Hamlets Soliloquy - To be, or not to be :: Hamlet essays

Hamlet's Soliloquy - To be, or not to be Hamlet's "To be, or not to be" soliloquy is arguably the most famous soliloquy in the history of the theatre. Even today, 400 years after it was written, most people are vaguely familiar with the soliloquy even though they may not know the play. What gives these 34 lines such universal appeal and recognition? What about Hamlet's introspection has prompted scholars and theatregoers alike to ask questions about their own existence over the centuries? In this soliloquy, Shakespeare strikes a chord with a fundamental human concern: the validity and worthiness of life. Would it not be easier for us to simply enter a never-ending sleep when we find ourselves facing the daunting problems of life than to "suffer / the slings and arrows of outrageous fortune"? However, it is perhaps because we do not know what this endless sleep entails that humans usually opt against suicide. "For in that sleep of death what dreams may come / When we have shuffled off this mortal coil / Must give us pause." Shakespeare seems to understand this dilemma through his character Hamlet, and thus the phrase "To be, or not to be" has been immortalized; indeed, it has pervaded our culture to such a remarkable extent that it has been referenced countless times in movies, television, and the media. Popular movies such as Billy Madison quote the famous phrase, and www.tobeornottobe.com serves as an online archive of Shakespeare's works. Today, a Shakespeare stereotype is held up by the bulk of society, where they see him as the god of drama, infallible and fundamentally superior to modern playwrights. However, this attitude is not new. Even centuries ago, the "holiness" of Shakespeare's work inspired and awed audiences. In a letter dated October 1, 1775, Georg Christoph Lichtenberg, commenting on David Garrick's production of Hamlet (1742-1776) to his friend Heinrich Christian Boie, likens the "To be, or not to be" soliloquy to the Lord's Prayer. He says that the soliloquy "does not naturally make the same impression on the auditor" as Hamlet's other soliloquies do, But it produces an infinitely greater effect than could be expected of an argument on suicide and death in tragedy; and this is because a large part of the audience not only knows it by