ENG4U1 Class Discussions: Discussion 6 - To be or not to be. Aye, there's the point.

Sunday, April 01, 2007

Discussion 6 - To be or not to be. Aye, there's the point.

Hamlet delivers 3 soliloquies in the first 3 acts of Hamlet. Explain how the three soliloquies build towards the explosion of action which is act 3 of Hamlet. Focus your response on the soliloquy in act 3.

22 comments:

Cory K said...: Throughout the course of the play Hamlet, the main character Hamlet performs soliloquies towards the audience that spill out important details. I the first three acts of Hamlet there are 3 main soliloquies that are spoken by Hamlet that together all lead up to that action that unfolds in Act three. The first of the soliloquies shows hamlet’s disgust for his new father, how he would like to do away with him and the second talks about hamlet’s plan to get his stepfather to have a public omission of guilt. They both lead up to his soliloquy in act three where Hamlet pours out all his mind and soul out to the audience. With Hamlet’s disgust, plan for a public omission, and whole mind and soul poured out in his three soliloquies it is easy to see how they build up for the action that takes place in Act three.

In the first soliloquy spoken by Hamlet, he talks about the disgust he feels for his new stepfather and how nothing is worth anything in his life and he just wants to die. This soliloquy starts to show signs of Hamlets hatred towards the new King as he describes the king as, “so excellent a King, that was to this/ Hyperion to a Satyr,” (1.2.139-140). As Claudius has just married his mother that also makes him his new father, which he completely resents. He describes their relationship to one another as, “no more like my father/ than I to Hercules.”(1.2.152-153) He also speaks of how he wants to kill himself but he can not because it is against God’s will, which shows that Hamlet believes all people are put on earth by God because they all have a purpose and he must find his. He says he wants to kill himself but, “His canon against self slaughter. O God! O God!” (1.2.132) He speaks of his fear for God and how he should abide by him to find his purpose in his life rather than kill himself. With the death of his father and his mothers, remarriage of his mother Hamlet is lost and just wants his life to end. His new stepfather for engaging with his mother so shortly after his father’s death also angers him. Hamlet is looking for his purpose in life and with a strong hate for his stepfather the right things may sway him to see a very bloody purpose for himself on this earth and leads up to him wanting to kill his new stepfather.

In act two Hamlet has his second soliloquy which further ads up to the action that will take place in Act three as we find out that he has found his purpose in life is to kill his step father but he must first get a public omission of guilt. He talks about how Claudius has insulted him his whole life and he is sick of it. He talks of the insults as, “who calls me villain, breaks my pate across, / Plucks off my beard and blows it in my face.”(2.2.577-578) These insults must be stopped and Hamlet must get a public omission of guilt from Claudius before he kills him. He must get the public omission during the play so he decides, “I’ll have these players/ play something like the murder of my father/ before mine uncle” (2.2.590-592), by doing this he hopes to get the public omission of guilt from his uncle so he can do away with him. All the action seems to be ready to go until Hamlet makes one little remark that may slow him down. He talks of the ghost and shows a little lack of trust when he says, “The spirit that I have seen/ May be the devil, and the devil hath power/ T’assume a pleasing shape.”(2.2.594-596) This lack of trust for the ghost add to the suspense built which leads up to the third act because you are left unsure of how Claudius is going to react to the play. Hamlet seems to believe his stepfather killed his father but still needs some sort of proof, the proof however will not be unveiled until the Third Act, which this soliloquy leads you towards.

The final soliloquy that comes before the action that takes place in act three is spoken by Hamlet at the beginning of Act three and it is the final piece that leads to the action in Act three. Hamlet pours out his thoughts during this soliloquy as he wonders if he should continue on or not, if he should fight against his sea of troubles or take the beating. He speaks of it in metaphor as he says, “tis nobler in the mind to suffer/ the slings and arrows of outrageous fortune/ or to take arms against a sea of troubles.”(3.1.57-59) He fights in his mind weather he should kill himself or go on with his life because he feels trapped in his own home. He thinks to himself, “When he himself might his quietus make/ with a bare bodkin? (3.1.75-76). He does decided however that life is a better choice and that he must fight off his sea of troubles and face his stepfather. These thoughts lead to wonder what Hamlet will do when his stepfather has a realisation in front of everyone, if he will take action or simply stand by and watch life go bye.

The three soliloquies give insight into Hamlet’s mind and show you his hate for his stepfather and his plan to get rid of him. Hamlet’s thoughts are very important in leading up to the large amount of action that takes place in the third act as they build up tension as the play moves towards act three. His thoughts that are put in his soliloquies show what Hamlet is thinking of doing and no one but the audience and Hamlet know of these thoughts, which help piece together the action that is predicted by Hamlet, in the third Act.; Sunday, April 08, 2007 8:19:00 p.m.
Jenny E said...: In the play Hamlet, written by William Shakespeare, the protagonist Hamlet, the Prince of Denmark lives in a chaotic world. Everyday he has to deal with drama and stress happening in his life. He knows that he has nobody on his side. He also knows that he does not have anybody on his side to help him out on his tough journey of revenge. Although he is burning with hate and vengeful thoughts, he is not able to show his true emotions. The only time Hamlet shows his true feelings are during his soliloquies. There are three soliloquies where Hamlet pours his heart out in the first three acts of the play. In the first soliloquy, he has just found out about King Hamlet’s murder and is enraged yet confused. In his second soliloquy, he is also angry but more frustrated since he does not take any action towards his plan. In his third soliloquy, is the only soliloquy so far, where he sounds determined to take some action. Therefore, Hamlet shows his true feelings throughout his soliloquies, and amazes the readers with his deep thoughts.
Hamlet’s first soliloquy begins when he has just found out about his father’s murder. Hamlet cannot deal with the truth and is filled with retaliation. When the ghost leaves, hamlet in an emotional soliloquy says that the ghost’s call for revenge has wiped out everything else in his mind. He also realizes that he has an enormous burden to carry. He calls Claudius, “O Villain, villain, smiling damned villain!” (1.5.106). This shows that not only Hamlet is frustrated but also lost. He does not know what to do, but curse at his uncle.
During his second soliloquy, only a little has changed from his first. Hamlet further explores himself about how he is unable to “act” out his words. He calls himself “a rouge and peasant slave” (2.2.544), and feels obstructed. He has just seen a player who was able to “act” out his words, and even was able to cry during his acting. Once the players leave him, hamlet rails against himself that a player could express such impassioned grief in a drama yet he, cannot act against Claudius on his real-life grief. Yes, he does feel helpless, but is amazed at the actor’s ability to act. Hamlet questions feebly, “What’s Hecuba to him, or he to her./ That he should weep for her?” (2.2.553-554). On the other side, he comments on himself as “a dull and muddy mettled Rascal” (2.2.261-262). Once again, he calls Claudius, “Bloody, bawdy villain!/ Remorseless, treacherous, lecherous, kindles villain!“ (2.2.576-577). Once he denounces himself for a being a coward and a villain, he realises that this anger is a pointless emotion and that he must get on with his task. By the end of his soliloquy, he shows a little sign of determination. He quotes, “I’ll have theses players/ Play something like the murder of my father/ Before mine uncle.” (2.2. 567-577). This shows that Hamlet is not only a complainer, but does have a plan. He did grieve about his incapability to express himself, but he has also figured out a pathway for his plan.
In his last soliloquy, Hamlet finally sounds strong-minded about his revenge. When Hamlet’s passion abates, he swiftly reveals a plan for entrapping Claudius, “to catch the conscience of the king,” and to establish his guilt. In his third soliloquy, Hamlet reflects on the notion of suicide as a means of escape from life’s problems. He concludes that the fear of the unknown after death keeps us all living. When everyone leaves, the stage is set for Hamlet’s most well known soliloquy, “To be , or not to be - that is the question”(3.1.56). The questions he ponders in this soliloquy are those with which every man or woman wrestles in times of great crisis. When hamlet asks “whether ‘this nobler in the mind to suffer” (3.1.57), he is wondering whether it is better to suffers in his mind, or is it better to take action and confront problems. Or is it better if he committed suicide? He counters his own thoughts by saying that “those conscience does not make coward of us all” (3.1.83). But hamlet points out that the problem with suicide is man’s fear of oblivion. By the end of his speech, Hamlet shows a strength of a character by willing to take full actions from now on. His last words are, “Be all my sins remember’d” (3.1.90).
In Hamlets first soliloquy, he contemplates death because he was so devastated by this mother’s marriage to his uncle. Now he contemplates suicide as in easy solution to all life’s conflicts. At the end of Act Two, Hamlet seemed to be a man of action, rational, and determined to carry out a plan that would expose his uncle’s duplicity. Now he reverts to the procrastinating prince. He is surely subjected to many mood changes, perhaps typical of his melancholic personality. Whatever the reason, he is caught in the conflict and he continues to struggle for a satisfactory solution. Hamlet’s soliloquies shows the readers that his determination does firm little by little. At first, all he did was complain and mourn of his incapability. However, as he did more thinking and planning, he is becoming a character of action instead of words.; Sunday, April 08, 2007 9:08:00 p.m.
Taylor S said...: The soliloquy is used to reveal a character’s thoughts to the audience, in the play Hamlet Shakespeare uses soliloquies to build up thoughts that lead Hamlet to action at the end of act three. Hamlet reveals his thoughts in act one and two of planning and strategizing, these thoughts build up in act three’s soliloquy and lead Hamlet into violent action at the last scene of act three.

Hamlet’s soliloquies in the first two acts are his way of reflecting and planning. Hamlet uses the soliloquy in act one to reflect on what Gertrude has done, this contributes to Hamlet’s verbal slaughter of her act the end of at three. In his first soliloquy Hamlet says, “She married. O, most wicked speed, to post/With such dexterity to incestuous sheets!/It is not nor it cannot come to good:/But break, my heart; for I must hold my tongue.”(1.2.156-159), Hamlet knows that it is not the right time to talk to his mother that is why he reveals his thoughts to her in his explosion of action at the end of act three. Hamlet reveals in his second soliloquy his plan to get a public omission of guilt from Claudius, Hamlet needs this from Claudius so he can carry out revenge against the king. “the play 's the thing/Wherein I'll catch the conscience of the king.”(2.2.600-601) When Claudius reveal’s his conscience Hamlet explodes in to action act the end of act three.

In Hamlet’s act three soliloquy he gives himself two choices, to take his misfortune or fight against it. “To be, or not to be: that is the question:/Whether 'tis nobler in the mind to suffer/The slings and arrows of outrageous fortune,/Or to take arms against a sea of troubles,”(3.1.56-59) In this soliloquy Hamlet says, “Thus conscience does make cowards of us all;”(3.1.83), this is true for Hamlet because his choice of inaction and waiting for a confession is a cowardly act not obeying his filial obligation. Hamlet knows this and will lose the name of action his father created if he does not act. “With this regard their currents turn awry,/And lose the name of action.”(3.1.87-88) With the revenge that Hamlet seeks he knows he can not berry away his thoughts any longer and this causes his explosion at the end of act three. The explosion of action is his verbal attack on Gertrude and the killing of Polonius. Gertrude tells Hamlet to stop but he unpacks his feeling towards Claudius on her. “O, speak to me no more;/These words, like daggers, enter in mine ears;”(3.4.94-95) Polonius’ act of spying causes his death which is the first time Hamlet did not think and just chose action, this could be thought as the turning point for Hamlet in the play. “Hamlet: How now! a rat? Dead, for a ducat, dead!/Polonius: O, I am slain!”(3.4.23-24) Hamlet makes the choice to fight against his troubles even though it will be a great struggle.

