- Broken sentences mimic thinking patterns of someone in distress/desperation/confusion
- ROS (cracking, high): - over my step over my head body! - I tell you
it's all stopping to a death, it's boding to a depth, stepping to a head,
it's all heading to a dead stop - - Diction: specific references to literary devices
- “grotesque”
- “syllogism”
- “metaphor” + “figure of speech”
- “diction”
- “non sequiter”
- Repetition of certain phrases
- “Give us this day our...” -Guildenstern
Syntax
The entire narrative of the play centers on the banter between Rosencrantz and Guildenstern, and the sentence structure matches this. Sentences in the play tend to flip flop between two entirely different spectrums. Either the sentences are short bursts of responses between the two actors or interactions with other characters
GUIL: Yes.
ROS: Unorthodox.
GUIL: Undid me.
ROS: Undeniable. Where were you?
GUIL: In Germany.
Or long contemplative and philosophical musings of either Rosencrantz or Guildenstern as they try to figure out why they are in the play “You did, the trouble is each of them is... plausible, without being instinctive. All your life you live so close to truth, it becomes a permanent blur.”
The entire narrative of the play centers on the banter between Rosencrantz and Guildenstern, and the sentence structure matches this. Sentences in the play tend to flip flop between two entirely different spectrums. Either the sentences are short bursts of responses between the two actors or interactions with other characters
GUIL: Yes.
ROS: Unorthodox.
GUIL: Undid me.
ROS: Undeniable. Where were you?
GUIL: In Germany.
Or long contemplative and philosophical musings of either Rosencrantz or Guildenstern as they try to figure out why they are in the play “You did, the trouble is each of them is... plausible, without being instinctive. All your life you live so close to truth, it becomes a permanent blur.”
Diction
Simple and colloquial at points in the dialogue, up until it starts to delve into self-contemplative territory, then the difficulty of the language all raise up a notch.
The characters in the play have a fascination with stringing words together into metaphors or similes either to make a point, or to sound completely ridiculous and make little sense, reflecting their confusion they feel at the time.
GUIL: Just a conspiracy of cartographers, you mean?
Both Rosencrantz and Guildenstern use dialogue that one might not have expect coming from two men who in the original play have seemingly little intellect. They tend to fall into many wordplays against each other, one which stood out the most being the tennis roleplay when they delved into a tangent in another attempt to better understand their position.
GUIL: Statement! One-love.
ROS: Cheating!
GUIL: How?
GUIL: Statement. Two-love
Simple and colloquial at points in the dialogue, up until it starts to delve into self-contemplative territory, then the difficulty of the language all raise up a notch.
The characters in the play have a fascination with stringing words together into metaphors or similes either to make a point, or to sound completely ridiculous and make little sense, reflecting their confusion they feel at the time.
GUIL: Just a conspiracy of cartographers, you mean?
Both Rosencrantz and Guildenstern use dialogue that one might not have expect coming from two men who in the original play have seemingly little intellect. They tend to fall into many wordplays against each other, one which stood out the most being the tennis roleplay when they delved into a tangent in another attempt to better understand their position.
GUIL: Statement! One-love.
ROS: Cheating!
GUIL: How?
GUIL: Statement. Two-love