...Despite deriving from the exact same setting, Rosencrantz and Guildenstern Are Dead and Hamlet are very different in many ways, such as context, overall perspective, structure, conveyance, supposed truths, and message. In Shakespeare’s Hamlet, the plot has a specific structure which contains a beginning, middle, and end. By the conclusion of the story, the story or problem has been resolved. Most, if not all, parts of the story serve a specific purpose in its portrayal and more importantly result. In Rosencrantz and Guildenstern Are Dead, by Tom Stoppard, the story’s structure focuses on the processes that occur in the story, not the results. Its plot is characterized by a lack of control and a sense of chaos, as shown by many scenes in the play, to share the awareness at the time of life’s lack of purpose. Guildenstern asks Rosencrantz for him to recall the “first thing that happened today” (17), despite hesitantly replying that they were sent for, an uncertainty in what their purpose is serving lingers in the air, and persists throughout most of the play. Also, the perspectives displayed in both stories differ in their purpose. In Hamlet, the audience is emotionally invested and involved with Hamlet’s tale. Hamlet experiences melancholy and suffering, and death in the plot is characterized dramatically. In the conclusion, the experiences and emotions of the audience lead to catharsis because the loose ends have been tied. In Rosencrantz and Guildenstern Are Dead, the audience is...
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...Similarities: 1. In both Hamlet and The Lion King, the uncle kills the king. 2. Both Hamlet and Simba are the rightful heirs. 3. Both Hamlet and Simba have a love interest. 4. Both Hamlet and Simba are royalty. 5. In both Hamlet and The Lion King, the dead fathers make appearances. Simba’s father appears from heaven and looks down on him while Hamlet’s father appears as a ghost. 6. The kings in both Hamlet and The Lion King were virtuous. 7. The uncles in both Hamlet and The Lion King are not virtuous. 8. Both Hamlet and Simba are misunderstood. 9. Both Hamlet and Simba try to put off what they were supposed to do. Hamlet is supposed to get revenge for his father’s death, and Simba is supposed to reclaim the throne. 10. Neither Hamlet nor Simba really want to kill his uncle. 11. In both Hamlet and Rosencrantz and Guilderstern are Dead, Rosencrantz and Guildenstern betray Hamlet. 12. In both Hamlet and Rosencrantz and Guilderstern are Dead, Rosencrantz and Guildenstern, Hamlet’s childhood friends, can understand Hamlet better than anyone could. 13. In both Hamlet and Rosencrantz and Guilderstern are Dead, Rosencrantz and Guildenstern discuss how they might probe Hamlet for discovering the cause of his supposed madness. 14. In both Hamlet and Rosencrantz and Guilderstern are Dead, Rosencrantz and Guildenstern go along with Hamlet’s plan of having everyone attend the play. 15. In both Hamlet and Rosencrantz and Guilderstern are...
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...Claudius has summoned Rosencrantz and Guildenstern to spy on Hamlet as a result of his suspicious madness and dramatic change of behavior. Rosencrantz and Guildenstern are to check up on Hamlet because they bear respect and long-time friendship with him. In spite of Claudius’s expression of grave concern for Hamlet’s change, he, however, summoned Rosencrantz and Guildenstern for self-promotion. After sending away Rosencrantz and Guildenstern, Polonius enters and exclaims that he believes he has found the cause of Hamlet’s madness. Before speaking, he insists that the ambassadors may speak first. They then reported that the King of Norway figured out that Fortinbras’ had intended to invade Denmark; but, the King rebuked Fortinbras and...
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...Shakespeare’s classic tragedy, Hamlet, there are several sets of foil characters. The foils, similar but different to their more prominent counterparts, highlight the worse and the better in those characters. The most obvious foil would, of course, be Laertes to Hamlet--they have different views and sides, but are both violent men who seek revenge for their fathers’ murders. However, there are also foils within the side characters: in this case, we see Horatio, a devoted servant and companion to Hamlet, and Rosencrantz and Guildenstern, hands for the opposing side. Just as with any foils, they have clear differences, but are quite similar in their roles. Rosencrantz and Guildenstern act as a foil to Horatio in their role as the corrupt version...
