Where is hamlet soliloquy

There's the respect That makes calamity of so long life. For who would bear the whips and scorns of time, Th' oppressor's wrong, the proud man's contumely The pangs of despised love, the law's delay, The insolence of office, and the spurns That patient merit of th' unworthy takes, When he himself might his quietus make With a bare bodkin?

Who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered country, from whose bourn No traveller returns, puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Up until this point in the play, Hamlet has continued to debate with himself whether he should kill Claudius to avenge his father.

He also wonders whether it might be preferable to kill himself — this would allow him to escape his own "sea of troubles" and the "slings and arrows" of life. But like so many others, Hamlet fears the uncertainty dying brings and is tormented by the possibility of ending up in Hell —a place even more miserable than life.

He is heavily plagued by this realization that the only way to find out if death is better than life is to go ahead and end it, a permanent decision one cannot take back. Despite Hamlet's attempts to logically understand the world and death, there are some things he will simply never know until he himself dies, further fueling his ambivalence.

The entirety of Hamlet can be said to revolve around the theme of madness and whether Hamlet has been feigning madness or has truly gone mad or both.

Before Hamlet begins his soliloquy, Claudius and Polonius are revealed to be hiding in an attempt to eavesdrop on Hamlet and later Ophelia when she enters the scene. If he is unaware, as most might assume he is, then we could view his "To be or not to be" soliloquy as the simple musings of a highly stressed-out, possibly "mad" man, who has no idea what to think anymore when it comes to life, death, and religion as a whole.

Whether or not he is truly "mad" here or later in the play is up to you to decide! In the "To be or not to be" soliloquy, Shakespeare has Hamlet use a wide array of literary devices to bring more power, imagination, and emotion to the speech. Shakespeare uses several metaphors in "To be or not to be," making it by far the most prominent literary device in the soliloquy. A metaphor is when a thing, person, place, or idea is compared to something else in non-literal terms, usually to create a poetic or rhetorical effect.

This metaphor brings clarity to the fact that death truly is permanent and that nobody knows what, if anything, comes after life.

A metonym is when an idea or thing is substituted with a related idea or thing i. In "To be or not to be," Shakespeare uses the notion of sleep as a substitute for death when Hamlet says, "To die, to sleep. Because the act of sleeping looks very much like death.

Think about it: we often describe death as an "eternal sleep" or "eternal slumber," right? Since the two concepts are closely related, this line is a metonym instead of a plain metaphor. The phrase "to die, to sleep" is an example of repetition, as it appears once in line 5 and once in line 9.

Hearing this phrase twice emphasizes that Hamlet is really albeit futilely attempting to logically define death by comparing it to what we all superficially know it to be: a never-ending sleep. A far less common literary device, anadiplosis is when a word or phrase that comes at the end of a clause is repeated at the very beginning of the next clause.

The anadiplosis gives us a clear sense of connection between these two sentences. For example, this Calvin and Hobbes comic from depicts a humorous use of the "To be or not to be" soliloquy by poking fun at its dreary, melodramatic nature.

Many movies and TV shows have references to "To be or not to be," too. In an episode of Sesame Street , famed British actor Patrick Stewart does a parodic version of the soliloquy "B, or not a B" to teach kids the letter "B":.

As you can see, over the more than four centuries since Hamlet first premiered, the "To be or not to be" soliloquy has truly made a name for itself and continues to play a big role in society.

Its iconic "To be or not to be" soliloquy, spoken by the titular Hamlet in Scene 3, Act 1, has been analyzed for centuries and continues to intrigue scholars, students, and general readers alike. The soliloquy is essentially all about life and death : "To be or not to be" means "To live or not to live" or "To live or to die".

Hamlet discusses how painful and miserable human life is, and how death specifically suicide would be preferable, would it not be for the fearful uncertainty of what comes after death. Even today, we can see evidence of the cultural impact of "To be or not to be," with its numerous references in movies, TV shows, music, books, and art.

It truly has a life of its own! You will likely recognize lines, such as the famous "To be or not to be Hamlet's First Soliloquy. O that this too too solid flesh would melt, Thaw, and resolve itself into a dew! Act 1, Scene 2. Hamlet's Second Soliloquy. O all you host of heaven! O earth! And shall I couple hell?

O, fie! Act 1, Scene 5. Ay, so, God b' wi' ye! Now I am alone. O, what a rogue and peasant slave am I! Act 2, Scene 2. 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, And by opposing end them? Act 3, Scene 1. Hamlet's Fifth Soliloquy. Let me be cruel, not unnatural; I will speak daggers to her, but use none Act 3, Scene 2.

Hamlet's Sixth Soliloquy. Now might I do it pat now he is praying, And now I'll do it, and so he goes to heaven. And so am I revenged, that would be scanned Act 3, Scene 3. Hamlet's Seventh Soliloquy.

It would be nicer if all the soliloquies would be given to read out with critical analysis. He is not real. My favorite is the seventh. It is very interesting as Hamlet sees Fortinbras to fight for a small and unimportant land. Thank you Sueswan. That was one of those things that made Shakespeare's writing a pioneer for English literature - The Generalizing Tendency.

You can relate to it.