Transcript Rosencrantz & Guildenstern

Rosencrantz & Guildenstern
A CHARACTER ANALYSIS
Rosencrantz
&
Guildenstern
Old school friends of Hamlet, Rosencrantz and Guildenstern are
commissioned to spy on Hamlet to reveal the cause of his madness by king
Claudius.
They are described as ‘half-men’, which refers to their dialogue, their
characters and is often used as comic relief by directors where they are
addressed interchangeably and cause minor confusion in the court.
It is also noticeable that as the play progresses their relationship with
Hamlet deteriorates wherein they continue to spy on him and he continues
to know they are trying to find the source of madness.
In Tom Stoppard’s, “Rosencrantz and Guildenstern are Dead” the
characters of Rosencrantz and Guildenstern are able to be developed and
we come to understand their relationship in further depth.
-
Easily distracted
Slow at understanding things
Curious and inquisitive
Comical characteristics
Laid back character
Less mature
-
Gives the instructions
Upper hand of the relationship
Intense character
More mature
Act 2, Scene 2, Lines 254-277
EXTRACT № 01
Scene: The Great Hall in Elsinore Castle
Context: R&G have just arrived at the castle,
been formally greeted by Claudius and Gertrude
and been charged to suss out what is grieves
Hamlet. They have then met with Hamlet for the
first time, and shared some superficial banter
about R&G’s dwelling in ‘the secret parts of
Fortune’. Hamlet is just starting to question their
purpose.
Structure. Conversation entirely in prose,
indicating the informal atmosphere.
Literary Techniques. Discord in the tone
between the joviality and increasing tension. |
Repetition of questions, rephrased. | Asides. |
Quantity each character has to say – Hamlet
having to work hard to extract the information.
HAMLET No
such matter: I will not sort you with the rest of my
servants, for, to speak to you like an honest man, I am most
254
255
dreadfully attended. But, in the beaten way of friendship, what make
you at Elsinore?
To visit you, my lord; no other occasion.
ROSENCRANTZ
HAMLET Beggar
that I am, I am even poor in thanks; but I thank
you: and sure, dear friends, my thanks are too dear a halfpenny.
260
Were you not sent for? Is it your own inclining? Is it a free
visitation? Come, deal justly with me: come, come; nay, speak.
GUILDENSTERN What
HAMLET Why,
should we say, my lord?
any thing, but to the purpose. You were sent for – and
there is a kind of confession in your looks which your modesties
265
have not craft enough to colour: I know the good king and queen
have sent for you.
Characterisation. R&G innocent,
impressionable and ‘obsequious’ pair. | Hamlet,
knowing the conversation is at a stalemate,
draws more + more on their increasingly strained
friendship. | Irony in Hamlet promising to be
‘honest’.| Hamlet different to how they
remember, and he puts them on the spot with
over-friendliness.
ROSENCRANTZ
Interpretations. Hamlet/R&G the old friends,
Hamlet imploring them for honesty vs. Hamlet
the sorry interrogator, who does his best to put
them make them break as few promises as
possible.
ROSENCRANTZ (To
HAMLET That
To what end, my lord?
you must teach me. But let me conjure you, by the rights
of our fellowship, by the consonancy of our youth, by the obligation
270
of our ever-preserved love, and by what more dear a better proposer
could charge you withal, be even and direct with me, whether you
were sent for, or no?
HAMLET (Aside)
Guildenstern) What say you?
Nay, then, I have an eye of you. - If you love me, hold
275
My lord, we were sent for.
277
not off.
GUILDENSTERN
1:32
Act 3, Scene 1, Lines 001-028
EXTRACT № 02
Scene: The Great Hall in Elsinore Castle
Context: R&G report to Claudius and Gertrude
about their encounter with Hamlet and how he is
unwilling to speak about his madness, however
expressed his excitement when hearing the news
of the arrival of the players. Claudius asks them
to enquire further on his ‘delights’ of the players
arrival.
Structure. Is very conversation based, written in
prose, however in longer phrases rhythm is
noticeable though it is not recognisably iambic
pentameter, rather just poetic and rhythmic.
CLAUDIUS And can
you by no drift of circumstance
001
Get from him why he puts on this confusion,
Grating so harshly all his days of quiet
With turbulence and dangerous lunacy?
Literary Techniques. Enjambment and caesura,
careful, expressive diction, theme - Hamlet’s
madness, spoken as a matter of facts
ROSENCRANTZ
He does confess he feels himself distracted,
005
But from what cause a will by no means speak.
GUILDENSTERN Nor
do we find him forward to be sounded,
But with a crafty madness keeps aloof
When we would bring him on to some confession
Of his true state.
Did he receive you well?
GERTRUDE
ROSENCRANTZ Most
GUILDENSTERN But
010
like a gentleman.
with much forcing of his disposition.
ROSENCRANTZ Niggard
of question, but of our demands
Most free in his reply.
