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Rosencrantz and guildenstern are dead as a tragy comedy
Introduction the absurdity of the absurd
Rosencrantz and guildenstern are dead as a tragy comedy
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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
The play defies easy definition and various critics have labeled it variously as absurdist, existentialist, comical, burlesque, metaphorical or grim. The playwright on the other hand maintained that all through the creation of his work he strove to bring in the comic element and any tragedy that seems part of the play, may have crept in inadvertently and whenever it has been staged as a serious play, audience reaction to it has been cold.
The business of a comedy is to raise laughter and lead to a happy conclusion, but in the modern context, comedy involves a perception of the irony that the audience is able to glean from the way in which the plot moves forward. Rosencrantz and Guildenstern are Dead is such a modern comedy, where the mindless absurdities of the duo is understood by the audience while the persons in question are blissfully unaware of their tragic fate.
The play, because of the absurdities contained in it, provide for the comic element and the protagonists engage in senseless pursuits without giving any rational thought to why they have been assigned to the task or what may be the outcome. To these absurd games, where they pose questions and provide answers to it themselves, sometimes as more questions, Stoppard brings a sense of inevitable. This inevitable is the death for which the men are destined.
Language or the way in which words are used is one of the most important components of a comedy. Through an intelligent use of word play and the ability to add
hidden meanings to comic dialogues, Stoppard keeps the play from falling into the dark abyss of the bleak realities of life as most absurdist works tend to. Rosencrantz and Guildenstern, as well as the other characters, are rescued from being mere buffoons due to the trouble their surrogate parent takes in investing them with the richness of language, which is the handiwork of the playwright, whose exquisite use of puns adds to the comic element in the play.
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...
According to Aristotle, “Comedy can be any colloquy or performance generally intended to amuse or stimulate laughter”. In modern times, comedy can be found in different forms, such as television, movies, theatres and stand-up comedy.
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?...
Minor characters play a very crucial role in Shakespear's Hamlet. They serve as narrators for events that occurred outside the immediate play: the Dane's ghost. Distinct contrasts are created through the usage of the play's minor characters. The reader gains new perspective on Hamlet's character when he is compared with Laertes. The presence of these minor characters can also have a direct effect on the action of the play. The actors in the play within the play are used to expose the guilt of Claudius; Hamlet then has proof of the King's crimes. The expertise use of these characters - either to exemplify good and purity, or to spread the vile corruption which permeates Elsinore - is one of the main reasons for Hamlet's success as one of the greatest plays ever written.
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.
Comedy differs in the mood it approaches and addresses life. It presents situations which deal with common ground of man’s social experience rather than limits of his behaviour – it is not life in the tragic mode, lived at the difficult and perilous limits of the human condition.
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.
The transformation of a Shakespearean Revenge Tragedy into an Absurd Drama means a considerable change in structure from a well-structured and rigid format, into a chaotic and formless play. Stoppard deliberately alters the configuration of the play to create a confusing atmosphere, which creates the exact feeling of society in the 1960s- no definites or certainties to rely on. Language portrays meaning in both plays- the language of Rosencrantz and Guildenstern are Dead differs to that of Hamlet. Stoppard employs meaningless colloquial exchanges, such as Rosencrantz and Guildenstern’s question game, which strongly contrasts to Shakespearean elaborate and poetic verse, as seen throughout the play, especially in Hamlet’s soliloquies- “There is sp...
In conclusion, a comic relief is used to relieve tension and to contrast serious scenes to increase the ultimate tragic nature of the play. Polonius uses his self absorbed dull personality to create humor in his scenes. Rosencrantz and Guildenstern act as the fool by their tactless actions and dialogue, their lightheartedness makes the tragic parts of the play seem all the more tragic. And finally Hamlet uses his morbid humor to intensify scenes of sorrow while he also bitterly teases others to relieve tensions at times. The comic relief in Shakespeare’s Hamlet contrasts intense scenes as to make them more intense.
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.
