Rosencrantz and Guildenstern are Dead, a dramatic play written by Tom Stoppard, contains numerous allusions to the Bible and Hamlet. These two features not only provide allusions to Shakespeare through the obvious references to Hamlet, the plot that we are all actors in this world, and through the rhyming couplets of biblical codas, but also give a deeper and more complex to the piece. It seems that even though Rosencrantz and Guildenstern don't know who they are or where they come from, it is obvious to the audience that they were raised in Christian homes throughout the many codas. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayBiblical allusions reappear throughout this play, in the form of codas but also in the dialogue between the Rosencrantz and Guildenstern. There are, in fact, five codas that play on the first verse of the Lord's Prayer: "Give us this day our daily bread" and are formed as rhyming couplets. The first coda, on page 39, states: “Consistency is all I ask, give us today our daily mask” (Stoppard 39). This coda follows King Claudius mixing up the two friends' names and further confusing the two about their identities. The next coda deals with immortality: “Immortality is all I seek, give us this day our daily week” (Stoppard 45). Here the coda not only alludes to the Bible, but discusses the idea of ​​being immortal like a god and receiving a week for each day that passes. This coda is mainly used to reinforce the idea of ​​a waste of time and direction. The third coda states, “All I ask is a change of ground, give us today our daily routine” (Stoppard 93). This coda alludes to wanting a change of scenery and wanting to sit and play games all day, but not being able to do so because there are other, more important things to do. The fourth coda further extends the metaphor of theater and life: “All I ask is our common clue, give us today our daily signal” (Stoppard 102). Not only does Stoppard play on the idea of ​​signals in theater, but he also depicts the loss of identity and confusion about how to function in modern society. For example, each individual puts on a different mask for different people in their lives and we receive guidance on how to act in public from our family and friends when we are younger. The final coda appears on page ll4 and states: "Plausibility is all I presume!" Call us today our daily melody” (Stoppard 114). This coda questions the plausibility of life and, in particular, the idea that we are all actors and that the world is a stage. Stoppard primarily uses codas to express the idea that we are all actors in our own lives, but he also questions many of life's biggest questions, such as: Is any of this plausible? Can we expect consistency in life? The use of biblical references leads to a deeper questioning of Christianity and the religious world as a whole. Another use of biblical references comes from the dialogue between the two confused Rosencrantz and Guildenstern. On page 71, both refer to Saul/Paul, the man who killed Christians before becoming one himself. Although this allusion is made in jest, it is followed by the depressing idea that no one cares where they are.