Why Is Hamlet's First Soliloquy

In Act 3 scene 1 of Hamlet we are faced with the soliloquy that contains one of the most famous lines from English literature: “To be, or not to be – that is the question” (III.i.57). This passage tends to show a large amount of evidence of the theme “Action vs. Contemplation”. Through poetic devices, tone, and sensory imagery we are able to analyze the theme and Hamlet’s tragic flaw: indecisiveness/inability to act.

“To be, or not to be, that is the question,” (3.1.64). This famous line in William Shakespeare's Hamlet perfectly encapsulates Hamlet’s internal struggle throughout the play. Hamlet tells the story of the young prince of Denmark and his desire for revenge on the uncle, Claudius, who murdered his father. As is the case in many works of literature, Hamlet changes greatly throughout the play. However, because of his attempts to act insane, it can be difficult to precisely map the changes in Hamlet’s character. By carefully investigating his seven soliloquies, where he is alone and has no need to “put on an antic disposition,” one can understand and interpret how Hamlet’s character develops throughout the play.

Hamlet, one of Shakespeare’s tragic plays, portrays the story of a young man’s quest to avenge his murdered father and his quest to find his true identity. In his soliloquies, Prince Hamlet reveals to the readers his personal perceptions of the events that take place in his homeland, Denmark, and of which are either indirectly or directly tied to his father’s murder. Many critics and scholars agree that while Hamlet’s soliloquies reveal the search of his identity and true character, his soliloquies universally illustrate man’s search for his true identity.

Hamlet's famous "To be or not to be" soliloquy in Act 3, Scene 1 provides the context for several of the characters' actions. It is a soliloquy about fearing the unknown that lies waiting on the other side of the grave (are we punished and/or rewarded according to our actions on earth?) and as Hamlet reasons, "Conscience does make cowards of us all" (3.1.2). In other words, Hamlet feels that he is unable to act because of the haunting voice of doubt inside him. He doubts that he would find peace in the afterlife should he kill himself. He doubts the events he sees before his very eyes and so cannot exact revenge as the spirit of his father urges him to do. Yet, as Hamlet begins to unravel, other characters expose their doubts as well, revealing how they too are troubled by the unknown. King Claudius reveals his troubled conscience after witnessing the play and wonders what he has done; Hamlet's mother tries to block out the reality of the situation she has entered into when Hamlet attacks her with what he knows (not knowing is better than knowing, she feels). This paper will examine the ways in which the unknown affects the actions of the characters in Hamlet and show that at the heart of each character is an unwillingness to confront the unknown (which is oftentimes themselves).

In this paper I will be analyzing and discussing how these four soliloquies reflect changes in Hamlet’s mental state; his

Ophelia is not the only source of conflict between Hamlet's "good or bad"; his vision of his father's ghost creates another battle raging in the already troubled youth's head. Upon hearing the true cause of his father's death from the ghost, Hamlet cannot be satisfied with himself unless he resolves to kill Claudius. However, the pensive Hamlet cannot help but weigh his undying love for his father against the morals of his Christianity. Hamlet must decide for himself whether to believe his father's ghost is an angel on a mission of revenge or a demon out to lure him into sin. Even on his first meeting with the ghost, Hamlet cannot help but be suspicious of its true intentions. "Be thou a spirit of health or goblin damn'd, bring with thee airs from heaven or blasts from hell, be thy intents wicked or charitable, thou com'st in such a questionable shape that I will speak to thee" (I.iv.40-44). Only by attempting to trap Claudius in a trap of

Shakespeare's dramatic treatment of struggle is clear through Hamlet's inability to take action and carry out his duty to his father. Before avenging his father's death, Hamlet first puts on a play "to hold...the mirror up to nature," in an attempt to reinact the events of his fathers death and "catch the conscience of the king" to ensure that what the ghost has told him is true. While by arranging this play, Hamlet is in a sense taking some action by trying to ascertain the truth, Hamlet reproaches himself in a soliloquy for his lack of decisive action. Shakespeare's use of a soliloquy allows Hamlet to reveal his feelings and innermost thoughts to the audience and he admires one of the players' passion and emotion. Hamlet marvels at the