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...explored and explained through countless stories and books over time. Shakespeare's Hamlet is no exceptions as the character Hamlet has unique relationships with Horatio as well as Rosencrantz and Gildenstern which dictate different types of friendships. Hamlet seems to have a genuine relationship with Horatio and trusts him while his interactions between Rosencrantz and Gildenstern show another story. He is more suspicious of them and knows that they are working for the king and queen so he isn't always honest with them and ends up turning on them. These two types of friendships show the idea of a real friend and someone playing the part or befriending someone to gain something else....
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...Rosencrantz and Guildenstern Are Dead, published in 1966, was Tom Stoppard’s second play to write, and was one of the biggest hits out of all he wrote. The play was based off the play Hamlet. In Rosencrantz and Guildenstern Are Dead, Rosencrantz struggles with the vagueness of reality and how unavoidable death is through his journey in finding and taking Hamlet and the letter to England. During his journey, Rosencrantz is conflicted by not knowing or having control over his fate. While Rosencrantz is on a boat heading to England with Hamlet, he is worried about what is going to happen once he gets there. “But we’ve got nothing to go on, we’re out on our own.” “We won’t know what to do when we get there.” (Act 3, pg. 104). Rosencrantz...
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...English 203 October 24th 2012 Hamlet Question Set ACT I 1. What happens when Francisco and Bernardo meet at the beginning of scene1? Where are they, and when? Why is Horatio with Bernardo and Marcellus there? The play, begins in Elsinore with Francisco, who is waiting for Bernardo to relieve him of his duty right after midnight. Bernardo calls wondering who is there, to which Francisco replies that Bernardo should tell him who he is first. 2. What is Horatio's initial response to the story of the apparition? Horatio’s initial response is skepticism, as in disbelief. 3. What does Horatio first assume the appearance of the ghost means (1.1.)? He assumes it must mean that there is something wrong with the government. 4. What happens when the ghost appears for the second time (I.I)? Horatio asks the ghost why it had come in the first place and the reason behind such appearances 5. What do we know so far about the nature of the ghost? Do we know yet if it is a "good" ghost? Summarize the circumstances surrounding the first encounter with the ghost. The ghost is Hamlet’s father; one can categorize him as good because he explains to Hamlet the real reason behind his death. 6. Identify Hamlet’s first Soliloquy in Scene 2. What is it that is really bothering him about what has happened since his father's death? How would you describe the tone of his feelings? In his first soliloquy he mourns his father. It is a passionate and startling passage that...
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...ROLES Hamlet: Son Huynh Laertes: Queenie Lee Ophelia: Cecilia Young Horatio: Sam Ng Messenger/ Captain: Mark Bengco Queen (Gertrude): Maggie Guan Gentleman: Brian Flores Narrator: Tracy Santa Ana Fortinbras: Hung Dam King (Claudius) Eric Tan Sailor: Hannah Ramierz Guildenstern: Norman Chen Rosencrantz: Delmy Lopez ACT IV Scene 1: [Enter KING and QUEEN, with ROSENCRANTZ and GUILDENSTERN] King: What’s wrong? Where’s Hamlet? Queen: Rosencrantz and Guildenstern, can you give us a moment? [ROSENCRANTZ and GUILDENSTERN exit] You won’t believe what I saw today! King: What do you mean? What did Hamlet do? Queen: He was acting crazy! He was mad as hell. He apparently heard something behind the curtains and thought it was a rat so he pulled out his knife and stabbed it. The rat turned out to be Polonius! King: What?! Well, well, well.. what should we do now?! We were supposed to keep an eye on him and now look what happened… We can’t let anyone know about this. Where is he? Queen: He took the Polonius’s body with him. But please don’t be too harsh on him. He’s my only son. I think he regrets what he has done. King: Gertrude, you don’t understand. We need to send Hamlet away before anyone finds out about this. Rosencrantz! Guildenstern! Come in! [Enter ROSENCRANTZ and GUILDENSTERN] Listen to me, you two. Hamlet just killed Polonius and took the body with him. You need to find him immediately and bring the body back to church. HURRY! [ROSENCRANTZ and GUILDENSTERN...
