Hamlet’s soliloquy For such a figure as Hamlet, soliloquy is a natural medium, a necessary release of his anguish; and some of his questioning monologues possess surpassing power and insight, which have survived centuries of being torn from their context. The most famous soliloquy is perhaps “to be or not to be” in Act III, Scene I, Hamlet.

Hamlet’s character The cast of Hamlet’s mind is so speculative, so questioning, and so contemplative. His life is one of constant role- playing, examining the nature of action only to deny its possibility, for he is too sophisticated to degrade his nature to the conventional role of a stage revenger.

“To be or not to be” In his famous "To be or not to be" soliloquy, Hamlet philosophically concludes that no one would choose to endure the pain of life if he or she were not afraid of what will come after death, and that it is this fear which causes complex moral considerations to interfere with the capacity for action.

Hamlet’s soliloquy Main Idea: This is an internal philosophical debate on the advantages and disadvantages of existence, and whether it is one's right to end his or her own life. It presents a most logical and powerful examination of the theme of the moral legitimacy of suicide in an unbearably painful world.

To be or not to be To be, or not to be: that is the question: Whether ‘tis it is) nobler in the mind to suffer The slings & arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them?

“To be or not to be” is the key sentence in this soliloquy. “To be” is to continue to live, or to take action. “not to be” is to die, or to do nothing but suffering, to end one’s life by self- destruction. It is a dilemma of trying to determine the meaning of life and death. Is it nobler to suffer the life passively or to die (seek to end one’s sufferings) actively?

To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, 'tis a consummation Devoutly to be wish'd. To die: to sleep. It is a metaphor. Hamlet spoke of suicide as a escape. His speech has become proverbial as an outpouring of utter world- weariness.

To die, to sleep; To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause. Why is it “the rub”? What makes us pause? Hamlet thinks that suicide is a desirable action of escaping, but what will happen after dying? It alludes to hesitation for sleeping/ dying because Hamlet realizes that unknown dreams will make us terrified.

There's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? 人们甘心久困于患难之中，也就是为了这个缘 故；谁愿意忍受人世的鞭挞和讥嘲、压迫者的 凌辱、傲慢者的冷眼、被轻蔑的爱情的惨痛、 法律的迁延、官吏的横暴和费尽辛勤所换来的 小人的鄙视，要是他只要用一柄小小的刀子， 就可以清算他自己的一生？ This speech confirms Hamlet’s suspicion of afterlife. People would rather suffer life- long miseries than to sleep to undergo the unknown dreams. Because comparatively the latter is more fearful.

who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? 谁愿意负着这样的重担，在烦劳的生命的压迫下呻 吟流汗，倘不是因为惧怕不可知的死后，惧怕那从 来不曾有一个旅人回来过的神秘之国，是它迷惑了 我们的意志，使我们宁愿忍受目前的磨折，不敢向 我们所不知道的痛苦飞去？ To be is more difficult and fearful than not to be. The speech indirectly gives Hamlet a reason why he has always been hesitating for taking revenge. Hamlet has to live a suspected life between fact and fiction, language and action. It is his speculation and vulnerability as well.

Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry, And lose the name of action. Hamlet thus concludes that the dread of the afterlife leads to excessive moral sensitivity that makes action impossible.

-- Soft you now! The fair Ophelia! Nymph, in thy (your) orisons Be all my sins remember'd.