Exploring Marginalization in Shakespeare’s Hamlet and Stoppard’s Rosencrantz and Guildenstern Are Dead

  Exploring Marginalization in Shakespeare’s Hamlet and Stoppard’s Rosencrantz and Guildenstern Are Dead

This blog is the part of thinking activity task assigned by Dilip sir of the paper no. 205 Cultural Studies. The objective of this activity is to analyze the marginalization of minor characters in Hamlet and relate it to themes of power and systemic marginalization, drawing connections to modern-day corporate hierarchies.

New Historicist Veeser credited the new historicists with dealing with "questions of politics, power, indeed on all matters that deeply affect people's practical lives".  Rosencrantz and Guildenstern in Hamlet can be discussed through the lens of cultural and power dynamics, particularly focusing on how their marginalization reflects larger structures of authority and control.

Marginalization in Hamlet

Describe how Rosencrantz and Guildenstern represent marginal figures in Hamlet. How does Hamlet’s reference to Rosencrantz as a “sponge” reflect their expendability in the power dynamics of the play?

Rosencrantz and Guildenstern in Hamlet serve as marginal figures whose primary function is to fulfill the king’s commands rather than to exercise any true autonomy. They lack depth and independence. They are mere puppet of Claudius who assigned task to spy on Hamlet and to report his actions back to the king. They are at periphery of the play’s power struggles. They are never fully aligned with either Hamlet or Claudius but are manipulated by both to serve higher purposes.

Rosencrantz and Guildenstern are like "sponge"s. Hamlet compares them to sponges because they absorb the king's orders without question. They are just tools for the king, and when they are no longer needed, they can be discarded. This shows how people who are not powerful can be easily used and thrown away by those in power. Rosencrantz and Guildenstern are sent to England to kill Hamlet, but they end up dying themselves. This highlights the danger of being a pawn in someone else's game.

Modern Parallels to Corporate Power : 

Rosencrantz and Guildenstern in Hamlet are like modern workers who can be easily replaced. They are used by the king and then thrown away when they are no longer needed. This is similar to how companies today fire workers when they are no longer profitable. Both Rosencrantz and Guildenstern and these workers are at the mercy of those in power. They have no control over their fate and are easily sacrificed for the benefit of others.

The shifting priorities of multinational corporations, which may prioritize profit over employee stability in the contemporary time revealed the two characters. However, once they are no longer useful—once they’ve “soaked up” the king’s orders like “sponges”—they are cast aside without a second thought. Ultimately, they are sent to England, unaware that they are actually being sacrificed, which leads to their deaths.

Workers in globalized industries may be displaced or lose their livelihoods when companies relocate operations to cut costs. Additionally, just as Claudius never reveals his true intentions, companies often make these decisions with little transparency, leaving workers with little control over their futures. This parallel highlights how hierarchical structures in both literature and modern corporate settings can exploit individuals. It emphazied that those lower in status frequently bear the consequences of decisions made by those in power. 

In "Rosencrantz and Guildenstern are Dead", people utilize one another quite a deal, and the fact that the main characters, "Ros and Guil", never seem to be in control of their circumstances may be attributable to their naive inability to know how to do so. In many ways, manipulation is like directing a play in that it involves having the power to influence how things turn out. To influence the audience's thoughts and feelings, a play is investigated as a form of audience manipulation. (Kumar)

Existential Questions in Stoppard’s Reinterpretation :

In Rosencrantz and Guildenstern Are Dead, Tom Stoppard emphasizes the characters' search for meaning to underscore their existential marginalization within an indifferent world. By questioning their purpose and grappling with the randomness of their fate, Rosencrantz and Guildenstern reveal the absurdity of being used as mere tools within a larger plot over which they have no control or understanding. 

Murray J. Levith, for example, has written that "Rosencrantz and Guildenstern are from the Dutch-German: literally, 'garland of roses' and 'golden star.' Although of religious origin, both names together sound singsong and odd to English ears. Their jingling gives them a

lightness, and blurs the individuality of the characters they label"

In the article Anna K. Nardo said "Stoppard's Space Men:Rosencrantz and Guildenstern on Film" Stoppard has placed his heroes in a double, paradoxical position; they stand simultaneously inside (as characters) and outside (as self-conscious agents) the play Hamlet. " In Rosencrantz and Guildenstern Are Dead, Tom Stoppard shows how Rosencrantz (Ros) and Guildenstern (Guil) feel lost and confused in a world where reality and acting blend together. As they become part of the events in Hamlet, they realize they are characters in a play, sometimes even calling out for the next scene or trying to get a reaction from the audience, only to be ignored. This makes them feel powerless, aware that they have no control over their fate.