Planning and strategizing in his first two soliloquy’s Hamlet gives himself a choice of action or inaction in his third, these choices cause him to burst out into uncontrollable action in the last scene of act three. This action causes events that Hamlet will regret in the future.; Sunday, April 08, 2007 9:09:00 p.m.
Bata said...: Soliloquies are often used to convey to the audience a characters thoughts, which are presented in a way that look like the character is talking to his or her self. Within the play Hamlet, the action arises in Act 3. During the first acts of the play Shakespeare builds up surmountable tension which bursts forth during the third act. This rising tension that is created is clearly illustrated through Hamlet’s three soliloquies.

The primary building block of the rise to action is started in Act 1, Scene 2. During this scene Hamlet utters his first soliloquy in which he conveys imagery of death, decay and rotting. He begins with wishing his very flesh could melt away and he could die, yet he cannot kill himself because it is a sin. Hamlet feels like the world is useless and has no meaning whatsoever to him any more. He also speaks of how quickly his mother married herself to Claudius. He sees it as very sinful and wrong but he cannot say anything out loud about it for then he would be committing an act of treason. During Act 1 and the first soliloquy, there is a sense of being caged and the idea of Hamlet fighting against time; The race towards action begins. This is the beginning where Hamlet already seems to know something is not right but he has yet to come up with a plan of action or a way to speak out loud : “It is not, nor it cannot come to good./ But break, my heart, for I must hold my tongue” (1. 2. 158 - 159). During this soliloquy he is starting to vent some of his anger out over the current events but he does not know enough yet or have any proof in which to act upon.

Amid Act 2, Scene 2, Hamlet delivers his second soliloquy. Essentially this soliloquy deals with his anger towards himself, he asks himself why he has yet to do anything about the ordeal with Claudius; Hamlet has yet to exact his revenge on his uncle even though he has been given enough information that he should have acted upon it by now. He is primarily startled by the fact that one of the actors started to cry whilst reciting something from a play. He realizes with such passion as the actor has, he could make even the guilty cry out to their crimes. He devises a plan to get a public omission of guilt from Claudius, which will prove that Claudius had murdered Hamlet’s father: “The plays the thing / Wherein I’ll catch the conscience of the King” (2. 2. 600 - 601). This is Hamlets plan of action but he has not actually done anything yet, he has only plotted out what he will do. This is leading towards the events that will occur and be the inevitable breaking point where action will start to happen within Act 3. But as of now Hamlet is only a man of thought and not of action.

The final soliloquy that Hamlet transmits to the audience is within Act 3, Scene 1. Within this soliloquy he bears his very soul and the audience is brought into his mind; all that there is to him, he tells the audience. This brings about the theme of being caged but even more so then from the beginning of Act 1. He begins to contemplate whether he should exist or not within the famous Shakespearean quote: “To be or not to be, that is the question” (3. 1. 56). He wonders how life should be lived, whether to take action or stand idly by and take what life throws at you: “…to suffer / The slings and arrows of outrageous fortune, / Or to take arms against a sea of troubles” (3. 1. 57 – 59). He is beginning to question himself on whether it is better to act or to not act. He also speaks of human’s natural fear of not knowing what happens after death which thus keeps us from wanting to die. People fear that their conscience will follow them after they are dead, which is why people would rather suffer through life then die because they do not wish to know what happens after death. This soliloquy builds up even more tension since it shows more hesitation from Hamlet. Hamlet has only been thinking and planning during his previous soliloquies and now he is faced with whether or not he should act upon his plans. The audience wants to see him act yet he is still thinking and not doing anything. This is Shakespeare’s brilliant display of creating dramatic tension, which when action finally happens, bursts forth forcefully.

Once Hamlet’s plan finally unfolds, the action explodes from one scene to the next after his third soliloquy in Act 3. The action is at its pinnacle during Claudius’ omission of guilt, Hamlet killing Polonius and finally Hamlet seeming to really be crazy in front of his mother. All three Soliloquies build up to theses fevered moments of action that occur during Act 3.; Sunday, April 08, 2007 9:48:00 p.m.
Jackie L said...: Throughout the first three acts of William Shakespeare's tragic play Hamlet, many different soliloquies were delivered by Hamlet himself. These soliloquies gave insight into Hamlets views of what was going on around him. These soliloquies also show the audience what is to come. In these soliloquies Hamlet gives clues as to what his feeling are and what he might do. This build up of emotion can contribute to the explosive action found in act 3. Through an examination of the first three soliloquies in William Shakespeare's Hamlet, it will be determined that these soliloquies provide and audience with vital information as to the direction of the play and the volatile action found in act 3.

In the first soliloquy delivered by Hamlet in act 1, he expresses his discontent for his mother, as well as his shock of how his mother would, " Ere yet the salt of most unrighteous tears Had left the flushing in her galled eyes, She married- O most wicked speed!" (1.2. 154-156) after he thought his mother loved his father so much. Here is where the audience receives an accurate depiction of the series of events that occurred prior to the beginning of the play. Also the audience can then better understand the history Hamlet has been through to better understand why he feels the way he does. Here is where the audience receives Hamlet's open emotions and thoughts towards his uncle and his mother. Here the audience can clearly tell his discontent with his uncle. Hamlet even goes as far as to say that his mother was, "0 most wicked speed! To post With such dexterity to incestuous sheets!" (1.2. 156-157), which is a huge insult to say that his mother was a jumping into a bed incest. In this soliloquy the audience also can see how Hamlet felt about his late father. Hamlet goes on to talk highly of his father saying, " So excellent a king, that was to this Hyperion to a satyr, so loving to my mother." (1.2. 139-140), suggesting that his father was not only an excellent king but also a great husband. This soliloquy provides evidence to prove that Hamlet is full of dense emotions and this also shows how possibly action must be taken in order to correct this unholy action.

The second soliloquy said by Hamlet is a speech emerged in deep emotions. This soliloquy is very personal to Hamlet and shows the audience a vulnerable side of Hamlet. Here he questions himself and has to think out his situation. Hamlet questions himself and his ability to truly do anything, " A dull and muddy-mettled rascal, peak Like John-a-dreams, unpregnant of my cause, And can say nothing- no, not for a king, Upon whose property and most dear life A damn'd defeat was made. Am I a coward?" (2.2. 562-566), questioning whether or not he is capably of action. This part is where the audience can see a true sense of Hamlet deliberating whether or not to take action and he goes as far as to question his ability to take action. Also Hamlet allows the audience to gain a very different perspective of his character. At the beginning of this soliloquy Hamlet shares with the audience the depth of his emotion crying out saying, "What's Hecuba to him, or he to her, That he should weep for her? What would he do Had he the motive and the cue for passion That I have? He would drown the stage with tears." (2.2.553-556) therefore proving that he has a depth of emotion immeasurable by any tears. Hamlet here shows his emotion and how much these actions have really affected him. This soliloquy is full of emotion and full of Hamlet building himself up and therefore building up the anticipation for the audience as to what is going to happen next. This last couple lines in the soliloquy really set the audience up for a series of major action packed events. With Hamlet stating that, " Abuses me to damn me. I'll have grounds More relative than this. The play's the thing Wherein I'll catch the conscience of the King."(2.2.598-599).

In Hamlet's third soliloquy he examines the essence of life and the essence of self. In this speech I believe that he is in fact saying this speech on behalf of them all. Throughout this play all the characters have been asking themselves these sort of question, however Hamlet is the only brave person to truly try and examine why and find answers. His first line which has become infamous, " To be, or not to be, that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles,"(3.1.56-60) is the quintessence of this speech and the play in general. This speech not only questions life and death but also action verse thinking. Here Hamlet is beginning to decipher is it better to act or think, and whether or not one is better than the other. Here is another example of how Hamlet is showing the audience his character and the reason why he has not acting yet by killing Claudius. Here Hamlet has giver the audience the most in depth view at his true self. I think that every character in this play has experienced this complex yet, perhaps earlier on in life. They have chosen either to become an action driven person or a thinker. This complex and the complex of existence are closely linked. This becomes such a complex mainly because they both directly affect each other. Hamlet visibly expresses this when he says, "For who would bear the whips and scorns of time, Th'oppressor's wrong, the proud man's contumely, The pangs of dispriz'd love, the law's delay."(3.1.70-74) therefore expressing his view on action. This soliloquy comes right at a time in the play where the audience and neither decide or decipher whether or not Hamlet is truly mad. This is where the audience can connect with Hamlet on another level. Here Hamlet questions the meaning of life and existence, an age-old question asked by all. This soliloquy would give evidence to the fact that Hamlet is not mad and these prior soliloquies are simply a man building himself up to take action. The last line in this soliloquy is a brilliant sag-way into the enormous action that is about to ensue. He goes on the say, " Be all my sins remember'd."(3.1.90).

