Hamlet And Rosencrantz And Guildenstern Are Dead Analysis

1141 Words5 Pages
The tragedies “Hamlet”, by William Shakespeare, and “Rosencrantz and Guildenstern are Dead”, by Tom Stoppard, are complementary plays. Each address parallel subjects, themes, and apprehensions, turning around completely diverse backgrounds, standards and cultures. Each text experiments the audience’s indulgence of the other, and both reveal the context in which they were produced. This paper compares the plays “Hamlet” and “Rosencrantz and Guildenstern are Dead”, details how the plays are related, and set outlines the standards presented in each play with comments and notes.
“Rosencrantz And Guildenstern Are Dead” encounters the readers’ indulgence of Shakespeare’s “Hamlet” and reveals the background in which Stoppard composed his play. William Shakespeare’s Hamlet, written in 1601, is a combination of assumptions and alterations, copied from the Greek classic tragedies. These contexts are clearly reflected throughout the drama, in the themes, dialogues and values represented, and include fate, destiny, death, fortune and the natural Chain of existence and religion. Stoppard’s Rosencrantz and Guildenstern are Dead was written in 1964 and staged in 1966. The play was composed to challenge traditional theatre, perspectives, morals, and conventions of a society enduring enormous changes contextually.
Stoppard only takes from the plot of Shakespeare to produce a unique drama, for Rosencrantz and Guildenstern are Dead. At the same time as Stoppard explores the ideas Shakespeare proven in his original text as he is mostly confined to the theme of Hamlet; death, direction in life, order in society and truth the two approaches it in a very different way.
Stoppard makes use of a play in another play to shadow the line that outlines re...

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... as laypeople.
The language in the texts of the dramas plays a key role, too. Hamlet’s language is to create meaning. It is a beautiful human realization, and certainly Shakespeare's language has been appreciated all over the epochs as the zenith of linguistic talent.
Conclusion
Hamlet and Rosencrantz and Guildenstern are Dead are very diverse texts. Both are very different in values, attitudes, language, setting and each challenge understanding of the other. But they are still parallel texts, in that both meet parallel issues, themes and concerns throughout their context. They also reflect to a large extent in which their written context. As a makeover of Hamlet, Stoppard encounters the morals and standards of the renaissance era while inspiring our reading of hamlet by providing an opposing perspective and making viewers think about the assumptions made on them.
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