Hamlet’s first soliloquy comes in act one scene two, as Hamlet reflects on the current state of events. The chief focus of this soliloquy is essentially the rottenness of the king, queen and the world in general. In this passage the reader is introduced to Hamlet pseudo-obsession with death and suicide, which later will become a chief point of indecision. In this particular speech, however, Hamlet is fairly confident. He wishes that his “too too sullied flesh would melt”

Hamlet’s character drastically develops over the first four acts of Hamlet, and his character development is most evident through the soliloquys he delivers throughout the play. The most character development can be seen from the first soliloquy, to the second, the third, the sixth, and the seventh and final soliloquy. Hamlet’s inner conflict with his thoughts and his actions are well analyzed in his soliloquys, as well as his struggles with life and death, and his very own existence. He begins the play wondering what purpose he has in life now that his father is dead and his mother has remarried to his uncle. After finding out foul play was involved in his father’s death, he is motivated by revenge. Finally, he wonders how he can enact his revenge while continuously overthinking and overanalyzing his actions.

In this soliloquy Hamlet shows a contrast from his first soliloquy, but still manages to demonstrate his inner desire and feelings. In the first soliloquy Hamlet’s character is idle and in deep melancholy. He griefs about how the universe has wronged him and that if it were not a sin to commit suicide he would have performed it already. In the second siliquoy the audience can see how Hamlet's character has turned into a more rational, loyal, and sensible

Within soliloquy two Hamlet expresses several distinctly different moods. His bewilderment

In William Shakespeare’s Hamlet, Act III, Scene I, Hamlet performs his most famous soliloquy, started “To be, or not to be…” Each interpretation of Hamlet’s Soliloquy in Act III has its own merit while giving us a unique window into Hamlet’s mind. In the conclusion of Act II, Hamlet purveyed a more rational attitude and outlook, and this soliloquy contradicts such a persona. He seems to have reverted to his dark, contemplative state. In the numerous versions of Hamlet, several actors have been given the opportunity to play the role of Hamlet, however only some can portray a believable and understandable character.

As with the majority of Shakespeare’s works, the 1601 tragedy of Hamlet still remains as an acclaimed source of inspiration for complex interpretations and in-depth criticism. Its values lies not within its plot, but rather within the constituents that gives rise to the textual integrity of the play. Hence, such thematic concerns of Struggle and Disillusionment are dramatically explored through elements of the dramatic form to impart an effect on the audience that allows the play to transcend contextual barriers. Such elements include the characterisation of the eponymous protagonist, various soliloquies, character foils, and the structure of the play. Edgar Johnson, expresses in his text “The Dilemma of Hamlet” (1956) that Hamlet’s

Shakespeare’s employment of dramatic struggle and disillusionment through his character Hamlet, contributes to the continued engagement of modern audiences. The employment of the soliloquy demonstrates Shakespeare’s approach to the dramatic treatment of these emotions. The soliloquy brings a compensating intimacy, and becomes the means by which Shakespeare brings the audience not only to a knowledge of secret thoughts of characters, but into the closest emotional touch with them too. Through this, the audiences therefore gain a closer relationship with Hamlet, and are absorbed by him because they are able to resonate with his circumstances, as he is faced with enduring truths of the human condition. Through these, the struggle and

Hamlet, the main character of William Shakespeare’s play Hamlet, is one of the most complex characters ever created. His intricacy can be seen in the amount of soliloquies he speaks throughout the play. Each one of Hamlet’s soliloquies reveals his innermost thoughts and gives the reader or audience insight as to what he is feeling at that time. Hamlet’s quartet of soliloquies illustrates how Hamlet is initially indecisive, but eventually makes a decision to take revenge against his uncle.