54
In the First Act (i. ii. 138) Hamlet says that his father has been dead not quite two months. In the Third Act (iii. ii. 135) Ophelia says King Hamlet has been dead 'twice two months.' The events of the Third Act are separated from those of the Second by one night (ii. ii. 565).
55
The only difference is that in the 'To be or not to be' soliloquy there is no reference to the idea that suicide is forbidden by 'the Everlasting.' Even this, however, seems to have been present in the original form of the speech, for the version in the First Quarto has a line about our being 'borne before an everlasting Judge.'
56
The present position of the 'To be or not to be' soliloquy, and of the interview with Ophelia, appears to have been due to an after-thought of Shakespeare's; for in the First Quarto they precede, instead of following, the arrival of the players, and consequently the arrangement for the play-scene. This is a notable instance of the truth that 'inspiration' is by no means confined to a poet's first conceptions.
57
Cf. again the scene at Ophelia's grave, where a strong strain of aesthetic disgust is traceable in Hamlet's 'towering passion' with Laertes: 'Nay, an thou'lt mouth, I'll rant as well as thou' (v. i. 306).
58
Nero, who put to death his mother who had poisoned her husband. This passage is surely remarkable. And so are the later words (iii. iv. 28):
Are we to understand that at this time he really suspected her of complicity in the murder? We must remember that the Ghost had not told him she was innocent of that.
59
I am inclined to think that the note of interrogation put after 'revenged' in a late Quarto is right.