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The Tragedy of Hamlet by William Shakespeare Essay

Decent Essays

The dramatic presentation of Rosencrantz and Guildenstern Are Dead adapts the formal revenge tragedy of Hamlet to a more contemporary Absurdist black comedy. Resounding with the original through its intertextual allusion, yet maintaining integrity as a separate text, the play illustrates Stoppard’s Post-modern existentialist context. This recognises that the 20th century absurdist audience no longer hold Elizabethan beliefs. Scenes are extracted from the Shakespearean Hamlet and reproduced for the contemporary context, relevant to the 1960s – described simply as: “we do onstage the things that happen off”. In this alternative world, Hamlet’s tragic hero status is marginalised, “the exterior and inward man fails to resemble”, while his …show more content…

While R&G continue to ponder, “We have not been picked out simply to be abandoned. We are entitled to some direction.” – The dramatic irony of the play’s title presents the inevitable. With an absence of soliloquies, they have not the free will to be decisive or aptitude as individuals. Also, their interchangeable identities emphasise ambiguous existence, as Gertrude (“Good…Gentlemen”) and absurdly, neither themselves can differentiate each other “Rosen…Guil?” The metatheatrical stage subsequently becomes a symbolism of post-modern life, such that “events must play themselves out to an aesthetic, moral and logical conclusion”, emphasising R&G’s confinement to the Hamlet script. Their sense of existence therefore becomes so weak, that Ros (…or was it Guil?) comes to the realisation “We may as well be dead, there is no choice involved”. Their deaths; symbolised by a mere vanishing “now you see me, now you…” represent the insignificant casualties of 20th century political intrigue. Of course once again, their deaths evoke little sympathy.

In their futile search for reality, the protagonists of Hamlet and RAGAD falter in the face of deception. Hamlet demonstrates the difficulties of seeing realities behind the world of outward appearances, “God hath you one face, and you make yourself another!” – Of Claudius’ guilt, of Ophelia’s innocence, and his own state of sanity. The numerous facades result in melancholy, realising that “one can smile and smile and be a villain”. His

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