Dreama
Hamlet in Love
(A play for our times)
(The first part of this play was published last week. Today we bring to you the second part)
--- Literary Editor) Scene Three
Location: Campus Lobby [The same setting, the girls now seated: Cordelia, Rosalind, Portia, Viola and a few others.] Cordelia: Rose, have you heard that Ophelia is going to America this week to marry a guy over there by the name of Cassio? Viola: Good, Ham deserves it. Didn't he ask Ophelia in front of everybody to go out of his sight? Rosalind: Did he? I don't remember though. Yes, Ham has this bad temper. Good student, very sensitive, but very bad temper. Maybe his poor background is responsible. Portia: I think he hates us women. Viola: He's proud. Portia: Yeah, he never talks to me. I don't greet him either, when I see him. Gertrude Miss has pumped him too much with praise. Rosalind: Though, I think, his love for Ophelia may be genuine. Cord, I don't understand why they should fall in love while studying. Look, everybody, including Einstein or Tagore, got twenty four hours everyday. If you love, then you can't study. You waste your parents' money and also become a liability for the country, because you are unfit intellectually. Cordelia: Your father is rich, Rose, that's why you can speak in that confident manner. You don't have to think about your future. But I would rather choose a guy for myself while studying, to secure my future, than finish education and not getting married because I've become a granny or 'highly qualified.' Rosalind: Then, Ophelia's father is filthy rich, why then she should fall in love? Viola: You both are missing the point, love comes like that . . . . [the song "You fill up my senses" by John Denver can be heard in the background. All the girls suddenly look romantically moved.] [Then appear the boys. All kinds of extempore greetings take place. Antony in his breeches does a jig in front of Cordelia. Rosalind moves herself a chair away both to give Antony a place to sit and to show her disgust. Rosalind, then in total disregard of others, speaks to Hamlet.] Rosalind: Can I have a word with you, Ham? [Hamlet and Rosalind take the forestage.] Hamlet: I know what it is about. Rosalind: Yes, something that Gertrude Miss wants me to tell you. Hamlet: Gertrude Miss, then my ears have sixty holes. Speak. Rosalind: She says she's disappointed with you about your last assignment. Hamlet: But I thought, I wrote the essay rather well. My personal feelings went into it. Rosalind: That's what she is not happy about. She says if you want, she might give you another deadline to submit. Hamlet: I don't think I would like to do that. I mean, I'm not in a mood to go over it again. She wanted an essay on subjectivity, and I exactly did that. Nothing is the crap there. Do you know where the problem actually lies! Rosalind: I'm afraid, I don't. Hamlet: She hates me for everything I am. She'll give me a B, I know. Never an A. Rosalind: I don't understand how you can talk like that about a teacher, who we know praises you the most in your absence. Why in the world should she hate you? Hamlet: She also hates Ophelia, because we both are in love. People unhappy in life become jealous of people falling in love. Rosalind: That's the right feeling. You both are students in the same year. Rather be friends. Don't be lovers. She sees that in consequence you both will destroy your career. Hamlet: Did she preach this matter to you to tell me? Rosalind: Nope! Ok, let's cut this stuff off. Now, come to the point. Does Ophelia love you? Hamlet: Rose, you're impossible. How can you ask this question, when the whole world knows about it? Rosalind: Ham, don't think me rude. If she does love you, then why is she marrying the boy from America? Ham, it's your career, not hers that's at stake here. Probably, Gertrude Miss also hinted at this when she said your grades are falling, and it's worrying her. Hamlet: Do you understand heroism? Ophelia right away loves me, but she wants a little bit of heroism on my part. And, I'm going to act that part out. Rosalind: I don't get you there, what do you mean? Hamlet: Ask Macbeth, he'll tell you about it. [In the meantime, Antony has unwittingly told the girls about the wall, about the moonshine, and the elopement. Portia and Cordelia were still laughing at it, when Hamlet and Rosalind have joined them again.] Portia: Listen Rose, these boys are going to shoot a Hindi movie tonight. Rosalind: What's that? Viola: They will put a ladder against the boundary wall of Ophelia's house. Which side of the wall I don't know. Ophelia will cross over the wall. There'll be moonshine, and Mac and Ham will wait in the car, and if everything happens in the right way, they will drive off with Ophi. Rosalind: Oh, that's the heroic act? Well, what happens if the moon doesn't shine, if the dogs of the house bark, if the security senses the presence? Horatio: Yeah, there's the rub. Rosalind: Why don't you better talk to her or see her guardians, won't that be a softer option? Antony (doing another jig, puts his expensive mobile on his ear): What's the number? Hamlet: Whose number? Antony: Whose else? Ophelia's! Rosalind: Why Ophelia's number? Antony: To call her to know if she loves Ham. If yes, we go to her father as a pressure group, pleading for Ham. Rosalind: Ant, slowly. Let Viola talk to her first. Viola: I'm not on talking terms with her since when she has decided to marry that American boy. Antony: Let me talk. I eyed her first, before Ham sneaked in. Ham, the destroyer. Hamlet (angrily): Don't get at me that way, Ant. I may not have your father's money, or your muscles, but I can teach you English as long as you want. Antony (humorously): Say, Banglish, with your that peculiar accent. Well, that's the reason. The teacher in you is what Ophelia hates. She's leaving, because she doesn't want a teacher-husband. Got that! Rosalind: Ant, you talk too much. If you are that smart, talk to Ophelia, then. Antony (on the phone): Hello, Ophi, this is Ant, I'm going to ask you a direct question, a Khodar kasam close-door question, and reply me in