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...because it looked like Hamlet walked into her room as if he just came back from hell. Polonius fears that his decision to get Ophelia to stop seeing Hamlet and to keep them from communicating as often may have been the cause of what has happened to Hamlet. Rosencrantz and Guildenstern are former friends of Hamlet from Wittenberg. The King and Queen invited Rosencrantz and Guildenstern to Elsinore because the King and Queen need their help with Hamlet. They want Rosencrantz and Guildenstern to spend some time with Hamlet to see if they can get Hamlet to have fun and find out if anything is bothering him....
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...The Tragedy of Hamlet, Prince of Denmark ASCII text placed in the public domain by Moby Lexical Tools, 1992. SGML markup by Jon Bosak, 1992-1994. XML version by Jon Bosak, 1996-1999. Simplified XML version by Max Froumentin, 2001. The XML markup in this version is Copyright © 1999 Jon Bosak. This work may freely be distributed on condition that it not be modified or altered in any way. Table of Contents Act 1 .................................... p. 5 Scene 1 .................................... p. 5 Scene 2 .................................... p. 11 Scene 3 .................................... p. 20 Scene 4 .................................... p. 24 Scene 5 .................................... p. 28 Act 2 .................................... p. 36 Scene 1 .................................... p. 36 Scene 2 .................................... p. 40 Act 3 .................................... p. 61 Scene 1 .................................... p. 61 Scene 2 .................................... p. 67 Scene 3 .................................... p. 81 Scene 4 .................................... p. 84 Act 4 .................................... p. 92 Scene 1 .................................... p. 92 Scene 2 .................................... p. 93 Scene 3 .................................... p. 95 Scene 4 .................................... p. 97 Scene 5 .................................... p. 100 Scene 6 .................................... p. 108 Scene 7 ......................
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...Trust is an issue that is often problemcatic. In the play Hamlet by William Shakespeare, the character Hamlet trusts only a small number of people. He hides his real personality and opinions from his friends and family. Hamlet, to fool others, often changes his character. He questions the loyalty of his friends and family. In the play, friends and family cannot be trusted. Hamlet does not trust those who are close to him because of the numerous betrayals from his family and friends. Hamlet is unable to trust others due to the fact that his family and friends are willing to betray him. When Hamlet’s mother remarries, he speaks of how he feels he has been betrayed by his mother: “‘By what it fed on, and yet within a month – Let me not think on’t; frailty, thy name is woman! … Would have mourn’d longer, - married with my uncle, My father’s brother, but no more like my father … With such dexterity to incestuous sheets! It is not, nor it cannot come to good; But break my heart, for I must hold my tongue!’” (Act I scene II, 145 – 159.) Hamlet feels betrayed by his mom because of her marriage to his uncle, but he cannot voice his opinion to her. Along with his feelings of betrayal, he feels angry about her quick decision to marry again. He links her quick remarriage with her inability to control her sexual desires. He is furious at the fact that his mother prefers instant pleasure over love, and feels that his...
