Comparing Tom Stoppard's Rosencrantz And Guildenstern Are Dead

Rosencrantz and Guildenstern were present when Hamlet spoke to the head player about adding a few lines to the play "The Murder of Gonzago." They did not actually hear what those lines were to be, but surely they could not help but realize that the king's anger during the play was probably related to the changes Hamlet made. When the king rose in anger and left, he was followed by everyone except Hamlet and Horatio. Hamlet, of course, was not concerned for the king, since he knew the cause of his anger. Horatio's heart was turned toward Hamlet, so he also remained behind. Had Rosencrantz and Guildenstern been loyal to Hamlet, they would have remained behind also, but ambition sent them after the man

Even though Rosencrantz and Guildenstern’s original loyalties were with their friend Hamlet, when the king asks, as loyal subjects, they obey. Hamlet figures it out pretty quick, dismissing them, sending them on unimportant errands and generally making sure they weren’t around. They eventually turn their friendship against Hamlet to confirm his madness to the king. This results in their later commission to kill Hamlet and eventually their own

Every character is clearly defined in Shakespeare’s play and nobody is confused about who they are or where they came from. The opposite of this, however, is Rosencrantz and Guildenstern in the sixties interpretation of the text. They seem to be very confused about their own personal identity and this can be seen frequently throughout the play when they and other characters mix their names up almost every time. The effect of this is humorous, but also comments on the confusion of identity that was being felt in the Sixties. Rosencrantz and Guildenstern as characters very much reflect the ideas of the Sixties in this way, as they seem to be drifting throughout the play as observers, and are minor players. They are not sure about themselves, question their own identity and cannot find much purpose in their lives, which makes death difficult for them to comprehend. Because they are such minor players and tend not to take themselves as seriously as the traditional characters such as Hamlet himself, they can easily bring Hamlet down to a human level. They did this in the play when they quickly flattened Hamlet’s wit. In all these respects it is plain to see how the sixties version of the play reflected the context in which it was composed.

Rosencrantz and Guildenstern’s friendship consists of giving, and taking from one another. Rosencrantz is the goofy character, whereas Guildenstern is the level-headed one. This creates a unique dynamic throughout the play of, Rosencrantz and Guildenstern are Dead. Their differences can create bickering, but they do care about each other immensely.

Rosencrantz and Guildenstern were close friends with Hamlet when they were young. Hamlet trusted them and loved them. When the King and Queen approached the two to spy on Hamlet for them, they agreed immediately. The King and Queen would pay them greatly for their service to them. Agreeing to spy on Hamlet was how Rosencrantz and Guildenstern betrayed Hamlet. Hamlet found out about his old friends very quickly. While on the boat to England, Hamlet switched out the letters that were to be sent to England with his own that asked England if "those bearers [be] put to sudden the death," (67) meaning those who delivered the letters, Rosencrantz and Guildenstern, would be killed right after the letters are opened. Hamlet felt betrayed, and so he took that and turned it back on his old friends and betrayed them by having England murder them instead of

“To be or not to be – that is the question…” (III, I, 56-) so starts Hamlet’s most famous and well-known soliloquy. In Shakespeare’s Hamlet, written in the very late 1500’s, the audience is introduced to two “comical” characters at the beginning of the play; Rosencrantz and Guildenstern. These two characters, clearly, had no clue of what is going on throughout the play; in addition, they followed orders without questioning them. Therefore, their role in the play was not clear. Ultimately, their role in the play was to support, as well as spy, on Hamlet, hence them taking orders from greater characters like Claudius. However, the comic duo serves a deeper purpose than just assisting their old childhood friend. Arguably, their role in the play is also to forecast ideas, bring out character traits to help readers understand them more, and come up with solutions to some of the questions that the play has left the readers to deal with. They are capable of accomplishing that due to their disloyal behaviors towards other characters.

Hamlet is undoubtedly one of the most well-studied and remembered tragedies in all of history. Renowned for its compelling soliloquies and thought-provoking discussions about life, death, and love, the play takes a very serious look at the topics it presents. Based on this famous work is another tragedy, known as Rosencrantz and Guildenstern are Dead. In this work, which is interwoven with the original, the namesake characters bumble about in the immense world, over which they have no control. Without a sense of identity or purpose, the two merely drift to and fro at the whim of the larger forces around them; namely Hamlet, who eventually leads them to death. The twin plays follow the same story and end with the same result – nine deaths.