All three of these soliloquies are delivered by Hamlet in an attempt to build the audience in anticipation for the action filled act 3. Throughout the play the audience has been thirsty for action but has yet to receive any. This is because Shakespeare is determined to give the audience all the possible information to the audience so that they can better understand the actions of the characters. Without this concrete background the audience would become confused as to why Hamlet has not yet reacted.; Sunday, April 08, 2007 10:20:00 p.m.
Katie S said...: Throughout the play Hamlet, written by William Shakespeare, Hamlet delivers soliloquies which tell the audience his true feelings. Each soliloquy starts with a problem and ends with a solution, in the first three soliloquies delivered in the first three acts of Hamlet the solutions gradually lead Hamlet to action.
In the first act Hamlet speaks his first soliloquy, in his speech he articulates the hopelessness he feels and speaks of giving up on life if it were possible. Hamlet believes that everything in his world is useless to him because of the problem he has with his mother marrying his late father’s brother right after her his death. This first soliloquy portrays Hamlet’s anger towards his uncle and his mother for their quick marriage after his father’s death but by the end of his speech Hamlet’s solution is that he cannot let his feelings known and leave his grief unspoken. “It is not, nor it cannot come to good, / But break, my heart, for I must hold my tongue.” (1. 2.158-159). The first soliloquy shows Hamlet’s hesitation to act on his feelings and that gives off the intention of never acting on his feelings.
In the second soliloquy Hamlet exposes a more angry character that is much more aware of his feelings regarding his father’s death. Hamlet is upset after he witnesses an actor emotionally reciting a tragic monologue from a play because Hamlet cannot show that much emotion even though his tragedy is reality. Hamlet is more conscious to the fact that he does not act on his feelings and that he is a thinking man by nature. But his nature proves to be beneficial in this soliloquy because this is the point in which Hamlet’s scheme to prove Claudius’ guilt is planned. Hamlet plans to have the actors act out a scene that is parallel to the King’s murder “The play’s the thing/ Wherein I’ll catch the conscience of the King.” (2. 2. 600-601). This plan shows that Hamlet is intending to indirectly use action to prove the guilt of King Claudius in the murder of his father, King Hamlet.
Hamlet’s third soliloquy is the speech that leads to Hamlet’s action because Hamlet is showing his state of mind is out of place. Though he is quite composed, the gradual lead up to action has allowed for Hamlet to act irrationally. He questions his life once again by asking the question “To be, or not to be…” (3. 1. 56) which therefore allows for more rash outbursts such as the anger he shows towards Gertrude, the treatment of Ophelia and the murder of Polonius. This action is caused by Hamlet’s hesitant and impulsive actions and this soliloquy shows Hamlet’s confusion over his actions and his life and whether or not he should be hesitant or impulsive. In this soliloquy Hamlet learns that thinking too much will end in no action, “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” (3. 1 83-85) . This realization gives Hamlet the understanding that is required to act on his feelings. After this soliloquy Hamlet acts rash and impulsively with Ophelia and Gertrude and in the murder of Polonius but still pauses to think when it comes time to kill the King, “And enterprises of great pitch and moment/ With this regard their currents turn awry.” (3. 1. 86-87). Hamlet pauses to think when it comes to killing Claudius because it is a moment of great importance in his life and in the outcome of the play.
The first three soliloquies in the first three acts allow for the transition Hamlet’s character makes from inaction to an explosion of action in the third act.; Sunday, April 08, 2007 10:30:00 p.m.
Stephanie N said...: In William Shakespeare’s Hamlet, Hamlet reveals himself through a series of soliloquies presented by him to the audience. A major soliloquy in the play is the soliloquy given by Hamlet in Act 3. Most people are familiar with this soliloquy due to its famous line: “To be, or not to be” (3. 1. 56). Yet to reach the third soliloquy of the play the first two soliloquies must be understood. The first two soliloquies contain themes also discussed within the third soliloquy, both of the first soliloquies are used as a foundation for the third soliloquy, and the soliloquies also display the progress and development of Hamlet himself..
As Hamlet presents his soliloquies, themes of nihilism and death and decay imagery are very evident. Hamlet commences his third soliloquy questioning existence itself. “To be, or not to be” (3. 1. 56). Hamlet is as skeptical about his existence as he was through his first soliloquy. “Or that the Everlasting had not fix’d / His canon ‘gainst self-slaughter.” (1. 2. 131-132). It is evident that Hamlet contemplated thoughts of suicide beforehand and what it would accomplish for himself and his circumstances. Death and decay imagery overwhelms all three of Hamlet’s soliloquies. In hamlet’s first soliloquy the imagery of death comes through Hamlet as contemplations of suicide. “Or that the Everlasting had not fix’d / His canon ‘gainst self-slaughter.” (1. 2. 131-132). Hamlet sees that suicide would be a possible option for him, under his circumstances. Death enters Hamlet’s third soliloquy in a seemingly harmless sense. “To die, to sleep; to sleep, perchance to dream.” (3. 1. 64-65). Hamlet twists a peaceful rest into one of eternal rest. As well the imagery of decay is also evident through all three of the soliloquies. In Hamlets first soliloquy he expresses decay through an image of a neglected garden, allowing vegetation to rot over “That grows to seed; things rank and gross in nature.” (1. 2. 136). As well in the soliloquy of Act 2, Hamlet uses the internal digestions of a pigeon to express the decay “But I am pigeon-liver’d and lack gall” (2. 2. 573).
Through the soliloquies that Hamlet presents to us, we are revealed important information which is necessary for the understanding of Hamlet’s third soliloquy. In the first soliloquy we see that Hamlet exudes discontent for his uncle-father Claudius knowing that Claudius as King would never reach the heights of kingship that his own father King Hamlet had reached “Hyperion to a satyr” (1. 2. 140). Although most of Hamlet’s hostility towards Claudius is due to the fact that Claudius is now the one keeping the seat of the throne warm, Hamlet also resents the fact that Claudius is also keeping Queen Gertrude’s bed warm. At this point in his soliloquy it is revealed to us that he resents his mother for what she did. To Hamlet, Gertrude was defined by her actions after the death of King Hamlet, her false period of mourning “Ere yet the salt of most unrighteous tears” (1. 2. 154.) As well as her immediate marriage to Claudius, “She married – O most wicked speed!” (1. 2. 156). In the midst of Act 2, Hamlet delivers yet another soliloquy. Hamlet speaks of the actor and his capability of exhibiting emotions which he did not feel. Hamlet viewed this as a trait that he himself did not possess, not being able to physically reveal or act upon his emotions “Unpregnant of my cause, / And can say nothing” (2. 2. 564-565) this revealed that Hamlet knew what he had to do and he knew what he was missing to fulfill his obligation.
Most importantly throughout all three of the soliloquies that were presented by Hamlet, there is a sense of progression and development of character. The first soliloquy was the evidence of Hamlet’s progression. Hamlet allows the audience to read into his thoughts and feelings as he contemplates his actions or lack of. He allows the audience of the play to divulge in his problems and circumstances, such as that of his uncle and his mother. In Hamlet’s second soliloquy we see Hamlet as someone who begins to realize his responsibilities and obligations to his father and starts to realize that if he is to fulfill his duties he will have to change himself. At last, in the third soliloquy Hamlet allows the audience a little advancement in his journey of filial obligation. Hamlet has finally devised a plan against Claudius. “Play something like the murder of my father / before mine uncle. I’ll observe his looks.” (2. 2. 591-592). Although this plan seems insignificant, this is the first time Hamlet has devised any such plan against Claudius. Throughout all three soliloquies we are able to see Hamlet grow.; Sunday, April 08, 2007 10:49:00 p.m.
Linh H said...: In all three of Hamlet’s soliloquies, he exemplifies different personal tones towards the war that he claims, toils “Within the book and volume of [his] brain” (1.5.103). In Hamlet’s foremost soliloquy in Act 1, this is the audience’s initial glimpse into the suppressed sentiments, which consume Hamlet’s mind. His pride for his father who was “So excellent a king.../... [and] so loving to [his] mother” (1.2.139-140) who’s manner now disgusts Hamlet are revealed. His loathing of Claudius is, in addition, an acceptable reaction unto the situation that Hamlet is faced with. At this point, when Hamlet concludes that he “must hold [his] tongue” (1.2.159) the audience approves his decision. In Hamlet’s second soliloquy, found in Act 2, he revisits the emotions generated from his first confession. Instead, an actor’s false “dream of passion” (2.2.546) stimulates Hamlet to confront his present inactive nature. This spurs great guilt in Hamlet, as he now has no excuse not to avenge his father. The Ghost of King Hamlet has by now approached him and yet Hamlet is impassive “And can say nothing - ” (2.2.566) to Claudius. The audience now feels a great uneasiness in the perceived procrastination that Hamlet upholds. When Hamlet questions, “Who calls me villain, breaks my pate across,” (2.2.567) the audience no longer experiences sympathy to Hamlet’s situation. Although, it is through this soliloquy that Hamlet creates a plan to gain a public omission of guilt from Claudius by viewing a play similar to his plot in murdering King Hamlet. More importantly, the third soliloquy, which Hamlet addresses in Act 3, reaches deeper into the root of his dawdling behaviour. The audience has seen Hamlet devise a cunning plan to “catch the conscience of the King” (2.2.601) and at this moment there is a sense that Hamlet is unsure with himself. Hamlet is worried whether “tak[ing] arms against a sea of troubles” (3.1.59) is worth the attempt. Hamlet is skeptical to whether making a possibly useless difference is more justifiable than merely being passive. In acting against the problem, there is the risk of facing the unknown. That is, the results are unpredictable. Hamlet is inactive to avoid all consequences, both good and bad. He does not want to be the source of these risks although he too wishes to “end/The heat-ache and the thousand natural shocks/That flesh is heir to:” (3.1.61-63). This soliloquy is the pinnacle of Hamlet’s personal revelations and as a result, the action of Act 3 intensifies. This moment of realization in questioning whether Hamlet’s action is “To be, or not to be” (3.1.56) induces Hamlet’s strange attempt to save Ophelia, Hamlet’s forceful descriptions during the play, and his fierce guilt-provoking claims against Gertrude.

As Ophelia attempts to speak on “remembrances/That [she has] longed...to redeliver” (3.1.93-94) to Hamlet he begins an offensive act towards her, denying that their relationship flourished into anything worthwhile. This could moreover be interpreted as a final effort for Hamlet to protect Ophelia from what is to come. If Hamlet decides to destroy Claudius, according to his third soliloquy there will be a price to pay. Hamlet is not willing to allow Ophelia to be one of the options, thus, he perceives her as one consequence that he can control and in turn avoid. This will ease Hamlet’s conscience in that if Ophelia goes [To a nunnery, ...quickly] (3.1.141) she will be safe from the turmoil which is unknown to Hamlet, nonetheless expected. Hamlet’s abusive language unto Ophelia seems to be a diversion from his true feelings. It is purposefully used to serve those Hamlet apparently assumes to be spying upon their conversation as he demands of Ophelia “Where’s your/father?” (3.1.130-131).

Next, Hamlet illustrates his controlling tendency through his penetrating comments on the play in which he asks the actors to “Suit the action to the word[s]” (3.2.17) that he himself has assigned. Hamlet urges any trace of a reaction to the play especially from Queen Gertrude. When she responds with a dull attitude observing that “the [player] lady doth protest too much” (3.2.225) after a scene which Hamlet had believed she might be moved by, Hamlet exposes an omniscient notion. This, conjointly with Hamlet’s forward suggestions of the play is so intent that Claudius becomes suspicious questioning whether “[Hamlet] heard the argument?” (3.2.227) previously. At this point even Hamlet seems to be anxious in his planned action against Claudius. These frequent remarks seem to influence the court audience to distinguish the play in a particular way. Hamlet persistently assures the court that “The players cannot/keep counsel: they’ll tell all” (3.2.137-138) in order for Hamlet to create a reaction that will reach a state of total proof, justifying his anticipated action. Hamlet seems to yearn towards rushing to a conclusion, leading the audience to believe that he too, intends for the deed to be done despite the consequences he was troubled by earlier. Hamlet insists that his action be a flawless avenge therefore the court audience must be thoroughly informed.

In Hamlet’s confrontation with Gertrude he shows a ruthless personality that he does not formerly portray towards other characters in the play. He insults his mother’s “Eyes without feeling, feeling without sight” (3.4.78) never constraining from puncturing her conscience. His words are not covered with ambiguous metaphors but are rather concise, aiming at Gertrude’s innermost emotions. Hamlet is finally showing a character his true despair. Hamlet can no longer contain his feelings of utter injustice that have been a result of King Hamlet’s unnatural death. Although his mother exclaims that he “hast cleft [her] heart in twain.”(3.4.158) Hamlet proceeds with the verbal attacks. Hamlet becomes so inundated in the startling action of the situation that the sudden appearance of spying Polonius causes an immediate reflex in Hamlet. Finally, a moment of tension has provoked a genuine reaction in Hamlet as he leaves Polonius “Dead for a ducat, dead.” (3.4.23). This is an example of Hamlet demonstrating impulsive human action. There was no time for him to review the consequences. He has now created a personal scenario for himself as a reminder of what happens when he does not have sufficient time to evaluate a situation with care. When emotions reign over Hamlet’s conscience, the audience learns the alternate form in which he is forced to cope.

