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Updated: June 7, 2025
If Rosencrantz and Guildenstern and Laertes, and the rest of the dismal people at Elsinore, could have seen him now, they would not have known him. Where were his wan looks and biting speeches? His eyes were no longer filled with mournful speculation. He went in glad apparel, and took the sunshine as his natural inheritance.
On the other hand, we evidently perceive in him a malicious joy, when he has succeeded in getting rid of his enemies, more through necessity and accident, which alone are able to impel him to quick and decisive measures, than by the merit of his own courage, as he himself confesses after the murder of Polonius, and with respect to Rosencrantz and Guildenstern.
The falsest note in all Hamlet is in those words of his to Guildenstern: 'You would play upon me; you would seem to know my stops; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass.... 'S blood, do you think I am easier to be played on than a pipe? Guildenstern ought to have said: 'Much, my lord!
He explained to me what he meant by this, which was that in "Hamlet," Hamlet talked to grave diggers and to two men named Rosencrantz and Guildenstern, without givin' a snap for 'em compared to Horatio. Then I said, "I'm goin' out to the farm to-morrow. School will begin in about three weeks. I'm goin' out on my pony, and you can ride behind. And you'd better come.
I shall not fail to let you know what I think of these Scotch inmates, whom I have but too much reason to believe my father means to quarter in his house as a brace of honourable spies; a sort of female Rozencrantz and reverend Guildenstern, one in tartan petticoats, the other in a cassock. What a contrast to the society I would willingly have secured to myself!
Great passions are for the great of soul, and great events can be seen only by those who are on a level with them. I know of nothing in all drama more incomparable from the point of view of art, nothing more suggestive in its subtlety of observation, than Shakespeare's drawing of Rosencrantz and Guildenstern. They are Hamlet's college friends. They have been his companions.
King came to the door, came out and stood by the pony and petted him and said I had pretty eyes, same as before. Then she said Charley and Mitch had gone somewhere. She didn't know where. So I rode off and rode around a bit and then I started for the farm, thinkin' that Mitch had treated me mean and why would he for Rosencrantz or Guildenstern? whichever Charley King was.
Thirty or forty years ago there were born, and lived in a popular magazine, two gentlemen-heroes whose perfect friendship was unmarred by rivalry because, like Rosencrantz and Guildenstern, they were of such different but equally engaging types of manly beauty.
His scene with Rosencrantz and Guildenstern and the recorders is masterly: the silken sternness of it, the fine hauteur, the half-appeal as of lost ideals still pleading with the vulgarity of life, the fierce humour of its disillusion, and behind, as always, the heartbreak that side of which comes of the recognition of what it is to be a gentleman in such a world.
Shakespeare might have met Rosencrantz and Guildenstern in the white streets of London, or seen the serving-men of rival houses bite their thumbs at each other in the open square; but Hamlet came out of his soul, and Romeo out of his passion.
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