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To Be Or not to Be: Inaction and Hesitation in Hamlet

"To be, or not to be" is the opening phrase of a soliloquy given by Prince Hamlet in the so-called "nunnery scene" of William Shakespeare's play Hamlet, Act 3, Scene 1. In the speech, Hamlet contemplates death and suicide, bemoaning the pain and unfairness of life but acknowledging that the alternative might be worse.

The opening line is one of the most widely known and quoted lines in modern English literature, and the soliloquy has been referenced in many works of theatre, literature, and music. There are numerous snowclones based on the phrase, such as "To hack or not to hack", etc.

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“Hamlet” by William Shakespeare: To Be or Not to Be Essay (Review)

Introduction, shakespeare’s style, use of techniques, works cited.

“To be or not to be” is one of the most iconic lines in dramaturgy and literature which has grown to define the play Hamlet , written by the famous playwright William Shakespeare in 1599 (Hamlet 3.1.64). In centuries since, it has become one of the most studied, reenacted, and discussed plays ever written due to the genius of its plot, themes, and style. Hamlet is a tragic tale of revenge and justice which highlights the human tragic flaws that Shakespeare masterfully introduces into the plot through philosophical soliloquies, deeply symbolic imagery, and the use of tone and verse for portrayal.

Hamlet is a relatively complex play with numerous overlapping themes, the primary ones being revenge and having to face mortality. Death is a continuous presence in the plot as Hamlet loses his father and then attempts to kill Claudius, as a result, directly and indirectly, causing the death of other key characters. Although the primary plot point revolves around revenge, the theme itself is focused on the inner struggle of Hamlet of whether such an action is just and moral. He questions his motifs and the need for such bloodlust. This transitions into the next theme of mortality which is directly interconnected with another concept that the inevitable cannot be avoided. The dark tones that Shakespeare paints in Hamlet and through Hamlet’s suicidal ramblings, the world is seemingly full of death. From the point when confronted with his father’s ghost, Hamlet inevitably accepts that mortality cannot be avoided, which fully drives his actions.

In one of his soliloquies Hamlet states, “we defy augury. There is a special providence in the fall of a sparrow. If it is now, ’tis not to come; if it is not to come, it will be now; if it is not now, yet it will come” (Hamlet 5.2.233). It is a discussion on the theme of fate, which is predetermined. Despite omens that may be warning Hamlet, the ultimate fate of his death is decided, and therefore there is no sense in delay or fear. At the same time, the play also comments on the impossibility of certainty and within its motifs, challenges the status quo and expectations of the characters (Lim 5). It begins with supernatural such as the presence of the ghost and Hamlet attempting to glance into Claudius’ soul, to the mystery of the crime and the need for revenge. Some things that seem certain are complex and thus leading to challenges of morality and indecisiveness of Hamlet on how to act.

Like many of Shakespeare’s major plays, Hamlet is written in iambic pentameter, using a combination of prose and verse. Shakespeare selectively uses blank verse and uses language to help the reader understand the character’s socioeconomic class as well as psychological state and mood. The mix of prose and verse was common for Shakespeare and other dramatists from that period, redefining the predecessor style of rhyming verse. In the play, Hamlet, as royalty and an educated man, is expected to use iambic pentameter and near-perfect blank verse. However, as Hamlet undergoes the emotional struggle, he breaks verse and speaks in prose, demonstrating evident psychological complexity. It is with this critical mastery that Shakespeare is able to translate the tone of the setting, the tension of situations, and the sensitive emotions of the characters. The style of language is also reflecting in character relationships, as Hamlet speaks in prose with Horatio whom he trusts while adopts erratic prose to demonstrate pretense madness to Claudius (Ballard).

