When the Bard of Avon created Hamlet, he simultaneously created the famous soliloquy ever uttered by English-speaking men. Thus it is that literary critics rank Hamlet’s fourth soliloquy as the most notable ever penned. Let’s examine in this essay how such a high ranking is deserved, and what the soliloquy means.
In his essay “An Explication of the Player’s Speech,” Harry Levin refers to the fourth soliloquy as the most famous of them all:
Dwelling on gross details and imperfections of the flesh (“Eyes without feeling, feeling without sight”), Hamlet will admonish his mother that sense-perception is dulled by sensual indulgence. Here insensibility is communicated by a rhetorical assault upon the senses: primarily “the very faculties of eyes and ears,” but incidentally touch and even taste. Leaving the senseless Priam to the insensate Pyrrhus, after another hiatus of half a line (37), the speech addresses violent objurgations to the bitch-goddess Fortune, about whom Hamlet has lately cracked ribald jokes with Rosencrantz and Guildenstern; whose buffets and rewards he prizes Horatio for suffering with equanimity; against whom he will, in the most famous of all soliloquies [my italics], be tempted to take arms. (36)
Marchette Chute in “The Story Told in Hamlet” describes just how close the hero is to suicide while reciting his most famous soliloquy:
Hamlet enters, desperate enough by this time to be thinking of suicide. It seems to him that it would be such a sure way of escape from torment, just to cease existing, and he gives the famous speech on suicide that has never been worn thin by repetition. “To be, or not to be . . .” It would be easy to stop living.
To die, to sleep;
No more. And by a sleep to say we end
The heartache and the thousand natural shocks
That flesh is heir to . . .
But Hamlet has never succeeded in deceiving himself, and he cannot do so now. . . .
[He] will not . . . be able to kill himself. He has thought too much about it to be able to take any action. (39)
Considering the context of this most notable soliloquy, the speech appears to be a reaction from the determination which ended the “rogue and peasant slave” soliloquy. In fact, in the Quarto of 1603 the “To be” speech comes BEFORE the players’ scene and the nunnery scene – and is thus more logically positioned to show its emotional connection to the previous soliloquy (Nevo 46).
The Soliloquies of Shakespeare’s Hamlet – To be or not to be Soliloquy
The “To be or not to be” Soliloquy within Hamlet
The fame of one particular soliloquy by the hero in Shakespeare’s Hamlet logically requires that special consideration be given to said speech. And such is the intent of this essay.
In “Superposed Plays” Richard A. Lanham discusses this most famous of all the soliloquies:
The King and Polonius dangle Ophelia as bait and watch. Hamlet sees this. He may even be, as W. A. Bebbington suggested, reading the “To be or not to be” speech from a book, using it, literally, as a stage prop to bemuse the spyers-on, convince them of his now-become-suicidal-madness. No one in his right mind would fault the poetry. But it is irrelevant to anything that precedes. It fools Ophelia – no difficult matter – but it should not fool us. The question is whether Hamlet will act directly or through drama? Not at all. Instead, is he going to end it in the river? I put it thus familiarly to penetrate the serious numinosity surrounding this passage. Hamlet anatomizes grievance for all time. But does he suffer these grievances? He has a complaint indeed against the King and one against Ophelia. Why not do something about them instead of meditating on suicide? (93)
Marchette Chute in “The Story Told in Hamlet” describes just how close the hero is to suicide while reciting his most famous soliloquy:
Hamlet enters, desperate enough by this time to be thinking of suicide. It seems to him that it would be such a sure way of escape from torment, just to cease existing, and he gives the famous speech on suicide that has never been worn thin by repetition. “To be, or not to be . . .” It would be easy to stop living.
To die, to sleep;
No more. And by a sl…
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…in, Harry. “An Explication of the Player’s Speech.” Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. Rpt. from The Question of Hamlet. Oxford: Oxford University Press, 1959.
Nevo, Ruth. “Acts III and IV: Problems of Text and Staging.” Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. Rpt. from Tragic Form in Shakespeare. N.p.: Princeton University Press, 1972.
Rosenberg, Marvin. “Laertes: An Impulsive but Earnest Young Aristocrat.” Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from The Masks of Hamlet. Newark, NJ: University of Delaware Press, 1992.
Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html