ACT II, 2: ROSENCRANTZ AND
GUILDENSTERN
In the first part of the second scene (lines 139), King Claudius hires two courtiers named Rosencrantz and Guildenstern to find out why Hamlet is so troubled. The scene has both positive and negative implications. On the one hand, Claudius is truly concerned about the young prince and wishes to help him. His earlier speech to Hamlet has proved unsuccessful in aiding his nephew, and so the king now seeks another solution to solve the problem. But, on the other hand, Claudius’s actions suggest the trouble within the court and society. Claudius is asking Rosencrantz and Guildenstern to spy on Hamlet, and so the theme on spying reappears here. Moreover, Rosencrantz and Guildenstern are, or were, close friends to Hamlet. Claudius indicates the relationship with the following lines:
That, being of so young days brought up with him, And since so neighboured to his youth and humour.
(11-12)
Claudius may be right in thinking that Rosencrantz and Guildenstern have more in common with Hamlet and therefore may be able to find out what is troubling the prince. But Claudius is wrong in thinking that the companions of one’s childhood may still be companions to that one as they approach manhood. Rosencrantz and Guildenstern are “neighboured” to Hamlet’s youth – they are approximately the same age. But, as it turns out, they are not “neighboured” to Hamlet’s humour. The word humour here means thoughts and feelings. Rosencrantz and Guildenstern do not at all understand what Hamlet is thinking and feeling.
That Rosencrantz and Guildenstern agree to spy on their childhood companion also indicates a problem in friendship. Truly close friends were supposed to have a bond of fellowship and trust between them. Like the old Anglo-Saxon bonds of comitatus (the fellowship of warriors), the bond between two friends was considered closer than the closest of family ties. Rosencrantz and Guildenstern break that vow of friendship with Hamlet. They are no longer behaving as his friends.
ACT II, 2: SUCCESSFUL POLITICS
Also early in the second scene (lines 59-85), the ambassadors Valtemand and Cornelius return from Norway. The message that King Claudius sent to the King of Norway proves successful. The Norwegian king has stopped his nephew, the young Fortinbras, from attacking Denmark. Claudius thus avoids a costly war wherein many lives would have been lost.
The careful reader should note that the hired soldiers – the mercenary army – that Fortinbras has gathered will still be used. Fortinbras instead intends to attack Poland – “the Polack” (line 75). This does make sense in one regard. Putting together an army was a costly activity, and even a prince would not wish to spend all of that money and have no result. And, at this time, Norway and Poland are enemies. But Shakespeare is also providing social commentary here. Wars are started with little or no cause or motivation. Man engages in war even if there is no good reason to do so. Man is surely an irrational and ridiculous creature.
One should also note here that Fortinbras is a man of action. This is in direct contrast to Hamlet, who is a man of inaction and hesitation. Although both men are princes and serve kings who are their uncles, Fortinbras and Hamlet are opposites in personality. Fortinbras is the literary foil to Hamlet.
ACT II, 2: BREVITY IS THE SOUL OF WIT
Before Valtemand tells Claudius about the successful trip to Norway, Polonius smugly informs the king that he has discovered “the very cause of Hamlet’s lunacy” (49). But Polonius insists that Claudius first hear the good news concerning Norway and that he will tell his good news afterwards: “My news shall be the fruit to that great feast” (52). Here the word feast symbolizes the good news about Norway, and the word fruit – which is the dessert after the feast – symbolizes the good news about finding the source of Hamlet’s problem. Polonius is quite proud of himself for discovering the problem; but, of course, he is wrong. He does not know the true cause at all.
After Valtemand exits, Polonius then proceeds to tell Claudius and Gertrude what he has discovered (beginning in line 86). The dialogue that follows actually creates a comic scene. Polonius begins by explaining that one should not waste a great deal of time but should come directly to the important point or matter that needs to be said. The irony here is that Polonius wastes a fair amount of time in explaining that one should not waste time. One of the famous lines from this play occurs in this speech: “brevity is the soul of wit” (91). This means that the truly witty and intelligent person will speak briefly and get right to the point. Ironically, Polonius is indicating that he is not a man of wit. He does not speak briefly, and he does not get right to the point. Queen Gertrude’s response indicates that she is not exactly pleased with the long and tedious explanation given by Polonius. She tells him, “More matter with less art” (96). The word matter here refers to substance. She is saying that he should get to the point. And the word art here refers to empty rhetoric, to thoughtless and meaningless phrases that waste time and unnecessarily complicate the meaning of the speech. Shakespeare, here, appears to be making fun of political rhetoric, which often employs too much art and too little matter.
Polonius’s reaction to Gertrude’s request is also comical. He responds by saying, “Madam, I swear I use no art at all” (97). The word art here has a double meaning. Polonius is suggesting that he is not using any empty or meaningless rhetoric in his speech (but, of course, he is). But the word art also suggests skill or ability. Polonius is unintentionally stating that he is artless, that he has no skill or ability. Polonius then continues to explain, in a very wordy fashion, why he believes Hamlet is mad.
Polonius produces a love letter that Hamlet had written to Ophelia as evidence of a madness that resulted from unrequited love. Of course, the letter is part of Hamlet’s scheme to pretend to be mad; and, it does successfully convince Polonius. And it nearly convinces the king and queen as well. Polonius is so convinced that he is right that he tells Claudius, “Take this from this if this be otherwise” (157). The first time Polonius says “this,” he points to his head. The second time he says it, he points to his shoulders. The third this refers to his opinion, his conviction that Hamlet is mad because of unrequited love. In other words, Polonius is telling the king that he can cut off his head if he is wrong. Polonius is making a very foolish offer. He should have been brief.