Hamlet's Soliloquy - To be, or not to be

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Hamlet's Soliloquy - To be, or not to be

Hamlet's "To be, or not to be" soliloquy is arguably the most famous soliloquy in the history of the theatre. Even today, 400 years after it was written, most people are vaguely familiar with the soliloquy even though they may not know the play. What gives these 34 lines such universal appeal and recognition? What about Hamlet's introspection has prompted scholars and theatregoers alike to ask questions about their own existence over the centuries?

In this soliloquy, Shakespeare strikes a chord with a fundamental human concern: the validity and worthiness of life. Would it not be easier for us to simply enter a never-ending sleep when we find ourselves facing the daunting problems of life than to "suffer / the slings and arrows of outrageous fortune"? However, it is perhaps because we do not know what this endless sleep entails that humans usually opt against suicide. "For in that sleep of death what dreams may come / When we have shuffled off this mortal coil / Must give us pause." Shakespeare seems to understand this dilemma through his character Hamlet, and thus the phrase "To be, or not to be" has been immortalized; indeed, it has pervaded our culture to such a remarkable extent that it has been referenced countless times in movies, television, and the media. Popular movies such as Billy Madison quote the famous phrase, and www.tobeornottobe.com serves as an online archive of Shakespeare's works. Today, a Shakespeare stereotype is held up by the bulk of society, where they see him as the god of drama, infallible and fundamentally superior to modern playwrights. However, this attitude is not new. Even centuries ago, the "holiness" of Shakespeare's work inspired and awed audiences. In a letter dated October 1, 1775, Georg Christoph Lichtenberg, commenting on David Garrick's production of Hamlet (1742-1776) to his friend Heinrich Christian Boie, likens the "To be, or not to be" soliloquy to the Lord's Prayer. He says that the soliloquy "does not naturally make the same impression on the auditor" as Hamlet's other soliloquies do,

But it produces an infinitely greater effect than could be expected of an argument on suicide and death in tragedy; and this is because a large part of the audience not only knows it by heart as well as they do the Lord's Prayer, but listens to it, so to speak, as if it were a Lord's Prayer, not indeed with the profound reflections which accompany our sacred prayer, but with a sense of solemnity and awe, of which some one who does not know England can have no conception. In this island Shakespeare is not only famous, but holy; his moral maxims are heard everywhere; I myself heard them quoted in Parliament on 7 February, a day of importance. In this way his name is entwined with most solemn thoughts; people sing of him and from his works, and thus a large number of English children know him before they have learnt their A.B.C. and creed. (Tardiff 19)

Scholarly Criticism

Despite the extreme popularity of Hamlet's famous soliloquy, there are some scholars who have criticized its imperfections, and even have been so bold as to say that Hamlet speaks out of character when he delivers the famous words. Tobias Smollett, a major eighteenth-century English novelist, and his contemporary Charles Gildon see the soliloquy as unnecessary in that it does not further the dramatic action of the play. Tobias Smollett writes in an essay dated 1756:

...there are an hundred characters in [Shakespeare's] plays that (if we may be allowed the expression) speak out of character. ... The famous soliloquy of Hamlet is introduced by the head and shoulders. He had some reason to revenge his father's death upon his uncle, but he had none to take away his own life. Nor does it appear from any other part of the play that he had any such intention. On the contrary, when he had a fair opportunity of being put to death in England he very wisely retorted the villainy of his conductors on their own heads. (Vickers 266-7)

In 1721, Charles Gildon bluntly writes, "That famous soliloquy which has been so much cry'd up in Hamlet has no more to do there than a description of the grove and altar of Diana, mention'd by Horace" (Vickers 369). Indeed, many think the soliloquy is out of place, and some assert that he is not contemplating suicide at all. In 1765, Samuel Johnson explains the thought, or inner monologue, of Hamlet as he delivers the soliloquy in a manner that eliminates any struggle with thoughts of suicide:

Before I can form any rational scheme of action under this pressure of distress, it is necessary to decide whether, after our present state, we are to be or not to be. That is the question which, as it shall be answered, will determine whether 'tis nobler and more suitable to the dignity of reason to suffer the outrages of fortune patiently, or to take arms against them, and by opposing end them, though perhaps with the loss of life. If to die were to sleep, no more, and by a sleep to end the miseries of our nature, such a sleep were devoutly to be wished; but if to sleep in death be to dream, to retain our powers of sensibility, we must pause to consider in that sleep of death what dreams may come. (Harris 83)

A Change in Place over Time

Whether or not you agree that the soliloquy is out of place within the play or that Hamlet speaks out of character, it is interesting to note that the placement of the soliloquy within the play has changed over time. At one point in history, Hamlet's famous soliloquy was placed earlier in the play than it is now. A year later it was changed to occur later, after Hamlet devises the play within the play. H.B. Charlton, in an essay dated 1942, explains the importance of whether the soliloquy lies before or after Hamlet devises his incriminating play:

[If] the play within the play was devised by Hamlet to give him a really necessary confirmation of the ghost's evidence, why is this the moment he chooses to utter his profoundest expression of despair, 'To be, or not to be, that is the question'? For, if his difficulty is what he says it is, this surely is the moment when the strings are all in his own hands. He has by chance found an occasion for an appropriate play, and, as the king's ready acceptance of the invitation to attend shows, he can be morally certain that the test will take place; and so, if one supposes him to need confirmation, within a trice he will really know. Yet this very situation finds him in the depths of despair. Can he really have needed the play within the play? The point is of some importance, because in the 1603 Quarto of Hamlet, this 'To be, or not to be' speech occurs before Hamlet has devised the incriminating play. In the 1604 and later versions, the speech comes where we now read it. I know no more convincing argument that the 1604 Quarto is a masterdramatist's revision of his own first draft of a play. (Harris 166)

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