Themes and Meanings (Masterplots II: Drama, Revised Edition)
Hapgood explores duplicity, the impossibility of knowing anything for certain, and the role of women in a masculine world. With double agents, a triple agent, two sets of twins, and Hapgood pretending to be twins, Tom Stoppard emphasizes how difficult the question of identity can be. Kerner is supposed to be spying on the British for the Russians but has been “turned” so that he can provide false information to the Soviets; however, if he can be made to betray one side, he can betray both. As Ridley points out, “Every double is a possible triple.” According to Kerner, “A double agent is . . . like a trick of the light.”
Even people certain that they are on the same side fool themselves about one another. Hapgood trusts Blair, perhaps even loves him, but he uses her son without her knowledge. He tries to justify his actions: “there was an either-or and we can’t afford to lose. . . . It’s them or us, isn’t it?” After all the deception she has seen, Hapgood cannot easily distinguish between right and wrong in the game of espionage.
The difficulty of determining truth from lies is reiterated throughout Hapgood. Kerner’s statements about the Russians’ learning of the existence of his son and turning him into a triple agent are supposed to be the truth to Ridley and lies to Hapgood and Blair but turn out to be the real truth. The cynical Ridley expects everyone to be lying but admits, “you never know,...
(The entire section is 636 words.)
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