Hamlet And Rosencrantz And Guildenstern example essay topic

How has the composer of the contemporary text used the earlier text to say something new? The text Rosencrantz and Guildenstern are Dead by Tom Stoppard can be seen as being a derivative text of Hamlet, by William Shakespeare. The two text share similar themes and tone, and the plot of Rosencrantz and Guildenstern are Dead revolves around two minor characters from Hamlet. There is however a sense of transformation involved; Stoppard has, in a sense, expanded and further explored the issues involved in Hamlet. Hamlet can be seen as being the inspiration behind Stoppard's Rosencrantz and Guildenstern are Dead. The similarities in theme and tone spring mostly from Stoppard's use of the discussion of death, his portrayal of appearance versus reality and his interpretation of fate and destiny.

These themes are discussed in much the same way as in Hamlet, with Stoppard adding originality to the text, Rosencrantz and Guildenstern are Dead. The different themes are explored and examined through the plots of both texts, and the different characters are used to ask questions pertaining to the meaning of human existence and concerning life after death. The two plays are able to be examined in concurrence for the simple reason that their themes, tone and techniques are so similar. By using Hamlet as a starting point for Rosencrantz and n junction with one another.

Death is indeed a theme that is prevalent throughout both texts. In Hamlet death is discussed with reference to murder, suicide and accidental death. Old Hamlet, Polonius, Gertrude, Claudius, young Hamlet, Rosencrantz and Guildenstern all meet their deaths at the instigation of another character with Ophelia being the only character to die accidentally or unintentionally. Death is discussed in the form of suicide by Hamlet, "O that this too, too solid flesh would melt" (Act 1, Scene 2), after his father's murder. All the deaths in Hamlet can be seen as being exaggerated and theatrical, with graphic descriptions to go with them, while in Rosencrantz and Guildenstern are Dead, death is shown as the simple failure to reappear. When Rosencrantz and Guildenstern die, the audience knows only by their failure to reappear on the stage at the end of the play.

Death is a topic that is often talked about in Rosencrantz and Guildenstern are Dead. The two characters of Rosencrantz and Guildenstern discuss what exactly death is. This is a major feature of the play and can be seen as an extension on Hamlet. The issue of what comes after death is also a question that is often raised throughout the play. A possible explanation is offered by Guildenstern when he says "Death is... not. Death isn't.

You take my meaning. Death is the ultimate negative. Not being". (pg 99) This is a somewhat nihilistic belief and is an example of the philosophical angle that is evident throughout the play. Death is also discussed in Rosencrantz and Guildenstern are Dead through the character of the Player.

This character is used by Stoppard as a theatrical device, much like the Chorus of classical plays. This character serves the dual purpose of examining the theme of death in connection to the theme of appearance versus reality. The character or rather the occupation of the player is discussed by Rosencrantz and Guildenstern in relation to death. Stoppard uses the character of the Player to suggest that death is not something that can be pretended or faked. Stoppard does this through the statements of criticism made by Guildenstern, for the way the Player and his fellow actors try to make death as theatrical and dramatic as possible. This can be seen through Guildenstern's thought that "Dying is not romantic, and death is not a game that will soon be over...

Death is not anything... death is not... It's the absence of presence, nothing more... ". (pg 116). This idea is expressed quite often in the play and can be seen as an extension on Hamlet, where the idea of the acting death being impossible is not expressed. This idea is unique to Rosencrantz and Guildenstern are Dead due to the fact that the character of the Player in Hamlet plays such a minor role while in Rosencrantz and Guildenstern are Dead he is given a role that can be seen as being one of the three largest in the whole play. Stoppard uses the discussion about the player and his profession to extend on the Player's character. Instead of making the character of the Player a focus of Hamlet the device of the play is used by Hamlet to enact a game of 'cat and mouse' with Claudius.

In Rosencrantz and Guildenstern are Dead, the character of the Player is extended and expanded on so that, like Rosencrantz and Guildenstern, he is given a major role compared to the minor one he had in Hamlet. Another theme that can be seen as being ubiquitous in both plays is that of appearance versus reality. All themes in the plays can be seen as being linked in some way to each other and so the themes of death and fate and destiny are often found to be tied to that of appearance versus reality. The two plays have different ways in which the idea of appearance versus that of reality is expressed or explained. There are different devices that are used throughout Hamlet and Rosencrantz and Guildenstern are Dead to examine this idea and through which this theme is explained. In Hamlet the concept of Hamlet's "antic disposition" is used to express the idea of something being hidden.