Rosencrantz and Guildenstern appear to be Hamlet’s friends when in reality, they are following the king’s orders to find the true reason of Hamlet’s madness. The king believes since they are considered Hamlet’s best friends, the real reason for their sudden visit will be concealed. Rosencrantz and Guildenstern appear to be concerned about Hamlet during their visit. Upon their arrival they say: “My honored lord. My most dear lord” (2.2.225-226). Despite Rosencrantz and Guildenstern’s attempt

In Hamlet Shakespeare uses characterization to describe Rosencrantz and Guildenstern to describe how their personalities contribute to the developments of other character’s thoughts.Shakespeare made Rosencrantz and Guildenstern characters function together as a unit and are described as half men.They were meant to be some of Hamlet’s best friends but they turned out to be one of the biggest traitors of the book.Even though they are minor characters they are often used as a way of communication in between Claudius and Hamlet.For instance, after hearing that Polonius has died in the hands of Hamlet when he was caught spying around the chambers, where it should have been a private conversation between Gertrude and Hamlet, Claudius ordered Rosencrantz and Guildenstern to figure out where he had taken the body.Rosencrantz and Guildenstern rushes to Hamlet side and asks him “What have you done ,my lord, with the dead body”,( Act 4 ,Scene 2 line 5) when Claudius wanted to know where Polonius’s dead body was located, Rosencrantz and Guildenstern were the first people who were sent to go retrieve the bodies location because they had a relationship, even though different from each other, with both Claudius

There is a complementary structure between Rosencrantz and Guildenstern are dead and Hamlet in the sense that, they are written in different time periods and show different understanding on the subject at hand. In 1602, the time when Hamlet was written, people believed in church and that dead would go to heaven or hell based on their deeds , but Rosencrantz and Guildenstern are dead was written in 1960’s a time of existentialism, when existence of god and essence of life were questioned.

Hamlet is very aware of his own fate and the fate of all men: to die. He already knows of fatalism, but he cannot accept it. The thought of death perplexes and frightens Hamlet. But death, to Hamlet, is not a choice to be made. “To be or not to be, that is the question”(3.1.57). “To be or not to be” is not a choice, it is a question and a question is a thought and thus a type of freedom, but death is an end, and thus “none of our own.”

With the final scene of the play ending with all but one character dead, it stands true that his play does in fact end as The Love Song of J. Alfred Prufrock and Rosencrantz and Guildenstern are Dead due to the fact that their perspectives ending the same, with no one existing. Through Rosencrantz and Guildenstern are Dead, the perspectives of Rosencrantz and Guildenstern contrast with the actors watching them, but their outcomes are the same. Although both groups are in a play, only the other actors make that realization. Rosencrantz and Guildenstern on the other hand, are oblivious to their nonexistence. GUIL.

Going into this play, I knew it was at TCR and that was it. I didn't know what to expect from it either. When entering TCR, we were told to go downstairs. I didn't even know they had a basement, I thought it was just the regular theatre I had been to two times previous. I was very surprised to what I saw when I walked down those stairs, as well as I was intrigues by the actors, their performance, clothing, props, and set design.

Metatheatre is best defined as a “play within a play,” having the ability to either show the unlikeliness of life in art, or prove the overall theatricality of life in art. This concept expresses the fine line between illusions and realities within a play. It presents absurd and improbable actions that allow the audience to realize the overall frame of the work. Stoppard’s Rosencrantz and Guildenstern are Dead makes use of this literary technique as he takes two minor characters in Shakespeare’s Hamlet and creates a comedic play fusing together the plot of Hamlet with Stoppard’s take on the experiences of Rosencrantz and Guildenstern. Thus, he creates a the play of Rosencrantz and Guildenstern are Dead within the framework of Shakespeare’s Hamlet. Stoppard is limited in what he can and cannot do with his artistic choices and freedoms as a writer because he must ensure his plot and ideas fit within the overall plot of Hamlet, clearly illustrating the idea of metatheatricality. Along with Stoppard’s inclusion of Hamlet, he further develops the characters of Rosencrantz and Guildenstern, creating more comedic and interesting characters who are constantly confused with their role in the play.

One may believe their lives depend on fate, something destined to happen; whereas others may believe that their lives are in their own hands. The rivalry of fate versus free will is seen in our lives everyday. Shakespeare uses themes that people struggle with everyday and incorporates them into his works, Macbeth and Hamlet. There are different instruments and influences that set up in a way to determine someone’s fate; however, when people make their own choices through free will, ultimately, they alter their paths in life. In Macbeth and Hamlet, two characters struggle to obtain greater power through their own actions of free-will.