On the other hand, it's not true that a film or literary work must involve sexual humor or even be funny in order to qualify as a comedy. A happy ending is all that's required. In fact, since at least as far back as Aristotle, the basic formula for comedy has had more to do with conventions and expectations of plot and character than with a requirement for lewd jokes or cartoonish pratfalls. In essence: A comedy is a story of the rise in fortune of a sympathetic central character.
Tom Stoppard the author of Rosencrantz and Guildenstern are Dead is a British play-writer born in Czech. Stoppard wrote Rosencrantz and Guildenstern are Dead in 1964. The exposition of the play begins with Rosencrantz and Guildenstern flipping coins that favors Rosencrantz request for heads 100 to 0. The play then continues with Guildenstern questioning if they have entered a new dimension in which the laws of chance and time are absent. Rosencrantz and Guildenstern are then faced with the question of why they are traveling. The rising action continues with the encounter of the player, the leader of a group called the tragedians. Rosencrantz and Guildenstern are given a mission to probe Hamlets distraught mind, during the journey Rosencrantz and Guildenstern demonstrate the inability to make their own decisions that inevitably lead to their deaths. Rosencrantz and Guildenstern’s inability to make their own choices leading them to death demonstrates the theme of death and freewill in the play.
When they approach Hamlet they appear to be Hamlet’s friends: “My honored lord. My most dear lord.” (II.ii.225-226). Although Rosencrantz and Guildenstern appear to care about Hamlet’s problems, their inquiry of his problems are not sincere; they are simply there to abide by the king’s orders. Hamlet knows they were sent by the king and makes fun of them, refusing to tell the reason behind his insanity. Hamlet understands that Rosencrantz and Guildenstern are not concerned about his insanity out of compassion and friendship but instead are only caring as a favor for Claudius.
Writers at the time such as Aristophanes and Menander wrote comedy similarly to how we do today, mocking politicians, fellow writers, and Greek philosophers (Mark Cartwright). The word ‘comedy’ is derived from Middle English, from Medieval Latin comoedia, from Latin, ‘drama with a happy ending’ (Merriam-Webster). This joyful type of performance may be why we commonly use the word ‘comedy’ to talk about jokes, humor, and hilarious performers. Comedy is meant to bring us joy and relief from reality’s negativity. Mary O’Hara wrote about comedy for a BBC article titled “How Comedy Makes us Better People”: “Comedy is more than just a pleasant way to pass an evening, humour more than something to amuse. They’re interwoven into the fabric of our everyday existence. Whether you’re sharing an amusing story down the pub, making a self-deprecating joke after someone pays you a compliment or telling a dark joke at a funeral, humour is everywhere. (O’Hara)” This is certainly an accurate statement about modern comedy. Comedy is not sadness, but rather a way to forget the woes of everyday life. What is the point in humorous incidents and ridiculous jokes if they do not make a person smile or laugh so hard their gut
William Shakespeare's plays come in many forms. There are histories, tragedies, comedies and tragic comedies. Among the most popular are the comedies which are full of laughter, irony, satire and wordplay. Many times the question is asked: what makes a play a comedy instead of a tragedy. Shakespeare's comedies often use puns, metaphors and insults to provoke 'thoughtful laughter'. The action is often strained by artificiality, especially elaborate and contrived endings. Disguises and mistaken identities are often very common. Opposed to that are the tragedies, where the reader would find death, heartbreak, and more serious plots and motives. The plot is very important in Shakespeare's comedies. It is often very convoluted, twisted and confusing, and extremely hard to follow. Other characteristics of Shakespearean comedy are the themes of love and friendship, played within a courtly society. Songs often sung by a jester or a fool, parallel the events of the plot. Minor characters, which add flavor to the plot, are often inserted into the storyline. Love provides the main ingredient. If the lovers are unmarried when the play opens, they either have not met or there is some obstacle to their relationship. Examples of these obstacles are familiar to every reader of Shakespeare: the slanderous tongues which nearly wreck love in "Much Ado About Nothing", the father insistent upon his daughter marrying his choice, as in "A Midsummer Nights Dream", or the confusion of husbands in "The Comedy of Errors".