When studying transformations it is significant to consider the religious, historical and social contexts of the specific times in which the two writers, Tom Stoppard and William Shakespeare, lived. Both men, as contemporary writers, were testimony to the values ​​of their society. By comparing and contrasting the aspects shown to the specific reader in the texts, it happens to raise several questions that can change their perspective on what is meant by transformation (Dobson 56). Shakespeare's Hamlet was written in the period of Elizabethan values. One of the most significant values ​​is absolute dedication to divinity. This dedication formed religious beliefs and the notions of destiny and fate and the search for meaning contrast widely with Stoppard's perspectives which were determined by existentialist philosophy. Stoppard's existentialist philosophy emphasized personal freedom and the option of life direction with less limited possibilities. These two contrasting values ​​of society significantly control the reader's perception when studying how they have been "transformed". An example of religious diversification are beliefs and ideals about death. In the play "Hamlet" death is shown as dramatic and violent with examples involving sword fights and poisoning. Because of his beliefs, Stoppard carries with him the probability that death is not an event that provokes judgment on some of the divine values ​​of Elizabethan Christianity. This is demonstrated by Guildenstern when he defines death as “the simple failure to reappear”. The comparison here describes the uncertainty of death, and through this transformation the reader comes to the opinion that death is like the secret for all of us, no matter what era or belief is in the middle of the paper..." product "of the action. When the play "Hamlet" ends, we have the feeling that profound changes have occurred. Although many died, this figure of loyalty Horace proposes that a form of purge occurred where “purposes exchanged/fell on the heads of inventors” (Shakespeare 369). In the world of "Hamlet," it seems, things seem to be better, at least for those still standing. In the world of Rosencrantz and Guildenstern, however, things couldn't get much worse with the main figures, knowing that their end is programmed in the work's title. As an adaptation, "Rosencrantz and Guildenstern are Dead" seems to be stuck in the final set of the initial work. This causes a deep sense of pessimism in the show that mourns the absence of change and action, based on the audience's awareness that the only possible change will cause the protagonists' death..