In Act 3, the explosion of action is a definite result of Hamlet’s three soliloquies. In these personal assessments Hamlet is able to build a slight comprehension to the dispute that ceases to rage in his conscience. Without another outlet in which to express his inner trials Hamlet is left to vent his emotions in Act 3 through his baffling confessions to Ophelia, his insistent commentary during the play, and his wild assailment on Gertrude. The reactions of Hamlet’s soliloquies have now been presented and now the audience is left to wonder what consequences are to follow, and whether Hamlet will perform his ultimate action to ruin Claudius.; Sunday, April 08, 2007 11:01:00 p.m.
James Y said...: Throughout Acts 1,2, and 3 in the play Hamlet, Hamlet delivers three Soliloquies in each of these Acts. During these soliloquies, we further get an understanding of Hamlet’s Character and state of mind. It is these soliloquies that lead to the explosion of action taken place in act 3.
During Act 1 of the play, Hamlet breaks off into his first soliloquy after facing the death of his father and having his uncle marry his mother. He is riddled with anger, anguish and displays suicidal tendencies when saying “O that this too sullied flesh would melt/ thaw and resolve itself into a dew”(Act1. 2. 129-130). Here we notice how hard he is hit by the current situation that he feels the need to kill himself. However when saying “the everlasting had not fix’d/ his canon ‘gainst self-slaughter” (Act1.2. 131-132), we notice his conviction to religion and how he must set aside his tendencies in order to continue to serve his unknown purpose in life. we also later on notice that same feeling when Hamlet is asked to avenge his father’s death by the ghost. When faced with that situation, hamlet set aside all obstacles in order to achieve a certain purpose the same way he did in when delivering this soliloquy. In hamlet’s first soliloquy, we notice the anger he feels toward his Claudius when marrying his wife and becoming the new king. he compares him to his father when saying “So excellent a king, that was this/ Hyperion to a Satyr(Act1. 2. 139-140). He feels that Claudius is a satyr, a demonic figure that is half goat, half human compared to his father, seen as the Sun God Hyperion. This hatred and loathing of his uncle foreshadows the current events that will lead him to want to kill his uncle. As the soliloquy came to an end, Hamlet further displays his hatred for Claudius by saying that he is “no more like my father/than I to Hercules”(Act1. 2.152-153). Here hamlet once again displays his hatred for Claudius by again comparing him to his father and comparing himself to Hercules. We also begin to notice Hamlet’s insecurity which he begins to display all throughout the play.
In Act 2 of the play, we see Hamlets second soliloquy. In this soliloquy, Hamlet begins to set up events that will lead to the action shown in Act 3. After viewing the amazing abilities of an actor, Hamlet is disgusted with himself and describes his motives as “unpregnant of my case/ and can say nothing” (Act2. 2. 564-565). After seeing the actor’s abilities, he looks at himself and realizes that after his father’s death at the hands of Claudius, Claudius marrying his mother, and finding out Claudius killed his father, Hamlet feels anger and anguish; however has nothing to show for it. Hamlet then says “with miraculous organ I’ll have these players/ play something like the murder of my father/ before my uncle” (Act2. 2. 590-592). Hamlet plans to set up events that will lead to Claudius’ public omission of guilt thus leading to the action that takes place in Act 3. He feels that’s he will play his uncle like an instrument and take control of the situation, however we notice hamlet’s cunning and lacking when it comes to taking action. This causes him to frequently question himself as a coward and during Act 3, will lead him to make a very difficult choice thus furthering the play and resulting in the tension created as a result of that choice.
In Act 3, Hamlet breaks off into his final soliloquy before the explosion of action takes place later on in the same Act. Here we see Hamlet pouring out his thoughts and emotions and notice that same feeling of inadequacy displayed in the soliloquies delivered in Acts 1 and 2. He begins to once again question his motives by asking “Whether ‘tis nobler in the mind to suffer/ the slings and arrows of outrageous fortune/ or take arms to suffer against a sea of troubles/ and by opposing end them.”(Act 3. 1. 57-60) Hamlet does not know whether or not he wants to continue his existence and is at war with his state of mind. This also goes back to hamlet’s feeling of being trapped and outlines the feeling of claustrophobia displayed since Act 1. while contemplating his actions Hamlet says Thus Conscience makes cowards of us all/and thus the native hue of resolution/ is sicklied o’er with the pale cast of thought”(Act3. 1. 83-85). Hamlet’s constant hesitation in killing his uncle has resulted in his feeling of frustration that was displayed in Act 2, and now that he has come all this way in planning Claudius’ public omission of guilt he still contemplates and hesitates his actions by taking his time planning, thus resulting in him straying away from his original purpose. Here we also notice that Hamlet is hesitant with killing Claudius because of the fear of his conscience. This constant hesitation and contemplation of his actions will play a large part in the action that is soon to come.
Hamlet’s feelings, plans, and state of mind that are all displayed in the three soliloquies will all be put into motion throughout Act 3 and will result in the explosion of action that results in the death of Polonius, Claudius’ still being alive, and Hamlet’s confrontation with his mother.; Sunday, April 08, 2007 11:07:00 p.m.
Ryan L said...: In William Shakespeare’s Hamlet, Hamlet has soliloquies throughout the play informing the audience or reader of what is to come. Hamlet talks about what needs to be done to Claudius and also reveals Hamlet’s innermost thoughts. Hamlet, in his soliloquies, talks about how he wants to die but that the act of suicide is against the canon law. Hamlet also talks about his plan that is going to incorporate the players to catch the King by playing on his guilty conscience. Hamlet also informs the audience that after death there are no problems to deal with so why do we not just all die? The answer is the unknown; the fear of what we do not know.

The first soliloquy Hamlet talks about how he would like to die but religious law is against suicide therefore it is not possible for Hamlet to commit this act. “O that this too too sullied flesh would melt, / Thaw and resolve itself into a dew / Or that the Everlasting had not fix’d / His cannon ‘gainst self-slaughter.” (1.2.129-132) Hamlet remembers how in love his parents were however this memory is abolished by the recent marriage between his mother, who has only been widowed for two months, and his uncle, Claudius. “But two months dead – nay, not so much, not two - / So excellent a king, that was to his / Hyperion to a satyr, so loving to my mother” (1.2.138-140) This is setting the reader or audience up for the action in act three because it shows that Hamlet would like to do something about it. Even though the action Hamlet talks about is suicide, it still shows will towards an action of death. Hamlet also talks disrespectfully towards his mother showing contempt for his mother.

Hamlet starts off his second soliloquy by saying that an actor playing the role of a man that he does not know about a situation he has no concept of is able to cry and have emotions as if the role he was playing was of himself. “Is it not monstrous that this player here, / But in a fiction, in a dream of passion, / Could force his soul so to his own conceit” (2.2.545-547) Hamlet sees this as a flaw in himself because the actor is able to have such feelings towards something he knows nothing about and Hamlet is unable to act even though his emotions are stronger and potent. “What would he do / Had he the motive and the cue for passion / That I have? He would drown the stage with tears, (2.2.554-556) Hamlet feels that he is unable to act therefore; he will get the actor to act out a scene and put forth a play with such emotion that even Claudius will react due to his conscience. “I’ll have these players / Play something like the murder of my father / Before mine uncle.” (2.2.590-592) “The play’s the thing / Wherein I’ll catch the conscience of the King.” (2.2.600-601) This is showing that Hamlet is planning action even if he is getting surrogate to do the work. None the less a plan has been formulated and has been set into motion by Hamlet as the mastermind.

In Hamlet’s third soliloquy acts the imperative question of, “to be, or not to be,” (3.1.56) Hamlet wonders if it is nobler to let your mind suffer the slings and arrows of fortune or to take arms against a sea of troubles. Hamlet talks about how no one would bear through the misery of life if they were not unsure about the unknown, talking about their afterlife and how there are no problems after death; however, no one acts on this because everyone fears the unknown causing them to bear the misery of their life. “Who would fardels bear, / to grunt and sweat under a weary life, / but that the dread of something after death” (3.1.76-78) Hamlet also speaks about how a person’s conscience turns them into cowards and the normal resolution is thinking about the deed that needs to be done. “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,” (3.1.83-85) Hamlet also asks for forgiveness because of the way he has been acting and what he must do. In this soliloquy the reader or the audience finds out that Hamlet is battling the question of “to be, or not to be,” (3.1.56) The audience also finds out that Hamlet believes that death solves everyone problems except for the problem that stops everyone from dying; which is the unknown. Hamlet also says that with thought one loses action, “And lose the name of action” (3.1.88) This is important; it shows that in order for action to happen Hamlet cannot think about it he - must act or not act.

Throughout the play the reader or audience is informed of Hamlet’s actions, however, in Hamlet’s soliloquies the reader or audience is able to hear Hamlet’s true thoughts. The audience or reader is informed of Hamlet’s desire for death and also the fear of the unknown after death. We are also informed of his plan to deal with Claudius by having the players act out a play the same way Claudius killed King Hamlet. Hamlet is building up suspense in the reader for action that will be demonstrated in act three. Also, the soliloquies show how Hamlet transcends the play and is more human than character.; Sunday, April 08, 2007 11:17:00 p.m.
Caley M said...: In this play Hamlet there are soliloquies and Hamlets soliloquies so far are in act one, two and three. Hamlets first one talks about his feelings towards his father’s death and his mother re-marrying and with that being his own uncle. The second soliloquy Hamlet discuses about how the actor acts but truly doesn’t know what sorrow or eternal pain is. Hamlet knows because he is the breathing and living human of eternal pain, everything in Hamlets world is going under and it’s bringing him under with it. In the third soliloquy Hamlet is talking about death and all the things he has to carry, it’s basically the world on Hamlets shoulders. Hamlets soliloquies build up to an explosion of action in act three which is when he shows everyone the play of his fathers death. It’s the most action that he has seen Hamlet do, but it’s so brilliant that it’s perfect.
Throughout the first three acts Hamlets soliloquies are anything but nice, they all talk about how Hamlet feels internally, gives you an understanding of how he thinks, and what his actions will be in the future. This is Shakespeare’s way of telling you what his mental sanity is at the moment.

In Hamlets first and second soliloquy of the play are depressing and dark. In his first one he talks about wanting to die but cant because God has forbidden it and Hamlet is being annalistic on the world. “How weary, stale, flat, and unprofitable seem to me all the uses in this world!”(1.2.135-137). Hamlet also reminisces on his fathers death and shows you how highly he thinks of him and how low he thinks of his uncle Claudius now that he married his mother. With his father’s death in less than two months and yet his mother is already married. It just shows how much Hamlet misses his fathers love and because of his death Hamlet has so many negative views on life and living. This leads to the explosion of action because Hamlet talking about his father’s death and his mother re-marrying that he must have a play exactly cut out to show the horror and disgust Hamlet has towards everyone in his life. In Hamlets second soliloquy it as well is depressing and weary. The only exception is that Hamlet accepts the fact that he’s taking too long to murder his uncle, and knows that he will soon have to make a move because already he is a coward for waiting this long. The next step Hamlet is going to make towards his uncle Claudius’s death is seeing his reaction towards the play, just incase the ghost is wrong. “The spirit that I have seen may be a devil, and the devil halth power t’assume a pleasing shape, year, and perhaps, out of my weakness and my melancholy, as is very potent with such spirits, abuses me to damn me. Ill have grounds more relative than this.”(2.2.592-598). This is building up to the explosion of action that Hamlet will make because he is aware of his slow progress, but what’s better progress or no progress, slow is all that is given, but at least its something. Hamlet is giving hints that something will come up because he knows that he is being a coward. “The play’s the thing wherein I’ll catch the conscience of the king.”(2.2.598).This is as well building to the explosion because Hamlet is saying exactly what he is about to do, all that needs to be done is to wait and see what happens. Throughout these soliloquy’s Hamlet is shown by Shakespeare that he is still sane and hasn’t lost it because of his intelligent thinking, only a sane person would put a play of his fathers death in front of the king who killed him to see how his reaction truly is. An insane person would just charge for the murder and shred Claudius’s blood. Hamlets thinking and everyone is different especially with planning to murder someone, it isn’t something you think about or do everyday like a one shot deal.

