We see.
Hamlet the character in the original script, totally obsessed by what he should do.
concerning his fathers murder. His whole being is forwarded by his adamant necessity.
for revenge for his fathers murder. His soliloquies are speeches collaborating with the.
audience, breaking down the fourth wall, in order to make sense of the people who have.
wronged him. He knows there is correct protocol in his position, and he makes sure he.
does the right thing, when he strikes. This is the Seventeenth Century way of perceiving.
life.
Rosencrantz and Guildenstern, however, are completely obsessed with finding out their.
role, and where they fit into the scheme of things. They have no idea of what they are to.
achieve, where they are to go and what action to take. Where Hamlet holds the illusion of.
choice and control over his life, Rosencrantz and Guildenstern rely on other characters.
for their direction. They are constantly confused and have no control over their actions.
Even Hamlet seals their fate, without any question, and the audience knows what will.
happen in the end. When Rosencrantz states -We have no control. None at all, it stands.
as being a profound realisation of contemporary society.
The manner in which issues are brought to light are different in both plays. An example.
of this is the theme of mortality. Characters die throughout Hamlet, and in Rosencrantz and Guildenstern Are Dead, the protagonists speak about death throughout the entire.
play. hamlet's most famous speech, -To be or not to be soliloquy in Act III, Scene i,.
explores the advantages and disadvantages of living. Hamlet considers ending the torture.
of his life. Yet he is stopped by the fear of the unknown. Stoppard transforms Hamlet's.
speech about death into a number of different ideas in his play. Rosencrantz muses about.
death when he imagines being dead in a box. He fears death because his imagination only.
allows him to picture being alive in a box.
