Play-Making - A Manual of Craftsmanship by William Archer
page 76 of 319 (23%)
page 76 of 319 (23%)
![]() | ![]() |
|
and an irrelevance. Moreover (to say nothing of the fact that the Ghost
was doubtless a popular figure in the old play, and demanded by the public) it was highly desirable that Hamlet's knowledge of the usurper's crime should come to him from a supernatural witness, who could not be cross-questioned or called upon to give material proof. This was the readiest as well as the most picturesque method of begetting in him that condition of doubt, real or affected, which was necessary to account for his behaviour. But to have shown us in action the matter of the Ghost's revelation would have been hopelessly to ruin its effect. A repetition in narrative of matters already seen in action is the grossest of technical blunders.[6] Hamlet senior, in other words, being indispensable in the spirit, was superfluous in the flesh. But there was another and equally cogent reason for beginning the play after the commission of the initial crime or crimes. To have done otherwise would have been to discount, not only the Ghost, but the play-scene. By a piece of consummate ingenuity, which may, of course, have been conceived by the earlier playwright, the initial incidents of the story are in fact presented to us, in the guise of a play within the play, and as a means to the achievement of one of the greatest dramatic effects in all literature. The moment the idea of the play-scene presented itself to the author's mind, it became absolutely unthinkable that he should, to put it vulgarly, "queer the pitch" for the Players by showing us the real facts of which their performance was to be the counterfeit presentment. The dramatic effect of the incidents was incalculably heightened when they were presented, as in a looking-glass, before the guilty pair, with the eye of the avenger boring into their souls. And have we not here, perhaps, a clue to one of the most frequent and essential meanings of the word "dramatic"? May we not say that the dramatic quality of an incident is proportionate to the variety[7] and intensity of the emotions involved in it? |
|