Page 90 of Something Rotten (Thursday Next 4)

'Don't let Smudger dominate the forward hoop positions. He works best in defence, especially if backed up by Biffo – and play offensively if you want to win.'

'Thank you,' I said slowly, 'you're very kind.'

I gave her a hug and my mother did too – a tad awkwardly as she had never fully divested herself of the suspicion that Emma had been carrying on with Dad. Then, a moment later, Emma vanished – which must be what it's like when Father arrives and stops the clock for other people.

'Well,' said my mother, wiping her hands on her pinafore, 'that's her gone. I'm glad she got her husband back.'

'Yes,' I agreed somewhat diffidently, and walked off to find Hamlet. He was outside, sitting on the bench in the rose garden, deep in thought.

'You okay?' I asked, sitting down next to him.

'Tell me truthfully, Miss Next. Do I dither?'

'Well – not really.'

'Truthfully now!'

'Perhaps ... a bit.'

Hamlet gave out a groan and buried his face in his hands.

'Oh what a rogue and peasant slave am I! A slave to this play with contradictions so legion that scholars write volumes attempting to explain me. One moment I love Ophelia, the next I treat her cruelly. I am by turns a petulant adolescent and a mature man, a melancholy loner and a wit telling actors their trade. I cannot decide whether I'm a philosopher or a moping teenager, a poet or a murderer, a procrastinator or a man of action. I might be truly mad or sane pretending to be mad or even mad pretending to be sane. By all accounts my father was a war-hungry monster – was Claudius's act of assassination so bad after all? Did I really see a ghost of my father or was it Fortinbrass in disguise, trying to sow discord within Denmark? How long did I spend in England? How old am I? I've watched sixteen different film adaptations of Hamlet, two plays, read three comic books and listened to a wireless adaptation. Everything from Olivier to Gibson to Barrymore to William Shatner in Conscience of the King.'

'And?'

'Every single one of them is different.'

He looked around in quiet desperation for his skull, found it and then stared at it meditatively for a few moments before continuing:

'Do you have any idea the pressure I'm under being the world's leading dramatic enigma?'

'It must be intolerable.'

'It is. I'd feel worse if anyone else had figured me out – but they haven't. Do you know how many books there are about me?'

'Hundreds?'

'Thousands. And the slanders they write! The Oedipal thing is by far the most insulting. The goodnight kiss with Mum has got longer and longer. That Freud fellow will have a bloody nose if ever I meet him. My play is a complete and utter mess – four acts of talking and one of action. Why does anyone trouble to watch it?'

His shoulders sagged and he appeared to sob quietly to himself. I rested a hand on his shoulder.

'It is your complexity and philosophical soul-searching that we pay money to see – you are the quintessential tragic figure, questioning everything, dissecting all life's shames and betrayals. If all we wanted was action, we'd watch nothing but Chuck Norris movies. It is your journey to resolving your demons that makes the play the prevaricating tour de force that it is.'

'All four and a half hours of it?'

'Yes,' I said, wary of his feelings, 'all four and a half hours of it.'

He shook his head sadly.

'I wish I could agree with you but I need more answers, Horatio.'

'Thursday.'

'Yes, her too. More answers and a new facet to my character. Less talk, more action. So I have secured the services . . . of a conflict resolution consultant.'

This didn't sound good at all.

'Conflict resolution? Are you sure that's wise?'

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