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Blooms Literary Themes - THE TRICKSTER.pdf - ymerleksi - home

Blooms Literary Themes - THE TRICKSTER.pdf - ymerleksi - home

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164<br />

Tom Stoppard<br />

from the play’s characters to its creators instead. GUIL seems to<br />

understand this point during one particularly confounding stretch<br />

after a surprising blackout:<br />

GUIL: Th ey’re waiting to see what we’re going to do.<br />

ROS: Good old east.<br />

GUIL: As soon as we make our move they’ll come pouring<br />

in from every side, shouting obscure instructions, confusing<br />

us with ridiculous remarks, messing us about from here to<br />

breakfast and getting our names wrong. (85)<br />

GUIL’s use of the word “they” turns out to be one of the more astute<br />

observations GUIL has made about who controls his fate. For it is not<br />

Hamlet or Claudius or even Th e Player but, simply, “they,” or, rather,<br />

those people working behind the scenes to make sure productions<br />

such as Hamlet or R & G come off the way they are supposed to; it is<br />

the always and unseen production team, which, Th e Player reminds us,<br />

is particularly susceptible to the interfering hand of what “is written”:<br />

Player: Th ere’s a design at work in all art—surely you know<br />

that? Events must play themselves out to aesthetic, moral and<br />

logical conclusion. . . . We aim at the point where everyone who<br />

is marked for death dies.<br />

GUIL: Marked?. . . . Who decides?<br />

PLAYER: (Switching off his smile) Decides? It is written.<br />

Guildenstern comes even closer to understanding his fate as he describes<br />

what it is like to be on a boat: “We can move, of course, change direction,<br />

rattle about, but our movement is contained within a larger one<br />

that carries us along as inexorably as the wind and current” (122).<br />

And so as we become more familiar with ROS’s and GUIL’s<br />

plight—and come to more fully consider the various agents that might<br />

be standing in for Trickster—Radin’s description becomes all the more<br />

revealing, as does an equally compelling understanding of Trickster<br />

provided by Lewis Hyde:<br />

Trickster is the mythic embodiment of ambiguity and<br />

ambivalence, doubleness and duplicity, contradiction and<br />

paradox. Th at trickster is a boundary-crosser is the standard

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