Shakespeare uses a variety of techniques to drive forward the plot, reveal the inner thoughts of the protagonist, and implement literary devices such as foreshadowing, irony, and soliloquies. Subtle meanings and phrases foreshadow the events going forward and allow readers to examine Hamlet’s emotional journey and coming to terms with his quest for revenge. Irony creates rapport in character dialogue and allows to create interest and comedic relief. Symbolism, metaphors, and imagery are all thoroughly present in Hamlet. For example, the skull of Yorick is a symbol of death, while the whole play is considered a metaphor for religion where characters reason between morality, mortality, and damnation. Soliloquies and asides are techniques utilized in the play as Hamlet uses it as a unique approach to demonstrate the most intimate thoughts and establish inner conflict which drives the philosophical discussion and moral arguments of the plot. These techniques and literary devices are necessary for the development of the themes and events of the story, creating depth and complexity to the play.

The masterful use of style, technique, and language by Shakespeare to emphasize the themes of Hamlet is universally applauded. It strongly contributes to the uniqueness and significance that the play has established in modern literary doctrine. The symbolic nature of imagery along with the literary devices and soliloquies which Shakespeare utilizes allows for an in-depth examination of human nature and flaws regarding the aspect of revenge.

Ballard, Kim. ” Prose and Verse in Shakespeare’s Plays.” British Library . 2016, Web.

Lim, Vanessa. “‘To be or not to be’: Hamlet’s Humanistic Quaestio.” The Review of English Studies , 2019, pp. 1-19.

Shakespeare, William. The Tragedy of Hamlet Prince of Denmark . Edited by Barbara A. Mowat and Paul Werstine. Folger Shakespeare Library, n.d. Folger Digital Texts , Web.

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Good Example Of Essay On The Analysis Of To Be Or Not To Be

Type of paper: Essay

Topic: Shakespeare , Father , Ghost , Hamlet , Suicide , Parents , Life , Family

Published: 03/27/2020

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What Hamlet Is Asking Himself

The soliloquy begins with the question to be or not to be. For any character playing the part, it is the most vital question. It does not simply mean whether the character should commit suicide or continue to live in a certain way. The basis of the question is still open to interpretation. The self-dialogue shows the dilemma that face Hamlet when deciding whether to end his life or continue with his miserable existence. He also has the dilemma of whether or not to kill his father’s killer and commit murder, or let the situation remain as it was and continue seeing him married to his mother. Hamlet had reasons why he should be angry at the world or commit suicide. In the period of the soliloquy, he was supposed to be the king. Instead, his uncle was in that position. His mother, and his father’s killer were married and they forced him to stay in Denmark instead of going back to school. In the monologue, he equates life to suffering. Hamlet is trying to debate whether life is worth living in this world that is just full of sadness and cruelty. Throughout this soliloquy, Hamlet is considering whether or not to commit suicide since his father’s murderer has married his mother. The ghost of his father approaches him and instructs him to avenge his death. Hamlets beliefs are in contrast to any decision he is declined to make. If he commits suicide and leaves his miserable existence, he believes he will be eternally damned. If he commits murder by killing his father’s murder, he suffers the same consequence as committing suicide. He sees life as an equal to suffering and he reasons that it would be better to end his life. It could also be interpreted as Hamlet asking himself whether or not to act on his instructions by the ghost to commit revenge. In the play, he is instructed to avenge the death of his father. This is against his religious beliefs and he knows that killing, even in revenge, will earn him total damnation.

The Relevance of This Question to His Ongoing Decision to Be or Not To Be

The question to be or not to be clearly portrays the dilemma that is facing Hamlet. In the poem, Hamlet is approached by the ghost of his father and it demands revenge. The ghost informs him of the events that took place prior to his (Hamlet’s) father’s death. The ghost informs Hamlet that his father was killed and his mother quickly remarried the murderer. This made Hamlet consider killing the murderer, and then himself. Hamlet’s religious background prohibited him from committing both murder and suicide hence the question. The information from the ghost made the question easier; either being condemned to eternal damnation after revenge or continue suffering if he did not follow his father’s instructions. Hamlet decides not doing anything would be easier, even though it was a cowardly choice. After debating with himself whether to commit suicide or not to commit murder, he chooses life. He says that consciousness makes everyone a coward. He knows that if he commits suicide he would be eternally damned and he does not risk it. He meets Ophelia and asks her whether she remembers his sins in her prayers.