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...experiencing it first hand. In William Shakespeare’s Hamlet, he explores many inner conflicts and demons, which have lead to numerous obsessions. Throughout the play Hamlet is consumed with his obsessive behaviour. This can be seen through his love for Ophelia, getting revenge on the King and those who have hurt him, and his suicide. To commence, Hamlet and Ophelia have a relationship where on one side Ophelia’s love is a true feeling and on the other Hamlet’s love is more of a physical obsession. As Hamlet’s obsession with Ophelia grows he becomes more physical with their relationship in public: “Hamlet: (Laying down at Ophelia’s feet) Lady, shall I lie in your lap? Ophelia: No, my lord. Hamlet: I mean, my head upon your lab”(III. ii. 108-110), and continues on with “That’s a fair thought to lie between maids’ legs” (III. ii. 114). As Hamlet wants a more physical relationship with Ophelia, he starts to make more public scenes. This evolves his obsession because she does not stop his physical actions in public. Also, Hamlet becomes more protective over Ophelia and her actions and reputation around the castle: “We are/arrant knaves all, believe none of us. Go thy ways to a/nunnery” (III. i. 128-130). Hamlet wants Ophelia sent to a nunnery to protect her chastity. He does not want her reputation to be ruined around the castle because of his actions and therefore, his best interests are thought of for his love Ophelia. Finally, Hamlet demonstrates his love for Ophelia when he announces...
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...life is. According to Dr. S. C. Mundra there are seven characteristics of Absurd Theatre: 1) Life is essentially meaningless, therefore miserable. 2) There is no hope due to the inexorable unavailing of human efforts. 3) Reality is intolerable unless relieved by dreams and illusions. 4) Man is infatuated with death. 5) There is no plot and no action. 6) The final scene in the play is absurd or comical. 7) There is no purpose therefore problems are not solved. Rosencrantz and Guildenstern Are Dead is a play within a play. The play is supposed to show you what Rosencrantz and Guildenstern do behind the scenes of Hamlet. Tom Stoppard wrote this play with the theme of absurdity. Rosencrantz and Guildenstern Are Dead meets absurd theater characteristics. Although, the play is supposed to fill in the blanks of Hamlet, there is no true plot. In the play, life is essentially meaningless, reality is unbearable, they are fascinated by death, the final situation is just comical, and there is no purpose. Nearly every aspect of Hamlet meets absurd characteristics. The characters essentially have no idea what they’re doing. Therefore, it’s often hard to follow due the fact that they themselves...
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...Hamlet, a tragedy about how Prince Hamlet of Denmark seeks to and eventually exacts revenge on his uncle King Claudius for murdering his father King Hamlet, explores a number of themes, each contributing to the flow of its overall plot in one way or another. Some of the predominant themes in the text include revenge, treachery, deception and gender. The idea of revenge first comes up in the text when the ghost of the dead King Hamlet appears to Prince Hamlet, discloses to the prince that he was murdered by his brother King Claudius and demands that he avenges him. Prince Hamlet agrees to this and even though he is hesitant about fulfilling this, as he struggles with the idea of murder, he finds a solution when a group of actors arrive at Elsinore, the Danish royal castle, and decides to use them to stage a play, with his uncle King Claudius among the audience, about the murder of his father as told to him by the ghost. This was meant to determine Claudius’s guilt or innocence by observing his reaction to the play. As the murder scene was presented, Claudius abruptly rose and left the room where the play was being staged and Prince Hamlet saw this as proof of guilt. Queen Gertrude, Prince Hamlet’s mother who was also among the audience, summoned his son to her closet to demand an explanation. While they were in her closet, Polonius, Claudius’s counselor, who was spying on the scene from behind an arras, cried out for help when it seemed as if the prince was about to murder the...
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...Gertrude tells Claudius about how Hamlet killed Polonius, and he thinks about how if he had been in Polonius’s place, he would be dead now. Rosencrantz and Guildenstern go to Hamlet and question him, but instead of answering directly he mocks them and calls Rosencrantz a sponge—he thinks he is just absorbing Claudius’s orders and being a lackey. Claudius starts to think about what to do with Hamlet. He asks Hamlet what happened to Polonius and Hamlet mocks Claudius and somewhat threats him, saying he should go find out for himself (in heaven or hell). Claudius says that he is going to send Hamlet to England, sending Guildenstern with him, and writes a letter to the King of England to kill Hamlet. Fortinbras is in Denmark with his army, and...
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