Unlike Hamlet, who learns to take decisive action, Ros and Guil remain passive, confused by both the "games" of life and the structure of the play itself. They don’t fully understand they need to act to have meaning or purpose. By keeping them trapped in their roles, Stoppard uses them to criticize people who simply go along with life instead of taking control within their limitations.

"I'm demonstrating the misuse of free speech. To prove that it exists. [. . .] Not a move. They should burn to death in their shoes" 

Stoppard’s portrayal of their confusion and repeated attempts to find purpose—only to be dismissed or ignored—highlights the vulnerability and powerlessness of individuals caught in systems far larger than themselves.

This is like how many workers feel powerless in big companies today. They are just small parts of a big machine, and their individual work doesn't seem to matter much. They might feel lost and unsure about what they are doing and why. Companies often make decisions like layoffs or outsourcing without thinking about the workers who are affected. This makes the workers feel even more insignificant.

Labour associations in India have accused five warehouses in and around Manesar of violating regulations under the Factories Act, 1948. These cases highlight the broader issue of gig workers' exploitation by the companies that employ them.With the rise of new-generation business models in retail and delivery, particularly aggregator platforms, the gig worker population is growing rapidly. NITI Aayog estimated that their numbers could expand to 23.5 million by 2029–30 from the 7.7 million they are at now.(S Sreejith and S Sreejith)

Stoppard’s choice to underscore their search for purpose in a world that seems indifferent can thus be read as a critique of systems that prioritize goals (whether political in Hamlet or economic in the modern workplace) over the individuals within them.

Cultural and Economic Power Structures :

Shakespeare's Hamlet and Stoppard's Rosencrantz and Guildenstern Are Dead both criticize powerful systems that treat individuals as unimportant. In Hamlet, characters like Rosencrantz and Guildenstern are used and killed without any concern for their lives. This shows how people in power can manipulate others for their own benefit.

Stoppard's play takes a different approach by focusing on the confusion and powerlessness of Rosencrantz and Guildenstern. These characters are constantly trying to find meaning in their lives but are unable to do so. 

Rosencrantz and Guildenstern in Stoppard's play are constantly questioning their existence and the meaning of their actions. They are trapped in a world where they have no control over their fate. This existential crisis highlights the absurdity of their situation, as they are mere pawns in a larger game.

Stoppard's play critiques systems that dehumanize individuals and strip them of their agency. By focusing on their confusion and the futility of their search for meaning, Stoppard underscores the alienation and disposability of individuals within a rigid power structure.

This reflects the experience of many workers today who feel lost and unimportant in large corporations. They are often at the mercy of decisions made by others and have little control over their own futures. Both plays highlight the dehumanizing effects of powerful systems and the importance of individual agency and purpose.

As per the estimates, by 2025, 85 million jobs will be lost to automation worldwide.The global pandemic gave rise to many job displacements, as most businesses and shopping were transacted online. It’s been a struggle for recovery since the pandemic, and there’s little to no hope for the reinstatement of most jobs. 

• Due to the current shift towards automation, about 39 million Americans could lose their jobs by 2030.
• 50% of hours spent on manual work-related tasks could be automated by 2030 based on the speed of acceptance of existing technology.(Beckman)
• One can get detailed analysis from here : Article
• 
  

Personal Reflection :

The play presents a clear hierarchy, with Claudius at the top and characters like Rosencrantz and Guildenstern at the bottom. laudius uses his power to manipulate and control others, including Rosencrantz and Guildenstern. Their tragic end is a consequence of their blind loyalty and the manipulations of a monarchy indifferent to their fate. This blind loyalty reminded the "Boxer" in the Animal Farm where his mantra was "I will work hard". It is often seen that workers loyalty is misused by the compnies.

