The Stoppardian play enacts a postmodern situation where an acknowledgment of the undecidable, however incoherently comprehended, is met with realistic, identifiable men but with witty measures of parody, inscribed with an enlivening sense of playfulness. In this, Stoppard aims to self-discursively move beyond the limits of the absurd. Stoppard's dramatic texts are steeped in dialogic premises which can be lighted by the Bhaktinian socio-linguistics. Stoppard reveals that he is “a man of no convictions,” and believes that one should have the courage of no convictions. This amply reveals the playwright's moral of no convictions explored through interplay of convictions and counter-convictions; in other words, he interrogates and subverts established beliefs under dominant traditions that drive his dramatic characters and situations which ignore or oppress the other silent and suppressed ones