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Updated: June 7, 2025
Before his friends Rosencrantz and Guildenstern, Hamlet, for a few moments, gives up his brain-racking thoughts of penitence; he even endeavours to philosophise, as he may have done at the University of Wittenberg before he allowed himself to be lured into dreamland.
We see it in the single combat of Hamlet's father with the elder Fortinbras, in the vulgar wassail of the king, in the English monarch being expected to hang Rosencrantz and Guildenstern out of hand merely to oblige his cousin of Denmark, in Laertes, sent to Paris to be made a gentleman of, becoming instantly capable of any the most barbarous treachery to glut his vengeance.
If there must be a great actor to act Hamlet, there must also be people to act Laertes, the King, Rosencrantz, and Guildenstern, otherwise a drama cannot go on. If even Garrick himself were to rise from the dead, he could not act Hamlet alone. There must be generals, colonels, commanding-officers, subalterns. But what are the private soldiers to do?
Hamlet was able to browbeat Rosencrantz and Guildenstern with his business of the pipe; but if they had been in a position to answer they might have told him that it required far less skill to play upon a man than any other instrument. Most of us, in fact, go sounding on without any special application of breath or fingers, repeating the tunes that were played originally upon other men.
King Philip was confessedly preparing to encourage an English subject in treason to his sovereign. Was it so wrong to hoist the engineer with his own petard? Was it wrong of Hamlet to finger the packet of Rosencrantz and Guildenstern and rewrite his uncle's despatch? Let us have done with cant in these matters.
He seems incapable of deliberate action, and is only hurried into extremities on the spur of the occasion, when he has no time to reflect as in the scene where he kills Polonius; and, again, where he alters the letters which Rosencrantz and Guildenstern are taking with them to England, purporting his death.
Poor Gabriel's soul was fed with a luxury of content by having her over him, her eyes critically regarding his skilful shears, which apparently were going to gather up a piece of the flesh at every close, and yet never did so. Like Guildenstern, Oak was happy in that he was not over happy.
He would not have been so well pleased, perhaps, had he known all; and that he was only one of the performers in the comedy, not the principal character by any means; Rosencrantz and Guildenstern in the Tragedy, the part of Hamlet by a gentleman unknown. How often are our little vanities shocked in this way, and subjected to wholesome humiliation!
Of all this Guildenstern and Rosencrantz realise nothing. They bow and smirk and smile, and what the one says the other echoes with sickliest intonation.
"I do," laughed Margaret, "and then how you moved her on to Guildenstern and now you have got her down to Bernardo with all her part cut out and nothing except that opening line, "Who's there?" and the other: "'Tis now struck twelve; get thee to bed, Francisco."" "Yes, and she ruins them.
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