Hamlets third soliloquy which takes place in act 3 talks about death and its outcome. “To be, or not to be, that is the question.”(3.1.63). Hamlet is saying to live or not to live, is he really there even if the heart inside him is beating and telling him that he is. Everything in Hamlets life has been shown out on a plate and it’s a war that has been going on ever since his father died. Because of all this pain that Hamlet feels he then again thinks about death, but into further detail. If Hamlet dies there will be no more pain for him, no more trouble, and he will have eternal happiness. But there is always a consequence that comes with everything and with death it’s the fear of the unknown, not knowing what will happen scares Hamlet and everyone. “But the dread of something after death, the undiscovered country, from those bourn no traveler returns, puzzles the will, and makes us rather bear those ill we have than fly to others that we know not of?”(3.1.83-89). Hamlet is scared of the unknown this not only means death but the murder of Claudius. If he proceeds with the act he’s afraid he will have burden on his shoulders the rest of his life, but then if he doesn’t he will have the burden of not doing the act throughout his life. This is another reason why Hamlet does so much thinking because he doesn’t want to make a mistake; if he does then he wouldn’t be able to live with it.” This is a part of Shakespeare showing the reader/audience that Hamlet is not insane, because if so then he would care about his actions and what they will cost him in the future. Right now Hamlet is brilliant because he is taking everything in, taking the good affects and the bad ones and comparing them to what ones stronger. He doesn’t want to make a mistake because that one move will cost him eternity, this is the explosion of action because it is showing that with the play being put on and seeing Claudius’s reaction Hamlet will truly know whether or not he should kill his uncle Claudius.

During these past three scenes Hamlets soliloquies have given a clear understanding of how he thinks, fells and reacts to certain things. They are also an understanding of where is sanity stands. They have each given the reader hints on how he is going to the murder of his uncle, the first one was showing what it will be about, his fathers death; second one explained what it will be, that is a play; and third one ties the naught that this play will show him whether he is going to do the act or not, because it will prove to him that he didn’t make a mistake and Claudius is truly guilty. Hamlet’s thinking is slowing him down but in a good way because it is allowing him to understand what he should truly do, if he should shed blood of the man who killed his father or if too much blood has been shed already.; Sunday, April 08, 2007 11:25:00 p.m.
Kimberly S said...: Hamlet delivers soliloquies all that abide to the theme of complexity of action. Closely linked to the theme of certainty is the theme of action. Hamlet is affect not only by rational considerations, but also by emotion, ethical and psychological facts, that are all displayed in his soliloquies that steer towards the explosion of action in act 3.

Hamlet’s passionate first soliloquy is done to expose his deep melancholia. In a confused outburst filled with emotions of disgust, anger, sorrow and grief, Hamlet is able to explain that everything happening around him is useless “How weary, stale, flat, and unprofitable seem to me all the uses of this world!” (1.2.133-134) and how vile things are “things rank and gross in nature” (1.2.136). Hamlet’s emotional flare-up is understood to be from the fact of how Gertrude, had married her own brother-in-law merely only two months after the death of Hamlet’s father and he even counteract Gertrude’s original grief over the loss of her husband “unrighteous tears” (1.2.154). By Hamlet’s outburst in act 1, it leads to the explosion of action in act 3 because Hamlet is pouring out emotional feelings towards his mother and Claudius leading the audience to feel a sense of anger and hate for the Queen and especially the King. Hamlet makes a comment “but no more like my father than I to Hercules” (1.2.153-154), indicates his lack of self worth displayed in his next soliloquy.

In Hamlet’s second soliloquy, he uncovers the core of his true conflict due to his lack of self worth “O what a rogue and peasant slave am I!” (2.2.544). This soliloquy shows the real meaning of Hamlet’s true conflict, for he is committed 100% to seeking revenge for his father but cannot act due to his revulsion towards cold and scheming revenge “Am I a coward?” (2.2.567). Hamlet’s judgement of himself is derived from whether or not he has yet taken any action against Claudius. As Hamlet is determined to carry out the planned murder of his uncle, he works him self into a rage. “Bloody, bawdy villain! Remorseless, treacherous, lecherous, kindles villain! Why, what an ass am I! This is most brave, that I, the son of a dear father murder’d, prompted to my revenge by heaven and hell.” (2.2576-580). Hamlet fails to suppress his anxiety of committing murder and cannot act immediately, so he tries to focus on a plan to ensure that Claudius will admit on his own guilt. Hamlet is convinced that, as Claudius watches a re-enactment of his crime, that he will surely reveal his own guilt. “The play’s the thing wherein I’ll catch the conscience of the King.” (2.2600-601). This soliloquy is relevant to the explosion of action in act 3 by Hamlet displaying thinking not acting but in act 3, he acts before he thinks.

The third soliloquy delivered is ruled by reason and not emotion. Unable to do much but wait for the completion of this plan to catch the King’s conscience, Hamlet finds himself in a thoughtful debate on the advantages and disadvantages of whether it is right to end his or her own life. “to be, or not to be, that is the question:” (3.1.56), this quote can also be looked as to exist or not to exist, to act or not to act; all this is happening inside of Hamlets head as if there were a war going on inside of it. As Hamlet is now thinking before acting on his plan of revenge against Claudius, he contemplates if it is right for a non-God figure to take the life of another human and put them in a ``sleep of death``(3.1.66). This is interfering with Hamlets original plan of killing Claudius because now he is thinking too much.

During all of Hamlets soliloquies, Shakespeare has feed the audience with a taste for action but has yet to received action until act 3. All of Hamlets thoughts are prolonging his plans, making him even more frustrated every time he thinks about his plan of killing Claudius. Hamlet is finally able to express how he is feeling to his mother explaining everything on his mind, but as he is doing this he is hurts his mother and she cries out for help. Polonius jumps out from behind the rock to help the Queen but Hamlet acts before he thinks, draws his sward and stabs Polonius not knowing it was him. This shows that Hamlet will and can burst at any moment when keeping in such anger and hate toward an individual; Sunday, April 08, 2007 11:31:00 p.m.
David S said...: In many situations throughout humanity, many have been tormented with the question as to whether they should act, or contemplate actions. The play Hamlet and the situations in which the main character finds himself in leads to three soliloquies which described Hamlet’s current mindset. These helped outline what Hamlet would later do in the further stages of the play. In the first soliloquie Hamlet describes what he thinks of his mother and Claudius which would later lead to Hamlet exploding on his mother, the second soliloquie discusses how Hamlet will plot and finally follow through with his plan have Claudius commit a public declaration of guilt, and in the soliloquie in act 3 he contemplates whether or not he should act on what he has discovered so far.

In act 1 of Hamlet there is not too much action that takes place. In typical Shakespeare style act 3 is when most actions happen but in act 1 these ideas for actions originate. In Hamlet’s first soliloquie he describes his suicidal tendencies and also describes his dislike for Claudius and his mother, “So excellent a king, that was to this Hyperion to a satyr, so loving to my mother” (1.2.139-140), saying that his mother has been making love to a satyr, half man, half goat. This of course was an insult to his mother and also weird considering he is talking about his own mother like this. Hamlet also comments on how Gertrude had gone so fast from mourning to marriage, “O God, a beast that wants discourse of reason Would have mourn’d longer…” (1.2.150-151). Hamlet expresses this statement saying that a beast would have mourned longer. These statements of general disgust expressed towards Claudius and Gertrude explode in act 3 when Hamlet goes to see his mother after the dummy play. While Hamlet is talking with his mother he completely explodes and finally decides to say what has been on his mind for so long, “A bloody deed. Almost as bad, good mother, As kill a king and marry his brother” (3.4.28-29). Hamlet goes on to accuse his mother of doing many other things but in the end helps his mother realize what she has done. In the end Hamlet’s first soliloquie leads to action in act 3 as the audience was waiting for this all along.

During act 2 Hamlet recites another soliloquie. This time around Hamlet discusses how exactly he is going to know for sure if Claudius is his father’s murderer. He decides that he will do this through a play that will be going on in the castle soon. He is amazed at the fact that the lead actor is able to cry without any real reason to, “But in a fiction , in a dream of passion… Tears in his eyes.” (2.2.546-549). Hamlet decides to use this to fulfill his own plan in which he will re-write the script to a play in which Claudius will watch and decides, “The play’s the thing Wherein I’ll catch the conscience of the King.” (2.2.600-601). This leads to later in act 3 the dumb show taking place where Hamlet after getting Horatio in on the act finally witnesses Claudius publicly displaying that he killed King Hamlet, “Give me some light. Away” (3.2.263).This is exactly what Hamlet was looking for when he goes through with his plan, thus Hamlet is acting and finally sees that Claudius had in fact killed his father. This second soliloquie proves that Hamlet’s sayings have resulted in an explosion of action in act 3.

In the third soliloquie Hamlet shows that not all of his plans are able to come through and that at times he can be very indecisive. In Hamlet’s third soliloquie Hamlet shows that he is contemplating his very existence, “To be, or not to be, that is the question:” (3.1.56) as well as a host of other problems that are battling in Hamlet’s mind. He knows that many problems arise as he can not deal with all of them as he believes that “Thus conscience does make cowards of us all,” (3.1.83). Perhaps this is why Hamlet goes on later to tell Ophelia that she is no good for him and that he never loved her, “ I did love you once.” (3.1.115). This may be the reason why Hamlet performs this act of cowardice rather then just telling Ophelia what is wrong and why.

In conclusion, the three soliloquies lead up to many acts in act 3 that become so many in number and are at such a magnitude it could be considered an explosion in act 3.; Sunday, April 08, 2007 11:32:00 p.m.
Jenica A said...: A soliloquy is a literary device, employed to outline a character’s innermost thoughts and feelings to the audience. It’s purpose being to give the viewers an unbiased ability to canvass the hypothetical minds of the characters. Although being said out loud, soliloquies are kept private between the character and the audience alone. There are no other characters involved in order to maintain its honesty. In William Shakespeare’s Hamlet, soliloquies are used to illustrate Hamlet’s psyche, giving fragments of his mentality, thought processes, and plan of action, which accumulates towards the explosion of action exposed in Act three.

The audience is given a glimpse of Hamlet’s character through Claudius. It is not until Hamlet reveals a portion of his thoughts that the audience begins to understand his mental state, “O that this too too sullied flesh would melt, / Thaw and resolve itself into a dew, / Or that the Everlasting had not fix’d/ His canon ‘gainst self-slaughter. O God! God!” (1. 2. 129-132). These few lines show Hamlet’s depression through images of death and decay, evident throughout the play. The tension in Hamlet’s words sets the foundation for the sequence of events that are to follow. There is no confirmation to provoke action for revenge yet, but underlying layers of contempt are clearly evident. Hamlet’s discontent for his mother’s actions develops, “Frailty, thy name is woman” (1. 2. 146), and grows into his enigmatic generalizations towards all women. This is apparent in the way he castigates Ophelia, despite his love for her. This soliloquy reveals Hamlet’s mental capacity, it allows the audience to discern how much he can endure, “But break, my heart, for I must hold my tongue.” (1. 2. 159).

The soliloquy in Act two brings forth Hamlet’s more vengeful behaviour, vengeful towards himself for his inability to act towards his filial obligation. “O what a rogue and peasant slave am I!” (2. 2. 544). Hamlet swiftly moves through stages of depression and procrastination, idling with the thought of the actor’s ability to evoke true emotion out of nothing, “What would he do/ Had he the motive and the cue for passion/ That I have?” (2. 2. 554-556). Hamlet is an intuitive man, a man of thought and not of action; a full insight of the situation is needed before he decides to act upon it. This soliloquy allows him to realize his stagnant behaviour, and paves the development of revenge. A public omission of guilt, “The play’s the thing/ Wherein I’ll catch the conscience of the King.” (2. 2. 600-601), is needed as a verification that the ghost did not lie, and therefore allowing Hamlet to act for the sake of avenging his father.

