and Cleopatra,' i, 4, 4: "He fishes, drinks, and wastes the lamps of night in revels." The word "monger" in compound words, as used by Shakespeare, does not always mean a trader in the article, but sometimes one who merely indulges in the act; as in 'Love's Labour's Lost,' ii, 1, 253: "Thou art an old love-monger"; in 'Romeo and Juliet,' ii, 4, 30: "These strange flies, these fas.h.i.+on-mongers"; and in 'Measure for Measure,' v, 1, 337: "Was the Duke a fleshmonger?" In common usage the word has this double significance, indeed, dependent upon whether its adjunct refers to a thing or to an act; as, for example, cheesemonger and scandalmonger, and other similar compounds which will readily suggest themselves.

Hence "fishmonger" means both one given to "fis.h.i.+ng" and a trader in fish. And doubtless the latter is its most important significance in Hamlet's mind, when Polonius denies that he is a fishmonger, namely that he is a trader in a food which from time immemorial has been supposed to be an aphrodisiac. Wherefore we are to understand Hamlet as meaning that Polonius is not so honest a man as the fishmonger that Polonius has in mind, or the senex fornicator that he originally had in mind, but that he is a fleshmonger,--a pander, as Tieck puts it;--"traders in flesh" such persons are termed in 'Troilus and Cressida,' v, 11, 46. It is supposed by Tieck that the allusion is to the way in which Polonius threw Hamlet and Ophelia together, by Friesen that it refers to his pandering to the desires of Claudius and the Queen before the old King's death, and by Doering that it points to his promotion of the o'er-hasty marriage of the King and Queen. But the foregoing discussion shows that the secondary thought in Hamlet's mind is that for some personal end Polonius permits Ophelia to accept the King's attentions, knowing the necessary effect of her youth and beauty on his licentious nature; for at his last interview with her he saw her father also, though apparently hiding from both of them, and therefore believes that he was cognizant of the fact that she had gone to the palace privately to meet the King. It is evidently this belief which inspires him with the contempt which he afterwards exhibits towards Polonius.

His next speech manifests this contempt in a notable degree, but it has been unappreciated because of the failure to perceive the significance of the word "sun." It is an argument intended to enforce what he had already said, and, supplying the omitted portion, the whole runs thus: You are not honest, and you cannot be honest; "for if the sun (in the sky) breed maggots in a dead dog, being a (heavenly) G.o.d kissing carrion," even so will the sun of this realm (the King) engender misdeeds in you, a corrupt man caressed by an earthly G.o.d. In characteristic fas.h.i.+on Shakespeare uses "sun" in a double sense, as he has just used "fishmonger," and again the occult reference is to Polonius as a procurer for the King.

And Hamlet follows this up by the warning concerning Ophelia; "Let her not walk i' the sun (s.h.i.+ne of the King's favor); conception is a blessing, but not as your daughter may conceive (if she does so)."

"Sun" in this pa.s.sage means "suns.h.i.+ne" or "sunlight," as in ordinary usage it often does, but it is the light of the sun of royalty that he has just mentioned.

Hamlet's meaning is made so plain by this construction, that it scarcely needs argument to enforce it. It may however be remarked that, a.s.suming its correctness in respect of the declaration that Polonius is not so honest as a fishmonger, its correctness as to the sun's breeding maggots in carrion and causing conception in Ophelia necessarily follows. The three enigmatical statements, thus interpreted, complement and explain each other, and therefore tend to prove each other; and the proof is strengthened by the fact that they are the sequelae of a single thought, namely, his belief in an intrigue between Ophelia and the King. On the other hand, conceding such a belief, a man of Hamlet's character would most naturally think these thoughts, and utter them in characteristic style to Ophelia's father:--The King breeds corruption in you as does the sun in a carrion dog, you are risking your daughter's honor to win his favor, and the experiment will probably end in her dishonor. Hence Hamlet's alleged belief, deduced from his three interviews with Ophelia, and these three resulting comments tend to prove each other's correctness.

Again, the sun is plainly credited by Hamlet with a double function, namely, corruptly breeding life in a dead dog and in a living woman, and the only possible means of harmonizing the two' statements, and of making sense out of the latter, is to a.s.sume that some man is typified by the second sun. It is generally admitted that an uncompleted argument is introduced by the particle "for," and, such being the case, it is a fair a.s.sumption that that also shall contain a reference to "the sun" as doing something which a man may do. On such an a.s.sumption, the argument is readily followed up: "For if the sun breed maggots in a dead dog," so must "the sun" breed dishonesty in you, and so may "the sun" cause your daughter to conceive. These three propositions are consistent, the logical connection between them is perfect, and their reason and purpose is clear, if the term "sun" may figuratively indicate "the King."

Now, it is to be observed that Shakespeare not infrequently refers to kings as suns, and likens them to G.o.ds. When the King has pardoned her son, the d.u.c.h.ess of York exclaims: "A G.o.d on earth thou art"; 'Richard II,' v, 3, 136. "Kings are earth's G.o.ds," says Pericles; 'Pericles,' i, 1, 103. And again he says of the King, his father, that he "Had princes sit like stars about his throne, And he the sun, for them to reverence," _Ibid_., II, iii, 40, In 'Henry VIII,' i, 1, 6, Buckingham, referring to the meeting of the Kings of England and France on the Field of the Cloth of Gold, styles them "Those suns of glory, those two lights of men." And Norfolk tells of the wondrous deeds done there, "when these suns (For so they phrase them) by their heralds challenged The n.o.ble spirits to arms"; _Ibid_., i, 1, 33. Again, adverting to the manner in which Cardinal Woolsey overshadows all other men in the King's favor, Buckingham says: "I wonder That such a keech can with his very bulk Take up the rays o' th' beneficial sun, And keep it from the earth"; _Ibid_., i, 1, 56. When the Cardinal has procured the King to arrest him, Buckingham foresees his speedy death, and again uses this metaphor in a pa.s.sage which has been much misunderstood, _Ibid_., i. 1, 236: "I am the shadow of poor Buckingham, Whose figure even this instant cloud puts on By dark'ning my clear sun"; that is, whose body was even that moment entombed by the darkening of the King's countenance against him; he was already a dead man. (Compare the thought: "Darkness does the face of earth entomb When living light should kiss it"; 'Macbeth,' ii, 4, 10).[1] In like manner, in 'King John,' ii, i, 500, the Dauphin of France refers to himself as King, when he says to his father that his shadow, visible in the eye of the Princess, "Becomes a sun and makes your son a shadow." In Richard II,'

iii, 2, 50, the King, likening himself to the sun, says that, as the "eye of heaven" reveals the dark deeds of night when he fires the proud tops of the eastern pines, "So when this thief, this traitor, Bolingbroke ... Shall see us rising on our throne, the east, His treasons will sit blus.h.i.+ng in his face." And again, _Ibid_., iv, 1, 260, transferring the metaphor to Bolingbroke, he wails: "O, that I were a mockery King of snow Standing before the sun of Bolingbroke, To melt myself away in waterdrops." In '1 Henry IV,' iii, 2, 79, the King speaks of "sunlike majesty, When it s.h.i.+nes seldom in admiring eyes." In 'Richard III.' i, 1, 1, Gloster says, referring to the King: "Now is the winter of our discontent made glorious summer by this sun of York."