Investigating how the relationship between two texts, Hamlet and Rosencrantz and Guildenstern are dead, are inextricably linked thematically and thus the outcome of what is lost and what is gained in both plays; by discussing how Stoppard translates his play Rosencrantz and Guildenstern are dead, from Shakespeare’s Hamlet.

Stoppard’s technique of extracting two minor characters from probably the most famous play in literature’s history, hamlet, enables the audience to gain a unique and enlightening perspective of these characters. The way in which Stoppard deals with his play, by exploring many interesting themes, presents the modern idealisms of movements such as existentialism and debates such as free will versus determinism. By referring to Hamlet we are able to gain new insight, as if peeling away the layers of an onion to infinitely seek hidden meanings; perhaps a consequence of our modern thinking.

Stoppard’s play can be described as searching for the meaning of life and the certainty of death, the links of which can be discussed within the context of existentialism. In brief, existentialism refers to “a doctrine that concentrates on the existence of the individual, who, being free and responsible, is held to be what he makes himself by the self-development of his essence through acts of the will.” (OED 27/11/09) With existentialism “opposing any absolutes and that choice is always possible and when an individual fulfils himself, he exists; and that fulfilling can come only through the agony of choices; human existence is thus replete with lack of fulfillment, emptiness, and frustration.” (Stephens 27/11/09)

In discussion to Rosencrantz and Guildenstern are Dead, the two characters Ros and Guil are unable to comprehend their own identities and thus their own individualities, which prevents them from conceiving their own free will. The lack of making choices and taking control of their lives, ultimately leads to them falling into the hands of fate, which leads them to questioning the meaning of life. This is explicit in the opening scene where they discover probabilities. In this regard, they are conscious of a world that seems to be controlled around them, and “chance is warped as a spun coin continually comes up heads.” (HSC Notes 27/11/09) However, one could argue that the characters in Stoppard’s play are bound by their previous existence in Shakespeare’s Hamlet and thus their existence is already contrived as Stoppard deliberately chose to manipulate two characters and reveal their minor story by creating an intertextual play.

Furthermore, in regard to the philosophy of existentialism, Gabriel Marcel states that “no two beings and no two situations are really commensurable with each other.” (Flynn 2006)

By dissecting this comment we can apply the first part “two beings” to Rosencrantz and Guildenstern. They seem to be two characters, but