Tom Stoppard's Transformation In Hamlet

Hamlet Essay
Transformations require an imaginative reshaping of significant elements and thus it does not require to mirror the original source as there are no rules about the process. A transformation can stand on its own merit but its interpretation and understanding is enriched when the viewer is familiar with both the original text and the ways the new text has paid tribute to the original piece. It is highly engaging and interesting to view these parallels and allusions as transformations serve to reinforce the universality of the original text. Tom Stoppard’s play Rosencrantz and Guildenstern are Dead (RAGAD) is highly stimulating transformations of Shakespeare’s famous Hamlet as he derives a different perspective on the events of Hamlet
and creates a whole new world of meaning by transforming significant element such as characterisation, language and themes of fate and death.
Tom Stoppard’s transformation of characters has led to reshaping the perspective of the original story by presenting the same characters and settings as Hamlet however shifting the angle of outlook as minor characters assume control over the stage and the characters such as Hamlet are downgraded to the sideline. Stoppard has transformed Shakespeare’s monarchist characters; especially Hamlet into the contemporary 20th century characters of Rosencrantz and Guildenstern who not truly protagonist as the plot does proceed due to their presence. Shakespeare Depicts Ros and Guil as an inseparable pair that are largely undistinguishable individual that were viewed as ignorant and naïve villains who were manipulating and manipulated and deserved their punishment due to their part in the King’s conspiracy. Stoppard has transformed this view by establishing that they are different characters yet with false identifications and more as representatives instead of individuals. They have been emphasized as innocent when Ros pleads; “we have done nothing wrong” and their absurd tragedy and their fate arouse the viewer’s sympathy as it reflects their own, because no purpose to life is found. Stoppard has considerately and purposely done this to mimic the ironic state of social decadence of a supposed democratic age where ordinary people are empowered to shape their own lives and ironically under notions of empowerment where men and woman are viewed as powerless and only military tools. This exhibits how great thought, sympathy and imagination was used to successfully transform a text to unveil a different perspective on the same events.
Prosperous transformation of the text is highly evident though the language techniques and structures that Stoppard has used to transform Hamlet. Shakespeare constructs language of high quality sophistication, poetry and structure. Where there is a dramatic contrast between Hamlet’s public statements, which are often short, jarring or ambiguous, and his anguished outpouring of his beliefs and emotion in the soliloquys. The use of soliloquys exposes and reveals the inner workings of the mind and the innermost feelings. Sarcastic quips, wit, and puns reveal Hamlets Character, his intellect and his ability to outsmart people as well as revealing his social context. Classical allusions, rich imagery, and complex language structure are techniques that express his intelligence and sophistication for example hamlets description of his father’s superiority to Claudius is riddled with the classical allusions; “see what grace seated in his brow:/ Hyperion curls, the front of Jove himself,/ and eye like mars”. Instead Stoppard uses dialog to help establish a sense of world on stage that binds the elements of the play together through mockery, parody, and ironic satire into the 20th century. His use of wit, non sequiturs and puns such as; “Aha! All in the same boat then!” creates humour, light heartedness and a sense of uncertainty. His sexual imagery is more smutty and crude with references to transvestites and homosexuality by transforming the original imagery like Hamlet’s corrupt garden of Denmark to Guil’s; “a comic pornographer and a rabble of prostitutes”. Stoppard has transformed the language by distorting it and colloquialising it to reflect modern idiom and usage.
Many elements of the play have been transformed significantly, however others like the themes of death and fate have merely changed to signify the universality of the original and reinforce humanities constant concern with these issues.
Although Shakespeare’s context influences to view death as a pathway to eternity and an afterlife and Stoppard’s context influences nihilism and existentialism of no afterlife the resultant idea in both plays are very similar. Shakespeare explores the idea largely through his soliloquys whilst Stoppard examines it in conversation, trying to test its significance. Guil questions whether; “Death’s death, isn’t it?” while Ros reaches the same conclusion as Hamlet that life must surely be preferable to death when h says “life in a box is better than no life at all”. Here the concept of confinement becomes an extended metaphor for the lack of man’s control of his own life. Similarly free choice or destiny is an idea that is examined in both plays. Hamlet is full of self-reproach for his failure to act and his debilitating indecisions, and Ros mirrors this frustration when he asks Guil; “shouldn’t we be doing something constructive?” the failure of the protagonist in both plays to dedicate their own destinies or take action into their own hands helps develop the audiences perception of them as helpless victims in situations outside their control. Both Ros and Guil do a double take as they read the letters that seals their fate; “without delay of any kind, should those bearers Rosencrantz and Guildenstern, put to sudden death.” Stoppard has sieved these techniques to establish that no one has any real control over the circumstances in their lives no matter what the age or context of society. This further concludes that no matter how many significant elements are transformed there must always be parallels that remain constant in both texts to provoke the viewer’s
interest.
Stoppard has transformed the famous classical Hamlet by Shakespeare into an intriguing contemporary 20th century absurdist play. His methods of transforming significant elements of the play such as characterisation, language and themes has led to a completely different perspective as the imaginative vision and ability to challenge our ways of thinking about the nature of life. It I as if Stoppard has held a mirror to the original but the images are refracted through a modern filter that makes his transformations so engaging.