Ros and Guil
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Transformation
In Stoppards Rosencrantz and Guildenstern are dead, the composers intention is to show part of the story of Hamlet out of the eyes of Rosencrantz and Guildenstern. It Is different to Shakespeares Hamlet because of a number of reasons.
A writer will sometimes create a character who is put into the story to provide a contrast or comparison with the main character. Such a character may be placed into a similar situation as the main character, but react differently, in order to show how much better or worse he/she is than the main character. This kind of character is called a foil. In the story Rosencrantz and Guildenstern are Dead Stoppard uses different foils to Shakespeares Hamlet. Stoppard uses Rosencrantz and Guildenstern as foils for each other. They are both in the same situation but react differently. It shows both of their personalities which enhances peoples interest in the story. Rosencrantz and Guildenstern are the main characters in the story. Hamlet is used as a plot device.
In Hamlet, Fortinbras is a young Prince of Norway, whose father the King (also named Fortinbras) was killed by Hamlets father (also named Hamlet). Fortinbras wishes to attack Denmark to avenge his fathers honour, making him a foil for Prince Hamlet.
A clear perspective of Rosencrantz and Guildensterns personalities is evident in Stoppards transformation. In Shakespeares Hamlet, it hardly shows any of their personalities at all. In Hamlet, the confusion surrounding the names of these “attendant lords” (Ros and Guil) is basically an oddly out-of-place gag concerning their insignificance. But as Stoppard moves these minor characters to centre stage, their namelessness becomes a critique of identity.
Stoppard allows the audience to function as critics during the play rather than afterward. By transplanting characters from a play we already know, Stoppard enlarges our perspective. We can see beyond the limited view of the characters of Rosencrantz and Guildenstern and critique their situation in the context of our own lives. We can see both heads and tails.
Stoppard didnt take the serious issues of Hamlet quite so seriously. Stoppards transformation is more comical and humorous
without as many important issues as Hamlet. It generally sticks to a simple but clever storyline.
The impact of society and cultural influence upon a texts composition is deep and may be viewed as reflective of the period in which it was created. Separated by several centuries of social change, turmoil, and general upheaval, the values presented within both these texts are hardly matching.
The decline in recognition of the supernatural as an influence upon humans may be viewed as (at least partly) responsible for the change in attitudes displayed between the original and transformed work.
Death is the driving force for the events of the text in Hamlet. Hamlet may be read as a revenge tragedy and in this, the consideration of the reader is drawn to the plight of Hamlet. He doesnt despair for his temporal loss, although that may be part of it. If that was the extent of Hamlets concerns, Claudius would be killed without such extensive procrastination on Hamlets part. Hamlet declares in response to killing Claudius or his own suicide- “Thus conscience does make cowards of us all” – He didnt dare to act for fear of damnation. Hamlet believed in consequence in death, while Rosencrantz and Guildenstern didnt in Stoppards creation centuries later. “Here one minute and gone the next and