Hamlet employs the feigned madness for the simple reason that he believes that this will enable the other characters to express themselves more freely. In other words he plays at something or hides a reality to find another reality that is hidden. He pretends to be mad to learn the truth about his father's death and Claudius' involvement in it. In Rosencrantz and Guildenstern are Dead however the idea of appearance versus reality is present through the perception of Hamlet and his interactions with Rosencrantz and Guildenstern. Hamlet mistrusts them and comes to see them as deceitful, at one stage calling Rosencrantz "a sponge" and implying that he was sent to Ellsinore by the King to 'spy' on Hamlet and to find out his secret; what is at the heart of his madness. Stoppard has used his own interpretation to show Rosencrantz as Guildenstern as two men who have no control over their lives and who are constantly being maneuvered by people in positions of authority i.e. Claudius.

In other words Hamlet sees two former friends who are following the orders of someone who he considers his enemy, when in actuality they are two characters who have no control and are stumbling through their lives and being maneuvered by someone else. It is only at the very end of Rosencrantz and Guildenstern are Dead that Rosencrantz and Guildenstern themselves realize that they have been controlled by someone else "We " ve traveled too far, and our momentum has taken over; we move idly towards eternity without possibility of reprieve or hope of explanation". This explanation for Rosencrantz's and Guildenstern's behavior and actions is unique to Stoppard's Rosencrantz and Guildenstern are Dead, and can be seen as a way that Stoppard has created something original from the previous text of Hamlet. In this way the theme of appearance versus reality can be seen as being extended on by Stoppard in Rosencrantz and Guildenstern are Dead and Stoppard's text can be seen as being original in its approach to this theme. The third key theme that is explored in these texts is that of fate and destiny. This theme is discussed frequently in both texts and is linked to the other two major themes of death and appearance versus reality.

In Hamlet this is discussed through the idea that Hamlet's actions have taken him to a stage where the only possible resolution that can be found is that of his death. In other words his choices at the different stages of confrontation of the play, Polonius' death for example, have led him to a point where the only way that the situation can be resolved is if the reactant; Hamlet is taken out of the picture. It is his fate to die trying to revenge his father. Towards the end of the play it is possible to see that Hamlet too knows that his actions will have consequences, and tells Horatio that he is prepared to deal with them "If it be now, 'tis not to come; if it be not to come, it will be now; if it will be not now, yet it will come - the readiness is all". Here it is possible to see that Hamlet has come to accept that he will die and that there is nothing that will stop this occurring. He is ready to die and when Horatio begs him to stop the duel, Hamlet explains that death will come whether it is now or later.

Hamlet can be seen as having had control over his actions and therefore his death is his fate. This can be seen as being a contrast to Rosencrantz and Guildenstern are Dead, due to the fact that Hamlet has some semblance of control, while Rosencrantz are pawns; being controlled by someone else. In Rosencrantz and Guildenstern are Dead it is not many choices at different stages that lead to the characters' fate; rather it is one choice, at one stage that gives direction to the rest of the text. It is this choice that leads to their eventual death.

It should be noted that even this choice is made at the instigation of someone else, in this case Claudius. His request that they come to Ellsinore is the. ".. moment at the beginning where we (they) could have said no... ". .

This is noted by Guildenstern on page 117. He also notes that. ".. somehow we missed it", it is at this point that the audience becomes aware that Rosencrantz and Guildenstern are aware of their fate as the viewer. It is their fate to die because that is their end in -Hamlet, from the outset the audience knows that Rosencrantz and Guildenstern have to die because this text is a derivative text, and as such has to follow the rules placed out for it by the original text. Along with this is the idea that their fate is decided for them by someone else and as such they have no control over whether they live or die. It is the way that Stoppard is able to extend on the characters presented by Shakespeare and give them original and unique personalities that are more complex than those in Hamlet.

These two texts can be seen as being linked through the themes and tone that they share as well as through the characters and the way they interact with their environment. Rosencrantz and Guildentsern's interactions with Hamlet and the other major characters seem superficial when they are looked at only through the text of Hamlet. It is only when this text is regarded in conjunction with the text of Rosencrantz and Guildenstern are Dead that the audience is able to appreciate the two title characters and their unique personalities properly. In this way it can be seen that through his manipulation of theme and tone and his extension of the characters of Rosencrantz and Guildenstern, Stoppard has been able to create something new and original and form it into a full text. He is able to create a new text using the same themes that are present in Hamlet, but extending them to sculpt a unique text full of detail and the intricacies of developed characters. Stoppard has used the original text of Stoppard has used the original text of Hamlet, to create something new and although similar in theme and tone, quite different to that of the earlier text by William Shakespeare..