The pacific trudge of the passing months was finally coming to an end. The televisions in my house were mute, conversations between me and my sisters had stopped, the music was speechless. We waited. As the man dressed in a pressed blue uniform pulled up in his white box-like truck, my youngest sister slid and sprinted down the icy driveway, ready to receive the mail. She screamed back up to me; I was waiting at the top of the driveway. She used her muscular track legs to plunge herself up the driveway in order to hand me the letter that would shape or crush my future. She held my college acceptance letter. I frantically received it and carelessly ripped open the note. I was accepted. After a long, murky moment, my sisters saw my undeniable happiness and drew sighs of relief.
Growing up as an American teenager, I had prepared my whole life thus far. I was taught to prepare and plan my life against uncertainty. Although I had prepared and worked very diligently to get into my first choice of college, in the moments before I read the word “Congratulations!” in my acceptance letter I was left powerless in a dark, frightening, uncertainty. Although I would like to think my life is certain, controllable, and safe, I have learnt through the works Rosencrantz and Guildenstern are Dead by Tom Stoppard and Lewis Thomas’s Crickets, Bats, Cats, and Chaos, that life is far from certain; furthermore, one can and should try to fight against the randomness of the universe, but uncertainty will always exist.
In Stoppard’s play, Rosencrantz and Guildenstern are Dead, the two minor characters, Rosencrantz and Guildenstern, who are taken and further developed from Shakespeare’s play Hamlet, struggle, like regular people, with the confusion and ov...
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...itrary they may be, in order to escape the unknown. There is nothing incredibly wrong with this tactic; however, when one eventually realizes how many holes there are in one’s blanket of knowledge, sometimes one can become overwhelmed like Rosencrantz and Guildenstern. In order to avoid being ruined by uncertainty, I believe one must fight against the randomness of the world. Know that a person has limited control, but realize one does have the power to make certain choices that can help stitch the holes of one’s security blanket. If I failed all my classes, was lazy, and submitted myself to the randomness of the universe, my chances of being accepted to my dream school, Fairfield University, would be have much smaller. That is why I believe one must not accept the holes in one’s security blanket. One does have some power, as small as it may be, to shape one’s life.
Rosencrantz and Guildenstern are foils to Hamlet. The two are introduced as friends to Hamlet. But also they are like messengers for the king. Hamlet learns of their treachery to him, there dual loyalty to he and the king. This is introduced in his conversation with the queen where he says, “My two-school fellows, whom I will trust as adders fanged”. They obey whatever the King’s orders not thinking of what there outcome is in the bigger picture. The men are foolish in this way, not thinking about what is really hap...
Of the four young men who occupy a place in the life of Hamlet, Rosencrantz and Guildenstern appear, at least initially, to be his closest friends. They are schoolmates at Wittenburg, and Hamlet greets them both amicably, remarking, " My excellent good friends! How dost thou,....." Queen Gertrude affirms the status of their relationship when she says, "And sure I am two men there is not living to whom he more adheres." Rosencrantz and Guildenstern are unaware, however, of the real story behind the death of Hamlet’s Father. They do not have the benefit of seeing his ghost, as Hamlet has. Rosencrantz and Guildenstern are very loyal to the new King. Unlike Hamlet, they initially have no reason not to trust Claudius. But they become unwitting and unknowing pawns for both factions. Their relationship with Hamlet begins to sour. Hamlet realizes what the King is up to, and he becomes distrustful of the two. "’Sblood, do you think I am easier to be played on than a pipe?...
In Rosencrantz and Guildenstern’s world, however, things couldn’t get much worse with the main figures, knowing that the end of them is programmed in the title of the play. As adaptation, ‘Rosencrantz and Guildenstern are dead’ happens to be locked in the end set in the initial play. This causes a deep pessimism sense in the play that cries over the absence of change and action, based on the knowledge of the audience that the only change possible will happen to cause the protagonists death.
Coming out of my senior high school was one of the most difficult tasks I 've been given up to this point in my life. I was overwhelmed, excited, sad, busy, and uncertain of the near impending future. The past 13 years of my life I had been studying, practicing, playing, and working my way towards a brighter future. I could see the future in front of me, it was as if I could reach out and touch it. It was almost like getting a shot at the doctors, I knew it was what was best for me but I was terrified anyway. But I pushed aside my fears and on August 8, 2015, I set foot on a college campus, my home for the next four years. I knew why I was there though; I came to college in order to channel the love I have for my country into the motivation necessary to take the next step up the ladder towards a constitutional law degree, a degree I’ll use to protect this country and the people who reside in it. But to truly understand why I came to college, I have to start at the beginning.