GERTRUDE
To any pastime?
Did you assay him
015
Characterisation. As in almost all R&G scenes
their dialogue is interchangeable and specific.
They have been sent for a purpose and have
carried out that purpose, not realising at the time,
that they are in the midst of a story of murder
and revenge, which will ultimately deliver them
to a dark fate. It is evident that Claudius is
simply interested in why Hamlet is mad, as he is
suspicious that Hamlet is at all mad, Polonius
just agrees with everyone, and Gertrude seems
genuinely concerned about her sons “lunacy”.
ROSENCRANTZ Madame,
Interpretations.
CLAUDIUS With
it so fell out that certain players
We o’er-raught on the way; of these we told him,
And there did seem in him a kind of joy
To hear of it. They are about the court,
And as I think, they have already order
020
This night to play before him.
‘Tis most true,
POLONIUS
And he beseeched me to entreat your majesties
To hear and see the matter.
all my heart, and it doth much content me
To hear him so inclined.
025
Good gentlemen, give him a further edge,
And drive his purpose on these delights.
ROSENCRANTZ We
shall my lord.
028
Act 4, Scene 2, Lines 001-028
EXTRACT № 03
Scene: A corridor in the castle
Context: This extract starts at the beginning of a
scene (and goes until the end: it’s a very short
scene…). Hamlet has just hidden Polonius’ body.
Men are searching the castle for him, and R&G
are the first to find him.
Structure. Conversation entirely in prose,
indicating an informal atmosphere, or perhaps
one preoccupied with more pressing matters than
to worry about how properly things are said.
Literary Techniques. Minimalism of stage
directions. | Pace of the scene, Hamlet keeps the
conversation moving and R&G have a hard time
keeping up. | Disrespectful diction when
referring to Polonius’ body, poetic diction when
philosophising on the transience of life. |
Contrast of Rosencrantz’ monosyllabic speech
with Hamlet’s more flowery phrases.
HAMLET Safely
stowed.
GENTLEMEN
(Within) Hamlet! Lord Hamlet!
HAMLET But
soft, what noise? Who calls on Hamlet? Oh here they
come.
Enter ROSENCRANTZ and GUILDENSTERN
ROSENCRANTZ What
have you done my lord with the dead body?
HAMLET Compounded
Characterisation. By this stage R&G are
questioning whether they really know Hamlet at
all. | As aforementioned, they struggle to keep
pace with his rapid changes of focus. | In a crisis
such as this R&G revert to the most sensible
thing to do, (or what they’ve been charged with
doing).
001
ROSENCRANTZ Tell
005
it with dust whereto ‘tis kin.
us where ‘tis, that we may take it thence and bear
it to the chapel.
HAMLET Do
not believe it.
ROSENCRANTZ Believe
HAMLET That
what?
I can keep your counsel and not mine own. Besides, to
be demanded of a sponge, what replication should be made by the
son of a king?
ROSENCRANTZ Take
you me for a sponge my lord?
010
Literary Techniques. Metaphor of the sponge,
representing the obsequious of R&G. | Simile
‘like an ape’. | Rhyming repetition of ‘king’ and
‘thing’.
HAMLET Ay sir,
that soaks up the king’s countenance, his rewards, his
015
authorities. But such officers do the king best service in the end:
he keeps them like an ape in the corner of his jaw, first mouthed
to be last swallowed. When he needs what you have gleaned, it is
but squeezing you, and, sponge, you shall be dry again.
Characterisation. Hamlet becomes nigh on
patronising, and is obviously critical of R&G’s
seeming inability to do what they themselves
think is right. (Although the extent to which this
is played up differs with interpretation). | Again,
like the ‘fools’ Hamlet seems to think they are,
R&G revert to the Claudius’ orders. | Throughout
this scene Hamlet verbally forces Rosencrantz
onto the back foot… | The fox could be
Claudius, Polonius or Hamlet himself.
ROSENCRANTZ I
HAMLET I
understand you not my lord.
020
am glad of it, a knavish speech sleeps in a foolish ear.
ROSENCRANTZ My
lord, you must tell us where the body is, and go
with us to the king.
HAMLET The
body is with the king, but the king is not with the body.
The king is a thing –
GUILDENSTERN A thing
HAMLET Of
025
my lord?
nothing. Bring me to him. Hide fox, and all after!
028
Exeunt
“Comedy is both a theatrical device and a way in
which we try and deal with our hopelessness.”
~
“The representation of madness is one of the
greatest challenges a playwright may face; and it is
one of the most chilling theatrical experiences a
playgoer can be subjected to.”
“
The sight is dismal,
And our affairs from England come too late.
The ears are senseless that should give us hearing,
To tell him his commandment is fulfilled,
That Rosencrantz and Guildenstern are dead.
Where should we have our thanks?
”
Luke Thorburn
&
Kirstin Clements
2012