Hamlet Analysis: Rosencrantz and Guildenstern Essay

Hamlet Analysis: Rosencrantz and Guildenstern Essay

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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.

Within their very first appearances in the play, Rosencrantz and Guildenstern leave a memorable imprint upon the readers’ mind. They are rather blurred characters, with seemingly little personality and relatively little distinction between them. They are also “very isolated and self-serving figure[s]” (Friendship-Introduction). They finish one another’s sentences and even when being spoken to by Gertrude and Claudius, they are referred to almost as one person (Ham. 2. 2. 35-36). The reason for this is because they are not meant to represent an actual character, or in this case, a set of characters. They are meant as a symbol, a metaphor for the betrayal and dishonesty that occurs throughout the play. We see this instantly, as we find in their very first appearance that their sole purpose of coming to Denmark was to spy on their friend (Ham 2.2.10-18). Although Hamlet views them initially as old friends, the reader is able to view them as a distant and fake, portrayed together to lend to the concept that they are an idea rather than individual characters or merely the comic relief in the play.

The biggest evidence showing the embodiment of betrayal and dishonesty within Rosencrantz and Guildenstern is when Hamlet accuses ...


... middle of paper ...


...the betrayal and dishonesty that is omnipresent in the play. Not only do they simply embody this concept, but they also serve to conclude the events of the play, by being the ending to what started the beginning.



Works Cited
"Friendship - Introduction." Shakespearean Criticism. Ed. Janet Witalec. Vol. 83. Gale Cengage, 2004. eNotes.com. 2006. 20 Mar, 2011 http://www.enotes.com/shakespearean-criticism/friendship
Shakespeare, William. Hamlet. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square-Pocket, 1992. Print.
Tiffany, Grace. "Hamlet, reconciliation, and the just state." Renascence: Essays on Values in Literature 58.2 (2005): 111+. General OneFile. Web. 20 Mar. 2011. http://find.galegroup.com/gps/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T002&prodId=IPS&docId=A143160470&source=gale&userGroupName=lom_kentdl&version=1.0

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