In the third soliloquy, the audience is faced with a question on the worthiness of life. Hamlet pours his being, to captivate the audience’s thought into his.; Sunday, April 08, 2007 11:47:00 p.m.
Angela S said...: Hamlets 3 Soliloquies of Act 1-3

Soliloquies, merely the characters talking to themselves, are often utilized in dramas to reveal the characters most profound thoughts. Here, the character is entirely truthful. With this in mind, the character may also reveal a problem and then works towards a solution. Within Hamlet’s three main soliloquies in act one through three, Hamlet reveals his innermost thoughts and logic. Indeed, since Hamlet is a thinking man, the act of revealing his innermost thoughts and schemes is crucial towards building towards the explosion of action in the play. Thus, Hamlet’s three main soliloquies assemble towards the explosion of action of the play. This is evident because the soliloquies shows the underlying motive of his actions in Act 3, reveal his plan of action and reveals that Hamlet must gain full insight of the situation before acting.

It is known that from the beginning of the play that Hamlet is trapped and thus the soliloquy in Act 1 shows one of Hamlet’s underlying motives to his actions in Act 3. The boundaries that are set upon him and the unwanted conditions of the way that Hamlet must live his life that are laid upon him are a result of his mother marrying Claudius and thus making him king. That is, Claudius becoming king negatively changes his life as he does not get the throne nor is he able to return to how he initially had been living his life. So within this soliloquy, Hamlet expresses his bitterness towards his mother for marrying Claudius and also lays the lays the foundation of his disgust and hate for Claudius. Hamlet expresses this bitterness for Claudius by saying “Hyperion to a satyr, so loving to my mother” (1.2.140).Here, Hamlet also expresses loyalty to his father as he refers to him as the Hyperion, a representation of honor, and then refers to Claudius as the Satyr which is a half man and half beast creature. This builds towards the action in Act 3 because this foundation of hate gives Hamlet the desire to want to eliminate him from his life and when given a reason, such as avenging his father’s death, to kill him.

In addition to Hamlet demonstrating through his soliloquies that he must thoroughly analyze his decisions before acting upon them to induce the end result to his advantage, his soliloquies reveal his plan of action. For instance, Hamlet displays his plan of action in the second soliloquy when he intends to obtain Claudius’ public omission of guilt as a part of his clever scheme. In the second soliloquy it is mentioned, “Had he the motive and the cue for passion That I have? He would drown the stage with tears, And cleave the general ear with horrid speech, Make mad the guilty and appal the free,” (2.2.555-558).Here, he shows that he intends to use an actor that can amazingly truly show emotion without a real basis and thus use him to make the guilty speak as he is capable of doing so. “More relative than this. The play’s the thing Wherein I’ll catch the conscience of the King.” (2.2.600-601). That is, he intends to make Claudius, a man with a guilty conscience, speak. His plan of creating a play that reenacts his fathers murder, “I’ll have these players Play something like the murder of my father” (2.2.590-591), ultimately reveals his plan and builds towards the explosion of action in the play. Revealing his plan through his soliloquy builds towards the action of Act 3 because his actions are already set out so that he can readily act upon his plan without having to continually think about his actions.

As Hamlet is characterized as a man of thinking and consequently a man bound by circumstance, Hamlet must gain full insight of the all of the possible outcomes of all of his decisions and see the big picture. That is, he cannot act instantly upon what he wants as this is exemplified in his first two soliloquies. In Hamlet’s third soliloquy, it appears as though Hamlet contemplates upon possible outcomes of his actions. For instance, if he were to commit suicide, then he considers the fact that perhaps he may suffer in the afterlife. “But that the dread of something after death, The undiscover’d country, from whose bourn No traveler returns, puzzles the will,” (3.1.78-80). Here, Hamlet implies that its is the fear of the unknown that keeps one from acting on impulse and committing such a great sin. Thus, this soliloquy exposes great logic rather than emotion. In addition, it is said that if one were to bottle up emotions such as anger and allow it to build up then the result would be overwhelming when triggered to do so. It appears here, that Hamlets attempt to continually just think of the best possible way to achieve his goal of avenging his father’s death only led to Hamlets emotions building up and ultimately causing him to act impulsively. That is, his harsh speech to Ophelia and his mother and also murdering Polonius. Hamlet says,” To be, or not to be, that is the question” (3.1.56). In other words, to exist or to not exist, or to act or not to act, Hamlet continually contemplates upon acting on what the ghost has told him to do and this ultimately leads him to act upon impulse. Hamlet is unable to connect his thoughts laid in his soliloquies “to be or not to be..”, which causes him to act on impulse because he is only driven by the thought that he should avenge his fathers death and is unable to connect the rest of his thoughts to his actions.

In conclusion, the soliloquies shows the underlying motive of his actions in Act 3, reveal his plan of action and reveals that Hamlet must gain full insight of the situation before acting.; Sunday, April 08, 2007 11:56:00 p.m.
Samantha C said...: Leading up to the explosion of action in Act 3, Hamlet delivers three soliloquies to the audience that will give them insight to what will occur. In the first soliloquy, Hamlet expresses his deep hatred towards Claudius and his rushed marriage with Gertrude. In the second soliloquy, Hamlet is in need of a public confession from Claudius dealing with King Hamlets death. In the third soliloquy, Hamlet expresses his emotions and toys with the notion of whether to exist, or not exist. Through a deep hatred for his stepfather, a need for a public confession, and an out pour of emotion leads towards what will happen in Act 3.

In the first soliloquy, Hamlet expresses his opinion when it comes to Claudius and Gertrude. Hamlet feels like his flesh is inhuman because he shares the flesh of his mother Gertrude who just committed a sinful act, “O that this too too sullied flesh would melt,/ thaw and resolve itself into dew” (1.1.129-130). Claudius and Gertrude got married 2 months after the death of King Hamlet. To make things even more awkward, Claudius is Hamlets stepfather. Hamlet cant believe that after only a month of mourning, his mother was ready to marry his uncle, “O God, a beast that wants discourse of reason/ Would have mourn’d longer – married my uncle” (1.1.1150-151) Hamlet cannot see Claudius as great a king as King Hamlet was. Claudius is no more like king Hamlet that Hamlet is to Hercules. This soliloquy show’s the audience the hatred hamlet has towards Claudius which could fuel his actions later in the play.

In the second soliloquy. Hamlet comes to terms with the task he must do. Fueled with hatred towards his stepfather, Hamlet is ready to avenge his father. He needs to kill the man that killed his father which happens to be Claudius. The first thing Hamlet needs in a public omission of guilt. Hamlet is quiet impressed with the actors ability to express such emotion, which is something Hamlet is having trouble with, “ Had he the motive and cue for passion/ that I have? He would drown the stage with tears” (2.2.555-556). Hamlet dosent understand why he cannot take action. He’s never been frightened by a challenge before, and this is a worthy cause to fight for. A meeting with the actors gives Hamlet the perfect opportunity to get his public omission of guilt. He requests that the actors perform The Murder of Gonzago and adds an extra speech which will hopefully get Claudius to admit to the murder of King Hamlet. The only thing that’s really at question is Hamlets trust in the Ghost.

In the final soliloquy before the action in Act 3, Hamlet gives his most famous soliloquy and his most expressive speech. He goes back a forth between whether to exist, or to not exist. Is life really worth all the pain that accompanies it? Or is it better to sleep eternally, and be numb to life’s anguish? Naturally no one has the answers to these questions. Hamlet relives the wrongs that have been done to him, “ The oppressor’s wrong, the proud mans contumely,/ the pangs of dispriz’d love, the law’s delay,/ the insolence of office, and the spurns/ that patient merit of th’unworthy takes” (3.3.71-74)

These three soliloquies give reason for the action that takes place in Act 3. It starts with Hamlets hatred for his stepfather, which gives him fuel to reveal that is was his stepfather who killed King Hamlet, which makes Hamlet vulnerable to his emotions which in turn give him motivation to avenge his fathers death.; Sunday, April 08, 2007 11:57:00 p.m.
Adrian V said...: In the play Hamlet, Shakespeare uses soliloquies to build up to an explosion of action. The three soliloquies in the first three acts of Hamlet are great stepping stones towards this explosion of action in act three. The soliloquies deal with the thoughts and strategies of Hamlet in order to build towards the overwhelming action. Throughout these soliloquies Hamlet's character is developed, and his strategy is laid out.

Throughout these soliloquies Hamlet's character is developed. Hamlet is portrayed as a passive man, wanting action, yet not seeking it without thought. Hamlet ponders upon “whether 'tis nobler in the mind to suffer/ The slings and arrows of outrageous fortune, / Or to take arms against a sea of troubles/ And by opposing end them” (3.1.57-60). By this, Hamlet is asking himself whether he should endure all of these hardships without taking action, or whether he should take action against them, thus ending his sorrows. This portrays Hamlet's character because it exemplifies his passive nature. Apart from this uncertainty, Hamlet is aware that he should bear arms against Claudius to avenge his father. Hamlet states “So, uncle, there you are. Now to my word. / It is 'Adieu, adieu, remember me.' / I have sworn't.” (1.5.110-112). In this quotation Hamlet swears his revenge against Claudius, which he is obligated to do. However, by act 3 he is unsure if it is more honourable to seek this revenge or to let is pass, saving the lives of others. This portrays Hamlet's character because it proves that he thinks about what must be done, instead of acting spontaneously. This aids in building towards the action that explodes in act 3 because Hamlet begins to take action. At first, Hamlet proves that he is passive, thinking before acting, when he decides to spare Claudius' life because it appears that Claudius is praying. This character, however, is twisted as Hamlet attacks Polonius, hoping that it may be the King that is hiding behind the arras. This dramatic step exemplifies a change in Hamlet's character, revealing an action-seeking self.

On top of Hamlet's character, Hamlet's strategy is also laid out throughout his soliloquies. Hamlet's strategy is the dominant theme in his soliloquy in act 2. Hamlet believes that the Ghost “Abuses me to damn me” (2.2.599) by trying to convince him that Claudius killed King Hamlet. This would obligate Hamlet to seek revenge against Claudius. However, it is possible that “the spirit I have seen / May be a devil” (2.2.594-595) and its hollowly attempting to have Hamlet bring about his own demise after murdering the new king. Thus, Hamlet develops the strategy of catching “the conscience of the King” (2.2.601) by having the actors “Play something like the murder of my father” (2.2.591). With a startled reaction by Claudius, Hamlet will know that Claudius is truly responsible for King Hamlet's death. After this strategy is laid out, it is just a matter of Hamlet taking action. This is reflected through Hamlet's question of “To be, or not to be” (3.1.56). The questioning of existence is similar to Hamlet asking himself whether he should take action or not, whether what he has done thus far is justifiable. Hamlet's act of antic disposition has led to Hamlet's freedom of action, without the persecution of treason. It is this strategy that Hamlet reflects upon through his harming of others. He knows that it is better for those around him for Hamlet to “suffer the slings and arrows of outrageous fortune” (3.1.57-58) by accepting the fact that Claudius killed King Hamlet, instead of taking any form of action against his “sea of troubles/ And by opposing end them” (3.1.59-60). Through inaction Hamlet does not harm his loved ones. However, to do what he is obligated to do, avenge his father, Hamlet must harm those around him in the process. This is the case as the action explodes in act 3, scene 4. Hamlet terrifies his mother. This is evident when she exclaims “What wilt thou do? Thou wilt not murder me? / Help, ho!” (3.4.20-21). With this fear instilled in his mother, Hamlet has harmed his mother mentally. After witnessing Hamlet kill Polonius, who was spying on them from behind the arras, Gertrude believes that Hamlet has truly lost his mind. It is this action that forces Queen Gertrude to believe that Hamlet's antic disposition is actually insanity. Queen Gertrude is but one of the people that Hamlet hurts in the process of seeking revenge.