In Stoppard’s work, Rosencrantz and Guildenstern are painfully aware of their purposelessness and confusion, constantly searching for meaning in a narrative they cannot control. Similar to Stanley and Vladimir their existental question along with the realisation of purposlessness hammer the present.

In the corporate capitalist society important decisions are made by a select few at the top, often without consulting or involving those lower down the hierarchy. The reasons behind decisions may not be transparent or understandable to those affected by them.

Reflecting on these works makes me consider how relevant Shakespeare’s and Stoppard’s critiques remain in today’s world, where job security and autonomy can feel increasingly fragile. In an environment of rapid corporate restructuring and globalization most of the people may relate to the disorientation and lack of control that Rosencrantz and Guildenstern experience.

Stoppard's play really resonates with how people feel lost and confused in today's world. It's like people are just going through the motions, without any real sense of purpose. This is especially true in big companies and organizations, where individuals can feel small and insignificant.

Creative Engagement :

Guildenstern's Monologue (Indian Academia Context with Hindi Jargon):

(Guildenstern stands as if addressing an imaginary academic panel, adjusting his glasses nervously, casting a sideways glance at Rosencrantz.)

“Dekhiye, hum yeh toh samajhte hain ki yahaan hamara role kya hai—‘research assistants,’ aur wo bhi temporary positions mein. Bas ek aur naam faculty roster mein daal diya gaya hai, aur humse expect kiya jaata hai ki hum bus ‘sahayak’ ka kaam karein. Par kisi ne ye toh bataya hi nahi ki hamari academic journey ka big picture kya hai? Hum bas project-wise ‘aligned’ hain—funding aa gayi toh hum hain, funding gayi toh hum bhi gaye. Par humara astitva? Humare career progression ka kya?

He sighs, with a wry smile.

Dekhiye, yaha bhi KPIs hain—publications, aur wo bhi high-impact journals mein. Par kabhi ‘support’ nahi milta. Advisor se guidance milne ki umeed ki thi, par wahaan bas ‘follow up karo aur progress report banao’ milta hai. Yeh sab yeh campus hierarchy ka khel hai—permanent faculty ke liye job security aur hum jaise temporary staff ke liye bas ek aur contract renewal ka intezaar. Aur yeh fellowships, jo kabhi-kabhi mil jaati hain, bas ek vada hai… ek jhooti umeed, ki kabhi hum bhi kahin tenure par aa jaayenge.

(He shrugs, chuckling to himself, defeated.)

Toh yeh hai humari academic growth—temporary titles aur bas ek aur research paper ke load mein ghisna. Aur yahaan phas gaye hain hum, na koi proper guidance, na koi exit strategy… business as usual, right?”

Thank You.

Beckman, Jeff. “Eye-opening Statistics on Job Displacement Due to Automation (2023 Data).” Techreport, 28 May 2024, techreport.com/statistics/business-workplace/job-displacement-due-to-automation.

Kumar, Sanjeev. “HAMLET AND ROSENCRANTZ AND GUILDENSTERN ARE DEAD - a TEXTUAL STUDY.” International Journal of Novel Research and Development, by IJNRD, vol. 8, no. 1, Jan. 2023, pp. b573–75. www.ijnrd.org/papers/IJNRD2301171.pdf.

S Sreejith, and S Sreejith. “For Eight Million Indians, Life Is a Gig and a Mostly Terrible One at That.” The New Indian Express, 16 July 2024, www.newindianexpress.com/web-only/2024/Jul/16/for-eight-million-indians-life-is-a-gig-and-a-mostly-terrible-one-at-that.

“Stoppard’s Space Men: Rosencrantz and Guildenstern on Film on JSTOR.” www.jstor.org. JSTOR, www.jstor.org/stable/43797454-https://jstor-mkbu.refread.com.

Thinking Activity: Exploring Marginalization in Shakespeare’s Hamlet and Stoppard’s Rosencrantz and Guildenstern Are Dead. Research Gate, Oct. 2024, www.researchgate.net/publication/385301805_Thinking_Activity_Exploring_Marginalization_in_Shakespeare's_Hamlet_and_Stoppard's_Rosencrantz_and_Guildenstern_Are_Dead. Accessed 1 Nov. 2024.