one single yes or no. One, two, three, here's my question--are you going to marry Ham or the American boy? . . . . The American boy, your reply is the American boy, ok, talk to Rose then. [Rosalind talks to Ophelia for nearly fifteen minutes. In the meantime Guildenstern brings out his guitar, and strums on it while Rosencrantz sings out "How many roads must a man walk down," and all break out in a chorus.] [And then, through the main entry enters Cleopatra in a dazzling dress. Instantly the singers change to another love song: "Is it me you're looking for?" As Cleopatra saunters in other girls instantly look less bright beside her. Antony breaks into a different dance now, and escorts Cleopatra forward, introduces her to all his friends.] Portia: Should I tell your friend, what you said a moment ago? Antony (gesturing at Portia not to, then turns to Cleopatra): Cleo, tell them why you want to come to our university? Cleo: Why should I tell them, have they asked me? Antony: Soft Cleo, (then softly to her ears) tell them you want to come here for me. (Cleopatra doesn't seem much amused. But she sits beside Antony, crossing her legs.) Rosalind (returns from the corner in a glum face): She says she loves Ham, but she yet will marry the American boy. For god's sake, Ham, why can't you drop her, as you drop from a course? Concentrate on your studies instead, such a fine brain that you have! Hamlet: My life will be meaningless without Ophelia. I stand no wall. I brook no opposition. My love is a force for me, and I will force my love. [The song "Nothing can stop emotions" by Michael Learns to Rock is heard.] Cordelia: Force, Ham, did you say force? You sound like an MCP. Hamlet: MCP! Male chauvinist pig. Yes, that's what I am. Mac, go ahead with your plans. I'll talk to her. You'll see her 'no' will become 'yes'. Mac, I have a special idea. But first you all go to her father's office. Tell him in a clear language that Hamlet is going to be his son-in-law, and nobody else. Scene Four Location: Mr Polonius's office chamber, very posh interior design. [Ophelia's father Polonius's office at the 17th floor of a high-rise building in the busy area of Motijheel. All except Hamlet seek an appointment. Cleopatra has also joined.] [In the Board Room Mr. Polonius is in the midst of a meeting with other directors of his company, Shylock, Henry Bolingbroke, Richard Gloucester and Prospero. All of them are in complete black suits. Prospero, Polonius and Shylock have beards. Shylock has a tupee on his head.] Polonius (addressing the young group who have just entered his office): Ok, all of you stand there and talk. One at a time. And be brief. As you know brevity is the soul of wit. Macbeth (stepping slightly forward): Thank you sir. We've come to appeal to you not to marry your daughter off to America, because she has a deep understanding with our friend, Hamlet. Polonius (hum): Young man, I must thank you for talking on behalf of your friend. But you've actually come to the paddy field to collect egg-plants. It's her decision I'm respecting. She gave her consent. Rosalind: May I have the opportunity to speak sir. We have very confirmed reports that she has been kept confined in the house, and that she has been intimidated by the guardians of the family into consent. I would request you to let her come here and say in front of us that she doesn't love our friend, Hamlet. Prospero: Young lady, if I may interfere. Let both the parties be on an equal footing. If she has to come here, the boy has to come here too. [Hearing this there's a little shuffling and restlessness among the group of the young students. Then Cordelia speaks:] Cordelia: If you guarantee his security, he'll come. Henry Bolingbroke (bursting out in a big laughter, shoves his elbow into Richard's chest): I never knew that a man wanting to marry is afraid of security. Listen Richard, the value has fallen so low from that of our time! Richard: Yeah, truly so. You remember, I just snatched your bhavi from her wedding seat, just the night before her marriage to another person was in progress. [Right at the moment, there was a great stirring in the landing in front of the door, which just flung open, and entered Hamlet, with the same book in his hand, one of his fingers still inside it. His hair most disheveled, his shirt open on the chest, his jeans tottering at the feet, and he was looking pale.] Hamlet: I'm not a rat. I'm not afraid of security. And I mortgage my life to my love. Shylock (taking off his tupee, and scratching his head a little): My dear young man, what's your name you said . . . Hamlet. Ok. Listen, do you know my friend Mr. Polonius here is a very powerful man in society. You're willing to marry his only daughter. Are you aware about the wages at stake? Hamlet (in a distinctly defiant voice): I said I've waged my life. Shylock: Come to the practical world, sonny. How much do you think you will agree on her kabinnama? Hamlet: You quote. It doesn't bother me at all. Prospero: Wait, Shylock. Let me talk. Suppose she does love you, but she will not marry you. Isn't that possible! Hamlet: Yes, in general possible, but in my case, not possible. Because she loves me, I know deeply at my heart, so I can't be persuaded otherwise. Henry Bolingbroke: Young man, you're missing the point. My friend said that she loves you, but she will not marry you because she has a future which she thinks won't be safe if she marries you. Am I clear? Hamlet (more defiantly): I said she loves me, and she'll marry me. Is that clear, sir. [Henry and Richard become so furious; they are almost getting up from their chairs, but Prospero calms them down, and starts speaking in a calm voice.] Prospero: It looks like you believe that force has a place in love and marriage. Hamlet: Yes, I do firmly believe in it. It's an essential part of the survival. It's part of the politics of relationships too. Shylock: Education has destroyed your head, and made you insensible to the basic questions. Marriage is a matter of social compatibility. (to be continued)
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