The play Rosencrantz and Guildenstern Are Dead, constantly displays a massage associated with the identity of the individual characters and the metaphor the represent in regards to the audience itself. At the very beginning of the play Rosencrantz and Guildenstern are introduced for the first time to the band of actors on the road however, as soon as the introduction takes place the names are reversed and they are introduced by the others name. This confusion of the two actors as to which is Rosencrantz and which is Guildenstern, helps the audience to understand that the two on stage are serving as a mirror to those watching the performance. Throughout the play the topic of identity is resurfaced and the audience i...
Stoppard gives Rosencrantz and Guildenstern an existence outside ‘Hamlet’, although it is one of little significance and they idle away their time only having a purpose to their lives when the play rejoins the ‘Hamlet’ plot, after they have been called by the King’s messenger: “There was a messenger...that’s right. We were sent for.” Their lives end tragically due to this connection with ‘Hamlet’, predetermined by the title, but the role provided them with a purpose to their otherwise futile lives, making them bearable. Their deaths evoke sadness and sympathy leaving the reader grieving for them.
Being accepted to college can be the most exciting time of a person’ life while also being the most disappointing. According to an article from Forbes, titled “Too Poor For College, Too Rich For Financial Aid,” author Robert Farrington wrote a story about his daughter’s college application experience. She patiently awaited to hear back from her top choice school, the prestigious John’s Hopkins University. After months of pure anxiety, a giant envelope arrived in the mail. The colorful exterior gave away the seemingly great news that the envelope enclosed. After opening the envelope, her acceptance letter revealed itself. According to Farrington, at first, the family was over joyed. Their kid got into her top choice college! But after moving
The relationship between certainty and doubt has been a heavily debated topic throughout history and especially in the mid-1800s. For most people, having some doubt on one’s opinions is much more beneficial than having absolute certainty because doubt allows one to review his potential choice and leaves room for him to make improvements on his choice. Someone who lives with absolute certainty cannot weigh the pros and cons because he has the confidence that what he believes is the right decision for everyone; however, there are situations in one’s life where absolute certainty is necessary, such as in team sports. With the exception of competitions, however, it is more important for one to have doubt in his or her life because doubt allows
Rosencrantz and Guildenstern are Dead (R and G…) by Tom Stoppard is a transformation of Shakespeare’s Hamlet that has been greatly influenced due to an external contextual shift. The sixteenth century Elizabethan historical and social context, accentuating a time of questioning had specific values which are transformed and altered in Stoppard’s Existential, post two-world wars twentieth century historical and social context. The processes of transformation that are evident allow the shifts in ideas, values and external contexts to be clearly depicted. This demonstrates the significance of the transformation allowing new interpretations and ideas about reality as opposed to appearance, death and the afterlife and life’s purpose to be displayed, enabling further insight and understanding of both texts.
Throughout the play Hamlet, there are many symbols, characters, themes and motifs which have very significant roles. Within the context of characters, those with the greatest impact are more often the major characters than the less significant. However, in the case of one pair of characters, it is rather the opposite. The use of the characters Rosencrantz and Guildenstern in Hamlet is for more than just comic relief. They are a representation of the betrayal and dishonesty that runs deep within the play.
Maguire, K. C. (2007). “Will it ever end?”: A (re) examination of uncertainty in college student
Rosencrantz and Guildenstern are Dead, a play in three acts by Tom Stoppard, is a behind the scenes look at what happens in Shakespeare's Hamlet and how the events in the play may have seemed to other fringe characters. These characters are of very little relevance and even if they are removed from the scene of action, with the grotesque act of hanging by death, the impact on the actual play is minimal
Stoppard's absurd comedy, Rosencrantz and Guildenstern Are Dead is a transformation of the Shakespeare's revenge tragedy Hamlet. They both contain common characters and events but are separated by their historical, social and literary contexts. The plays are also different in language, theatrical style, values, character and themes.
Rosencrantz and Guildenstern are Dead is a play written by Tom Stoppard and is seen as absurdist in nature. Tom Stoppard wrote the play based off of Shakespeare’s play Hamlet, but tells the story from Rosencrantz and Guildenstern’s point of view. In Rosencrantz and Guildenstern are Dead, Stoppard develops existentialist ideals through the main characters of the play.
Rosencrantz and Guildenstern are Dead, written in the 1960s by playwright Tom Stoppard, is a transforation of Shakespeare’s Hamlet. Stoppard effectively relocates Shakespeare’s play to the 1960s by reassessing and revaluating the themes and characters of Hamlet and considering core values and attitudes of the 1960s- a time significantly different to that of Shakespeare. He relies on the audience’s already established knowledge of Hamlet and transforms a revenge tragedy into an Absurd drama, which shifts the focus from royalty to common man. Within Rosencrantz and Guildenstern are Dead, Stoppard uses a play within a play to blur the line that defines reality, and in doing so creates confusion both onstage- with his characters, and offstage- with the audience. Using these techniques, Stoppard is able make a statement about his society, creating a play that reflected the attitudes and circumstances of the 1960s, therefore making it more relevant and relatable to the audiences of that time.