Fatemeh sadat Basirizadeh - Researchers and Elite Club, Qom Branch, Islamic Azad University, Qom, Iran
Fatemeh Hajirahimi - Instructor of Baqir-ol-Oloum University, Qom Branch, Qom, Iran

Metaphoric language in Tom Stoppard s plays has crucial role; the nature of language itself, how it comes to have significance within context and how the exchanges between characters maybe interpreted differently by an audience. The use of figurative language, dramatic language, silences, puns, breakdown of dialogues, and verbal humor, all are effective on making absurdity or making language witty instead of meaningful. Stoppard s play, The Rosencrantz and Guildenstern Are Dead has the contents of absurdity within but are not full absurd play. Stoppard believes in the unreliability of language as a tool of communication and he craftily expresses and show it in their plays. Rosencrantz and Guildenstern Are Dead has many affinities with the Theatre of the Absurd, but it is not absurd in the sense of Beckett or Ionesco’s plays. The fact is that, the situations and happenings of the play are Absurd for the characters, but not for the audience. The play mostly shows the roles of chance, fate and outer mysteries in life. It may suggest that life can be surprising and bizarre, but not absurd – not with a capital A, like Ionesco The focus of this study is on the varying degrees of wittiness. Three kinds of metaphor: Simple, complex, difficult have found in this study. There is a relationship between wit, transference and interference in the process of creating metaphor philosophical idea. The more levels on which we can observe operating, the more pleasure we take in the expression.

Metaphoric language, Absurdity, Literal language, The Theatre of the Absurd, Transference and Interference