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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.
He performed a dangerous ride from Rosencrantz to the beleagured victor and brought him craved-for provisions. "How is it," inquired President Lincoln of an officer, courier of the details, "that Garfield did in two weeks what would have taken one of your West Pointers two months to accomplish?"
In fact, the demonstration became so uproarious that some measure of it was open to suspicion, especially as hisses of reptilian venomousness were commingled with it, and also a hoarse but vociferous repetition of the dastard words, "Carrie dances ROTTEN!" Again it was the work of Rosencrantz and Guildenstern; but the plot was attributed to another.
The bearing of this purpose on the treatment of Ophelia, on the death of Polonius, and on the old student fellowship between Hamlet and Horatio, was exceedingly striking; and the difference between picturesqueness of stage arrangement for mere stage effect, and for the elucidation of a meaning, was well displayed in there having been a gallery of musicians at the Play, and in one of them passing on his way out, with his instrument in his hand, when Hamlet, seeing it, took it from him, to point his talk with Rosencrantz and Guildenstern.
Jacob Rosencrantz, ma, the marquis's great-grandfather back in the days when the family had big money, got his title from the king, ma, for lending money when the " "If all of his sons got, like this great-grandson of his asks, one million dollars with their wives, I should say he could afford to lend to the king. To two kings!" "Please, mamma, can't you understand?
When, at last, by means of the play within the play, and the puppets in their dalliance, Hamlet 'catches the conscience' of the King, and drives the wretched man in terror from his throne, Guildenstern and Rosencrantz see no more in his conduct than a rather painful breach of Court etiquette.
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.
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.
After that she had her fight for success, but she went steadily forward. Henry Irving has often been attacked for not preferring Robert Louis Stevenson's "Macaire" to the version which he actually produced in 1883. It would have been hardly more unreasonable to complain of his producing "Hamlet" in preference to Mr. Gilbert's "Rosencrantz and Guildenstern."
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.
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