The article is an exploration of Tom Stoppard's plays examined in the light of the postmodernist view of intertextuality. Stoppard transcends the limits of subjectivity with his own inventiveness questioning radically notions of stability and rejecting modernist paradigms. The plays have been discussed touching on the Bhaktinian dialogic amidst different views and consciousnesses. Derrida's crucial reading of language and neologism or 'Dogg' language as invented by Stoppard incline towards the playfulness and ambiguous nature of life dethroning ideological biases, since signifiers no longer point at their accepted signifieds. The absence of final truth towards entity brings forth a blending and clashing of ideas and world views making the world and life more open and meaning more plural. All these notions of intertextuality supplemented by Stoppard in his plays have made humanity sympathies more expansive and life more tolerant