R&G Are Dead - My Thoughts #4 (Act III)

So, Rosencrantz and Guildenstern are finally dead. Gee, it took long enough! Haha. It's sort of strange to note though that even though I knew through the whole book that R and G were GOING TO DIE, I was still a little sad when the ambassador announced their deaths at the end. I guess I was hoping that they maybe found a way to escape their fate - but then again, the story of Hamlet would not be able to be resolved as well in that case. "Our indiscretion sometimes serves us well, When our deep plots do pall: and that should teach us There's a divinity that shapes our ends, Rough-hew them how we will,--" (Hamlet Act V Scene II). This very well may be Shakespeare's metafictional insight about the plot of his own play. "Okay, guys," he's saying. "I know the end of this is a bit ridiculous, but, come on, how else was I supposed to resolve it?" That was the only way to write the story so that it worked and kept all its magic and artful craft. It reminds me of the movie Stranger Than Fiction. The author says that the only way to resolved the story about Harold is for him to die. Well, that poses a problem for the poor guy who she finds out actually exists. When Harold reads her intedned resolution even he agrees that death was the only true way to end it. (Luckily, since all movies these days need a happy ending, we find out that she is able to change the outcome, but it sure comes close!)

On page 102, Guildie picks up on an idea that has come up all throughout the play as he asks angrily, "Then what do you expect? (Unhappily.) We act on scraps of information...sifting half-remembered directions that we can hardly separate from instinct." This existential angst ("angstistential") highlights that they only know a few concretes and are left to their own devices to construct what they want from the remaining abstract elements of life. Also, Rosie and Guildie are characters that exists solely on direction and command from someone else. They talk to each other on the boat and wonder what to do next: "There may be something in the letter to keep us going a bit," Guildie suggests. "And if not?" "Then that's it - we're finished." Simply put, they cannot exist outside of direction. It's interesting that toward the end, they themselves notice that they're "slipping off the map" (108). They were destined to die from the beginning and feel subconsciously that they're moving closer and closer to that point with every action. "If we have a destiny, then so had he - and if this is ours, then that was his - and if there are no explanations for us, then let there be none for him - " (123). Guildie comments on page 121, "We move idly towards eternity, without possibility of reprieve or hope of explanation." On 222 he also poses the perfect pomo "Why?" question: "But why? Was it all for this? Who are we that so much should converge on our little deaths? (In anguish to the PLAYER:) Who are we?" It really has a lot to do with fate, destiny, providence, predestination (call it what you will) and the inability to escape that. This obviously parallels metafictionally to the role of an author/playrite/director and the script in accordance to the players or actors. It all comes down to, "Are we actors or are we prostitutes?" Are we puppets guided by the hand of God or fate or chance, or do we make our own decisions out of free will? I keep thinking about the song "Human" by The Killers and its parallelism to this idea:

I did my best to notice
When the call came down the line
Up to the platform of surrender
I was brought but I was kind
And sometimes I get nervous
When I see an open door
Close your eyes, clear your heart
Cut the cord

Are we human or are we dancer?
My sign is vital, my hands are cold
And I'm on my knees looking for the answer
Are we human or are we dancer?

Pay my respects to grace and virtue
Send my condolences to good
Hear my regards to soul and romance
They always did the best they could
And so long to devotion
It taught me everything I know
Wave goodbye, wish me well
You've gotta let me go

Are we human or are we dancer?
My sign is vital, my hands are cold
And I'm on my knees looking for the answer
Are we human or are we dancer?

Will your system be alright
When you dream of home tonight
There is no message we're receiving
Let me know, is your heart still beating?

Are we human or are we dancer?
My sign is vital, my hands are cold
And I'm on my knees looking for the answer
Are we human or are we dancer?

I really like the insight of one of the commenters on SongMeanings.com. He or she said exactly what I see in this song: "I think the imagery speaks of 'dancers' as almost like 'puppets'. Brandon is speaking of letting go, 'platform of surrender' 'cut the cord' 'close your eyes, clear your heart.' This 'letting go' is to cease to be 'Human' because he no longer has life, (eyes closed, cleared heart) and he feels like a 'Dancer,' a puppet on strings. The puppet versus human contrast is throughout. To be human is to have life and choice. To be dancer is to be controlled by strings or 'cords.' He uses a play on words, instead of 'vital signs' his 'signs are vital' and 'my hands are cold,' i.e. lifeless, he is lifeless, and reading his signs are vital in knowing what he really is. He goes on to 'say goodbye' to everything (soul and romance, etc), embarking into that 'open door' Like a slouched puppet, he's on his knees. Puppets have no strength in their legs. Yet he wants to 'be let go' and to 'cut the cord' could refer to losing his strings and being freed from control, no longer being a puppet. Or it could refer to no longer being human. If you 'cut the cord,' you pull life support on someone. In mythology, The Fates, 'cut your cord' and you die, no longer with the life that makes one Human" (http://www.songmeanings.net/songs/view/3530822107858741590/).

I think the most important part though is that he doesn't answer the question - that's the big idea. We're all wondering if we're human or if we're dancer and we'll never know, according to many worldviews.