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ernest They should, thinks Guildenstern, be the best equipped to understand what’s going on at this school in all its layers of complexity. Didn’t the Player say they only exist at all as vehicles to offer commentary on the main plot? And yet, he’s never been given a script — not for the wild workings of the wider world, and not for his own scenes, even. He and Rosencrantz only get their sides, with a few trailing words for their cues, divorced from any meaningful context. And sometimes they even get a props list, oh happy day!
At least, he thinks both of them are kept in the same dark, the better for their shadow selves to be thrown into the screen with sharper clarity. It’s hard to tell with Rosencrantz, though. He travels through his days with an unconcerned ease that Guildenstern alternately envies and finds humanly impossible. Surely the only reasonable explanation is that he’s discovered some deep-down secret of the universe that makes it all bearable. Or, that’s just how he is, and how Guildenstern will never be.
All of the problems with which Rosencrantz concerns himself can be solved by their own components without the endless cross-referencing to which Guildenstern has become accustomed. Thus, he finds himself perfectly at home on stage with its self-contained skits, and has a particular talent for improvisation. The ability to bring a story to a fitting conclusion without waiting for it to be delivered by someone else is a potentially life-saving one.
In today’s scene they are dealing with… love? Or else… fish, perhaps. It can be hard to tell the difference sometimes. Regardless, they will be set on a boat, which is funny because — no, because nothing. A boat signifies nothing at all, which is to say it does not signify anything. Meanwhile, Nothingness is… not in this sketch. Well, no more than it is in any of their other performances. It might be different if the wind was southerly, but that’s not true either.
At least, he thinks both of them are kept in the same dark, the better for their shadow selves to be thrown into the screen with sharper clarity. It’s hard to tell with Rosencrantz, though. He travels through his days with an unconcerned ease that Guildenstern alternately envies and finds humanly impossible. Surely the only reasonable explanation is that he’s discovered some deep-down secret of the universe that makes it all bearable. Or, that’s just how he is, and how Guildenstern will never be.
All of the problems with which Rosencrantz concerns himself can be solved by their own components without the endless cross-referencing to which Guildenstern has become accustomed. Thus, he finds himself perfectly at home on stage with its self-contained skits, and has a particular talent for improvisation. The ability to bring a story to a fitting conclusion without waiting for it to be delivered by someone else is a potentially life-saving one.
In today’s scene they are dealing with… love? Or else… fish, perhaps. It can be hard to tell the difference sometimes. Regardless, they will be set on a boat, which is funny because — no, because nothing. A boat signifies nothing at all, which is to say it does not signify anything. Meanwhile, Nothingness is… not in this sketch. Well, no more than it is in any of their other performances. It might be different if the wind was southerly, but that’s not true either.
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Date: 2019-04-28 09:50 pm (UTC)no subject
Date: 2019-04-28 10:18 pm (UTC)i hadn't made a conscious connection with saionji and touga and 'something eternal' but you're so right and now i'm sad about those two too!
i love writing for you, you always have such insightful observations!
p.s. that icon is such a perfect image, both for their dynamic and for this fic, and it's a crime that i somehow don't have any r&gad icons on dreamwidth. but lemony snicket has a similar vibe at least