The soliloquies in Hamlet are critical in developing Hamlet's character through his inaction to action. They also portray his strategy, that of uses the play to reveal Claudius' guilt. Also, Hamlet uses the strategy of antic disposition to harm those he cares about. These facts are also stepping stones in setting up the explosion of action in act three, involving the death of Polonius.; Sunday, April 08, 2007 11:58:00 p.m.
Fady A said...: Soliloquies are very important in plays. They are used to explain how characters are feeling, insight into their action, and are honest speeches of how the character is feeling. Within the first three Acts of Hamlet, the protagonist presents three main soliloquies to the audience. With in each soliloquy, Hamlet pours out his mind and heart to the audience, and we are able to understand the character. He jumps out of the page and is seen as a real person. Also these soliloquies also give the audience insight as to why many of the events that happen in the third act happen.

In the first act of the play, Hamlet shares with the audience his first soliloquy occurs after King Hamlets death, Claudius (his uncle) and his Mothers Wedding is publicly announced and his public embarrassment caused by the new King Claudius. Hamlet has just been introduced to a sea of troubles. He has seen his life fall apart in front of him. This first soliloquy is very important because it is the first time the audience observes exactly how Hamlet is feeling after all of the problems that have occurred in his life with in the past two scenes. Hamlet sudden reaction show that he wants to die “ O that this too sullied flesh would melt, / Thaw and resolve itself into a dew.” (1, 2, 129 – 130) Hamlet wants his flesh to melt and become a puddle. He no longer wants to live. The Audience begins to see that Hamlet may be using suicide as an exit from the problems he is currently facing. As Hamlet continues his soliloquy, Hamlet’s true character is reveled. The audience sees that Hamlet is not a man of action that he is a man of thinking. His next line is “… the Everlasting had not fix’d His cannon ‘gainst self-slaughter. O God O God!” (1, 2, 132-133) we see Hamlet come to his senses and realize that it is against God’s will to commit suicide. Many people in hamlet’s situation would not think about the situation and use the first logical exit, suicide. However this is not Hamlet’s personality, he is a thinking man, who thinks through each of his situations. As Hamlet continues to pour out his mind onto the stage, he lets out his anger and confusion against his mothers and Claudius’ actions. “Hyperion to a satyr, so loving to my mother that he might not beteem the winds of heaven…” (1, 2, 140-143). This shows Hamlet view of Claudius he compares him to a satyr (a half man/ half beast) this shows him as an evil person, with bad intentions for his mother. There is evident tension and hatred against Claudius’ actions to his mother and against Hamlet himself, for stealing the thrown. Through Hamlets first soliloquy the audience is shown evident hatred and tension between Claudius and Hamlet. The audience is also given a small glance of Hamlet personality as a thinker, and one who does not act right away.

In the second act of the play, Hamlet shares once again with the audience the second major soliloquy of the play. The second soliloquy occurs after the ghost appears to Hamlet and shares to him what Claudius has done to him, and tells him what Hamlet needs to do. It also occurs after he has seen the actor begin to cry as he was reciting lines. Hamlet begins the soliloquy in a state of confusion. He has just seen an actor be able to share so much emotion based on a role. He wonders what that actor would do if he would have to go through everything Hamlet is going through. “ What would he do had he the motive and the cue for passion that I have? He would drown the stage with tears…” (2, 2, 554-557). Then Hamlet begins to wonder if he is a coward for not acting right away, and for procrastinating “Upon whos property of and most dear life a Damn’s defeat was made. Am I a Coward?” (2,2 565-567) The Audience is once again shown Hamlets character as a thinker. He does not understand why he is procrastinating or why he is unable to kill Claudius. “That I, the son of a dear father murder’d, prompted to my revenge by heaven and hell…” (2, 2, 580-581) Hamlets hatred and anger towards Claudius is escalated when he find out he had killed his father. Hamlet is thirsty for revenge but has not acted on anything yet. Tension becomes great between Hamlet and Claudius. There is tension with in the audience waning Hamlet to act; a need for justice is felt. This soliloquy builds up the atmosphere in the audience towards the explosion of action that happens in the third Act.

In the Third act of the play, Hamlet delivers his third and famous “ to be or not be” soliloquy. In this speech Hamlet has endured through so many problems, has seen his life fall apart in front of him, lost the love of his life, and has this felio obligation of revenge weighing down his conscience. He is trapped in his mind and has no exit. He cannot run from his problems or he will be looked at as coward, and will have to live with the fat that justice of his father’s death was not done. Hamlet begins his third soliloquy with the deliberation of being alive / to exist or of not live/ exist. “ To be or not to be, that is the question…” (3, 1,56) Hamlet weighs out the two options. Hamlet begins to pour out his mind to the audience. “Whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortune, Or to take arms against a sea of troubles and by opposing end them”(3, 1, 57-60) Hamlet is constantly being bombarded with arrows and of pain and fortune that it is a war in the mind oh Hamlet. He doesn’t know which is better to continue to take the beating and allow fate and fortune to occur. Does he begin to fight back. However he is not fighting one problem there is a “seas of troubles” he must face. The audience begins to see why Hamlet has not yet acted against Claudius because of this fear of the unknown. Hamlet begins to weigh the two options of life and death. “ To die- to sleep, to sleep, perchance to dream – ay there’s the rub: For in that sleep of death what dreams may come.” (3, 1, 64-66) if Hamlet commits suicide, he does not know what lays ahead of him. There is a fear of the unknown being exposed once again. Sure hamlets problems may be no more, however he may have a greater problem after death. Hamlet becomes trapped in his mind without anywhere to run to. If he remains alive he must deal with all of the problems fortune has given him. However if he chooses to die he has this fear of the unknown. Hamlet continues to explain that this fear of the unknown after death is the only reason we undergo all the troubles life throws at us. “ TO grunt and sweat under a weary life, But that the dread of something after death” ( 3 1 77-78). Hamlet now has to options to live and face the problems and situations fate has thrown his way, or he may take his chances against this unknown afterlife and commit sucide. His want to be a man of action but can’t because of his fear of the unknown causes there to be tension in the audience because the audience knows that he now must act and take a war against a “sea of troubles”.

In conclusion Hamlets three soliloquies give insight into the character hamlet himself and the reason as to why he makes some of the decisions he makes. Hamlets character as a man of thinking and not of acting on impulse causes him to procrastinate the problems and issues and his fear of the unknown of what is to happen to him after he kills Claudius leaves the audience knowing that the action is near and that Hamlet must resolve theses issues and choose to take war against the sea of trouble or his only other option to commit suicide and run from his responsibilities. These soliloquies leave the audience in a state of tension and anxiousness as to the result of Hamlets decision that cause an explosion of drama in the third act, which are the death of Polonius and the fate of Denmark.; Sunday, April 08, 2007 11:59:00 p.m.
Jordan S said...: Throughout the play of Shakespeare's Hamlet, the main character which is Hamlet delivers soliloquies to the audience in the first three acts. The first soliloquy involves Hamlet's hate for his new father Claudius, and his takeover. The second soliloquy expresses Hamlet's mysterious plan to get Claudius to give in to guilt. Hamlet excretes his thoughts and ideas in the third soliloquy in Act 3.

The first soliloquy involves Hamlet talking about the hate and anger he feels towards Claudius, his new found stepfather, who took over as King of Denmark. Hamlet specifically hates the fact that Claudius took the position of King when he knew that it was his rightfully owned seat. It also involves Hamlet's disgust in his mother, Queen Gertrude for marrying Claudius within months of the death of King Hamlet. "Than I to Hercules. Within a month, ere yet the salt of most unrighteous tears had left the flushing in her galled eyes, she married-O most wicked speed!" (1.2.155-156)

In Hamlet's second soliloquy, he explains his hate for himself, and asks why he has to deal with Claudius, and why he hadn't done it any sooner. Hamlet is surprised by the fact that in a play one of the actors begins to cry while acting out the character of the King. He has the actors play out a character that would kill the character of his father, which would make Claudius feel guilty. "I'll have these players play something like the murder of my father before mine uncle. I'll observe his looks; I'll tent him to the quick." (2.2.590-594)

The soliloquies used in the play help the audience see the ideas of Hamlet and give them the perspective of what is going through his mind. It is very beneficial towards the audience because then they can see a climax building, as well as a clear view of what is going to happen next in the play.; Monday, April 09, 2007 12:03:00 a.m.
Robyn Emsley said...: In William Shakespeare’s play, Hamlet, three soliloquies are delivered by Hamlet within the first three acts. In these soliloquies Hamlet reveals to the audience or reader what he would not reveal to anyone else- his personal thoughts, feelings, plans and frustrations with both himself and the people of Denmark surrounding him. These soliloquies not only provide a history of Hamlet’s life and access to his private thoughts, they lead toward the explosion of action in Act 3 of Hamlet. The content of the soliloquies given by Hamlet provide insight into Hamlet’s fears and schemes as well as foreshadow future action that takes place.

In Hamlet’s first soliloquy in Act 1, he portrays his true feelings about his mother’s marriage to his uncle so soon after the death of his father and the King of Denmark. Hamlet was unable to speak up to Claudius in front of all of Denmark when Claudius mocked him, as it would be seen as treason and lunacy. Thus, this soliloquy provides the reader with vital information as to what Hamlet really feels about the situation. Hamlet acknowledges that he is faced with chaos and disorder, however he also realizes he is unable to take immediate action against it as the new King would not tolerate it: “It is not nor it cannot come to good: / But break, my heart; for I must hold my tongue” (1. 2. 158-159). Furthermore, this soliloquy is where the audience first sees Hamlet’s disdain for his mother: “Ere yet the salt of most unrighteous tears / Had left the flushing in her galled eyes, / She married. O, most wicked speed, to post / With such dexterity to incestuous sheets!”(1. 2. 154-157). The audience can also assume that while Hamlet may be ashamed of his mother, he feels greater hatred to his uncle, who is far less familiar with Hamlet than his own mother. This soliloquy foreshadows the action of Act 3 because the audience comes to understand that action must be taken to correct such crimes against Hamlet and Denmark.

In Act 2 of the play, Hamlet presents his second soliloquy. On the surface, this soliloquy is full of deep emotions and confusion on Hamlet’s part. He cannot bring himself to understand how an actor could shed tears over something so superficial, when Hamlet has not wept over the immense amount of disarray in his life: “What's Hecuba to him, or he to Hecuba, / That he should weep for her? What would he do, / Had he the motive and the cue for passion / That I have” (2. 2. 553-557). When analyzed more profoundly the reader or audience can see that Hamlet is frustrated with himself; that he is questioning his ability to avenge his father’s death. Hamlet wonders why the motive that he bears is not strong enough to have driven him to murder Claudius already: “A damn'd defeat was made. Am I a coward? / Who calls me villain? breaks my pate across?” (2. 2. 566-567). At this point, the audience can observe how Hamlet thinks before he acts; as he does not wish to act wrongly or irrationally. Hamlet’s soliloquy moves from confusion to order as he figures out what he is going to do: “More relative than this: the play 's the thing / Wherein I'll catch the conscience of the king” (2. 2. 598-599). As Hamlet gains the confidence and will necessary to fulfill his father’s request, anticipation in the audience grows drastically.

In the third and final soliloquy delivered by Hamlet, thus far, he questions whether he should exist or not; take action against Claudius or not: “To be or not to be, that is the question” (3. 1. 56). He speculates whether it is more gracious to fight against corruption and sins committed against you, only to become a sinner yourself, or if it is better to suffer in your mind and become idle in the face of wrong. Hamlet is weighing out action versus thinking-, which is more righteous; which he is capable of doing: “Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles,"(3.1.56-60). This is also characterization of Hamlet, where we see he is a rational person, thinking before he acts. This also sets up the audience for a shock later on, where this trait is entirely thrown out the window. Hamlet fears the unknown- his fear of death plaques his drive to act. He worries that his sin will be carried with him to the next life-the sin of a murderer. While Hamlet has spent the first three acts thinking, the audience has been starving for action- a natural ‘bloodlust’ tendency of the post-modern age. Hamlet, however, has not rushed in to this, has taken his time, has provided the audience with all they need to know- which is what is truly ironic about Hamlet’s action in Act 3.

These soliloquies are a trail; leading the audience towards the first explosion of action in Hamlet. Though many audiences may have grown impatient by this point in the play, they can genuinely relate and understand Hamlet’s hesitance to act.; Monday, April 09, 2007 1:23:00 a.m.
Paula I said...: Shakespeare’s Hamlet invokes a thirst for justice in the audience, they often dangle it in front of us, but before we can grasp it, much to our frustration, it is masked with inaction. Finally, in act three of Hamlet we are bestowed that much long-awaited encounter. It was necessary for the audience to be slowly built up for it, the climax could not have been achieved without the pillars which sustain it; Hamlet’s soliloquies in Act one, two and three. These soliloquies explore Hamlet’s emotional state, explain the reasoning behind his actions and show the extent of human existence making a bridge between the turmoil raging within Hamlet’s mind to leap into the minds of the audience.
The insight offered by Hamlet’s soliloquies display his frustration and thus his proceedings toward others can be further understood. The situation that Hamlet’s life has been put in is overwhelming. After the death of his father Hamlet’s suffering was so extreme “O that this too too sullied flesh would melt” (1.2.129) is a reasonable alternative for life. At this point he has nothing to lose, “weary, stale, flat, and unprofitable/ Seem to me all the uses of this world”(1.2.133-134), the world has lost all its virtue. All sense of justice in the world is lost when the ghost informs that Claudius has killed his own brother. To make it even worse his mother “With such dexterity to incestuous sheets” (1.2.157) married his uncle. His mom’s hasty marriage has caused Hamlet to hold a grudge against her, which gradually builds up inside of him until he “speak daggers to her” (3.3.387) and lashes out at her. Hamlet’s rage is uncontrollable as he hammers down on the immorality of her marriage to Claudius, and the deceit done to his father. The previous harm done to his emotional state because of his mother causes Hamlet to go beyond just adhering to her conscience; he also discharges at her. His rage has clearly made him lose control because he crosses the line when he says, “Stew’d in corruption, honeying and making love/ Over the nasty sty”(3.4.93-94) after which the ghost appears to remind him of the real task at hand. Her actions have influenced Hamlet to conclude, “Frailty, thy name is woman” (1.2.146), not only has he lost his affinity for life but he has lost his hope in woman. This is only made worse when Ophelia “repel his letters and denied/ His access to me” (2.1.109-110), he is utterly betrayed by the girl he is in love with. Ophelia’s quickness in ignoring him as well as in doubting his love for her leads Hamlet to believe that a “woman’s love” (3.2.149) is brief. He as well lashes out at poor Ophelia and claims never to have loved her. Despite everything, “break, my heart, for I must hold my tongue” (1.2.159) he cannot publicly announce the crime that has been done because it can be considered treason. The risk of being condemned for treason is always dangling over Hamlet’s head; he knows that if he is to act, he must willingly put his life at risk.
Hamlet’s emotional evaluations of himself offered in his soliloquies give an explanation for his actions, as well as his inactions. In Hamlet’s second soliloquy we see the evolution of his emotions, as a consequence of his situation. Hamlet is infuriated by his own inaction, “O what a rogue and peasant slave am I” (2.2.544) because he has not yet stood up for what’s right. It’s extremely tough for him because he has so much “motive and cue for passion” (2.2.556), but can’t act freely because of the restraints on him like being accused of treason, and the burden of having to take someone’s life. Since Hamlet remains “Unpregnant of my cause” (2.2.563) he has everything bottled up inside, just waiting to be unleashed, like a volcano that will soon explode in act three. Hamlet is aware of his own caution and starts to question himself “Am I a coward?” (2.2.566) because of his hesitation to put his life on the line. However do to his circumstance he “Must like a whore unpack my heart with words” (2.2.581), only indirect witty stabs at Claudius are safe, “And can say nothing—no, not for a king” (2.2.564) of Claudius’ most vicious crime. An understanding of this is what entices Hamlet to come up with his genius plan to put on a play that imitates the death of his father. Since he himself cannot accuse Claudius of killing his father, the best thing to do is to get a public admission of guilt. The plan will work because, “guilty creatures sitting at a play… have proclaim’d their malefactions” (2.2.585, 588) in that manner Claudius’s conscience can be tested. In act three when Hamlet’s plan is put into action, “How smart a lash that speech doth give my/ conscience” (3.1.50-51) Claudius is forced to flee to his room.
The real action which takes place in act three is the battle going on inside of the mind of Hamlet and the audience. The feeling of pathos is strong when Hamlet presents us with the ultimate question, “To be, or not to be” (3.1.56). Everything is brought to question and our virtue is put to judgment. How can the audience possible judge Hamlet for not having acted already when most of us would “suffer/ The slings and arrows of outrageous fortune” (3.1.58) rather than fight for what is right in this world. To not act would be so easy…ignorance is safe as long as it’s not happening to you. What is even more disquieting is that if it were happening to them, they would “bear those ills we have/ Than fly to others that we know not of” (3.1.81-82), people would rather be oppressed than to face the possibly more severe unknown consequences that come with standing up for yourself. Even today fear is still used as a means by totalitarian rulers to stay in power. Life is complicated, and its constant challenges to act on behalf of what is just are a heavy burden on the human mind, especially if the spirit is not strong, that perhaps rest can only come with death. “The heart-ache and the thousand natural shocks/ That flesh is heir to” (3.1.62-63) will only end after a person dies. There are some people who can sit by and be ignorant of injustice, and it will not bother them, but Hamlet is not one of those people. For him to sit by and allow evil to occur is to put in question his whole existence. How can he exist, if he denies the qualities of his own soul? Hence for him not to act is “not to be”, a complete denial of who he is as a human being. The nobility in Hamlet’s compulsion to face injustice head on causes the audience to evaluate themselves. Are you one to stand by and do nothing while the world is in turmoil, or will you fight to try and change it? “Thus conscience does make cowards of us all”(3.1.83) as much as you like to think your righteous, simply knowing that something is wrong is not enough, you must “take arms against a sea of troubles” (3.1.59) and in the action of protesting prove your valor. To live life quietly and not attempt to make the world a better place is selfish. It’s selfish because you don’t care about the many vulnerable people who aren’t has fortunate and struggle to survive, unable to help themselves. It’s easy to be happy and live a comfortable life, but it’s a challenge to put the happiness of others before your own and dedicate your life to a noble cause. It’s hard because there is no guarantee, it is “The undiscover’d country” (3.1.79) and the troubles that lay ahead are unknown. True virtue comes from fighting for the well being of others, even though you didn’t have to, in the very action of trying you have proved yourself. Will you give your life for a cause or stand by because it’s not happing to you? Others should never have to suffer the consequences of the ignorance and unwillingness of those that could have done something, when they can not do it for themselves. Before the play is about to be shown Hamlet contemplates his existence, after it is shown he’ll “have grounds/ More relative than this”(2.2.599-600) what the ghost told him should Claudius react with a guilty conscience. Hamlet knows that after that, there can be no more stalling and he must make the decision whether to act or not. Unfortunately fighting against the injustice done to his father means that his fate will be tragically sealed, he is aware of this, which makes the decision even harder. If he is to “take arms against a sea of troubles” (3.1.59) he has to be willing to die without a guarantee. Hamlet decides to act, “Be all my sins remember’d” (3.1.90). When the perfect chance to kill Claudius comes however, “the native hue of resolution/ Is sicklied o’er with the pale cast of thought” (3.1.84-85) much to our frustration because he contemplated his actions. While Hamlet is in the midst of lashing out at his mother, having already lost control, he mistakes Polonius for the king and kills him, he “Know not”(3.4.26) what he’s done because he acted without thinking. Shakespeare’s nihilistic interpretation of the total consequence of ones actions, are displeasing to audience, but present the importance of the fine balance, between the necessary thought that must be given to each situation. Over-thinking is imprudent, while irrationally acting is just as disadvantageous.
Hamlet’s soliloquies are the keyhole to his soul, they are the heart of the play because his third soliloquy captivates the audience and fulfills the purpose of tragedy; pathos. Through them we are permitted to know his emotions and thus can understand his actions. Shakespeare has modeled human existence, though Hamlet’s dilemma, and demanded us to label where we stand.; Monday, April 09, 2007 11:46:00 a.m.
Ghassan F said...: In Hamlet, the play, Hamlet reveals himself through his own soliloquies. There are many soliloquies that are presented, but the first three soliloquies are the only soliloquies that explain Hamlet’s build up towards the end of act three. The explosion of action in the end of act three occurred because of all the angry, frustrated, confused and hesitated feelings that drive Hamlet insane.

In the first soliloquy, Hamlet presents the roots of his anger and depression. In the beginning of his soliloquy, he shows that he is angry towards God, because suicide costs an eternity in hell. “Or that the Everlasting had not fix'd / His canon 'gainst self-slaughter! O God! God!” (1.2.131-132). Since he can not suicide due to the punishment, he is also angry with God because he has to live through his trials. He also shows hatred and anger towards his mother and his uncle. “She married-O most wicked speed!” (1.2.156). he was very upset towards his uncle and mother due to the quick marriage. He finds the marriage unjustifiable, because he sees his uncle compared to his father as he sees himself to Hercules. “but no more like my father / Than I to Hercules.” (1.2.152-153). With all of this in mind, it is understood that hamlet is setting the stage for justification of his actions later on in the play.

Later on in the play, Hamlet unfolds, more of his anger towards himself as he curses himself in the beginning of the soliloquy. “Yet I, / A dull and muddy-mettled rascal, peak, / Like John-a-dreams, unpregnant of my cause” (3.2.561-563). This is Hamlet’s first step to be angered towards his hesitations, as well as his first plan to trap Claudius. This soliloquy is the more significant than others, because this is when the audience feels that Hamlet just crossed the threshold. Hamlet clearly shows his anger, and in addition, he shows an annoyed feeling towards his hesitation. Those two emotions combined, shows that Hamlet will erupt of his anger without hesitation. This sets the stage for Hamlet’s impulsive explosive actions in the end of act three.

Finally, the last soliloquy puts the finishing touches on the explanation of Hamlet’s explosion. With all the previous emotions of Hamlet blended together, Hamlet results to become very confused and hurt. This soliloquy is associated with suicide. “To be, or not to be: that is the question” (3.1.56). This is Hamlet arguing if living through the pain is worth it rather than suicide even if he does not know what is in store. Starting from the beginning of this soliloquy, Hamlet shows that he is fed with his life, which sparks the time of action by the end of act three.

Hamlet detonated at the end of act three, because through out his soliloquies he showed that he was building up anger, frustration, confusion, and hesitation which could not be contained anymore. Soliloquies, were Shakespeare’s way of presenting Hamlet’s gradual build up, which caused the audience to suspect and not suspect the explosion.; Tuesday, May 01, 2007 6:49:00 a.m.

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Sunday, April 01, 2007

Discussion 6 - To be or not to be. Aye, there's the point.

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