Shakespeare, W., & Hubler, E. (1963). The tragedy of Hamlet, Prince of Denmark.. New York: New American Library. Shakespeare, W. (200). Hamlet. Santa Fe, Argentina: El Cid Editor. Tarner, M., & Shakespeare, W. (2009). Hamlet. Oxford: Macmillan Heinemann ELT.

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Hamlet: ‘To Be Or Not To Be, That Is The Question’

‘ To be or not to be , that is the question’  is the most famous soliloquy in the works of Shakespeare – quite possibly the most famous soliloquy in literature. Read Hamlet’s famous soliloquy below with a modern translation and full explanation of the meaning of ‘To be or not to be’. We’ve also pulled together a bunch of commonly asked questions about Hamlet’s famous soliloquy, and have a couple of top performances of the soliloquy to watch.

Jump to section: Full soliloquy | Analysis | Performances | FAQs | Final read

Let’s start with a read-through of Shakespeare’s original lines:

Hamlet’s ‘To Be Or Not To Be’ Speech, Act 3 Scene 1

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? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, ’tis a consummation Devoutly to be wish’d. To die, to sleep; To sleep: perchance to dream : ay, there’s the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there’s the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor’s wrong, the proud man’s contumely, The pangs of despised love, the law’s delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover’d country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o’er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.–Soft you now! The fair Ophelia! Nymph, in thy orisons Be all my sins remember’d.

Hamlet ‘To Be Or Not To Be’ Analysis

Hamlet is thinking about life and death. It is the great question that Hamlet is asking about human existence in general and his own existence in particular – a reflection on whether it’s better to be alive or to be dead.

The in-depth version

The first six words of the soliloquy establish a balance. There is a direct opposition – to be, or not to be. Hamlet is thinking about life and death and pondering a state of being versus a state of not being – being alive and being dead.

The balance continues with a consideration of the way one deals with life and death. Life is a lack of power: the living are at the mercy of the blows of outrageous fortune. The only action one can take against the things he lists among those blows is to end one’s life. That’s the only way of opposing them. The ‘sleep of death’ is therefore empowering: killing oneself is a way of taking action, taking up arms, opposing and defeating the slings and arrows of outrageous fortune. Living is a passive state; dying is an active state. But in order to reach the condition of death one has to take action in life – charge fully armed against Fortune – so the whole proposition is circular and hopeless because one does not really have the power of action in life.

Death is something desirable – devoutly to be wished, a consummation – a perfect closure. It’s nothing more than a sleep. But there’s a catch, which Hamlet calls a rub. A ‘rub’ is a bowls term meaning an obstacle on the bowls lawn that diverts the bowl, so the fear of the life hereafter is the obstacle that makes us pause and perhaps change the direction of our thinking. We don’t control our dreams so what dreams may come in that sleep in which we have shuffled off all the fuss and bother of life? He uses the term ‘ mortal coil ,’ which is an Elizabethan word for a big fuss, such as there may be in the preparations for a party or a wedding – a lot of things going on and a lot of rushing about. With that thought, Hamlet stops to reconsider. What will happen when we have discarded all the hustle and bustle of life? The problem with the proposition is that the sleep of death is unknown and could be worse than life.

And now Hamlet reflects on a final end. A ‘quietus’ is a legal word meaning a final definitive end to an argument. He opposes this Latin word against the Celtic ‘sweating’ and ‘grunting’ of a living person as an Arab beneath an overwhelmingly heavy load – a fardel, the load carried by a camel. Who would bear that when he could just draw a line under life with something as simple as a knitting needle – a bodkin? It’s quite a big thought and it’s fascinating that this enormous act – drawing a line under life – can be done with something as simple as a knitting needle. And how easy that seems.

Hamlet now lets his imagination wander on the subject of the voyages of discovery and the exploratory expeditions. Dying is like crossing the border between known and unknown geography. One is likely to be lost in that unmapped place, from which one would never return. The implication is that there may be unimagined horrors in that land.

Hamlet now seems to make a decision. He makes the profound judgment that ‘conscience does make cowards of us all,’ This sentence is probably the most important one in the soliloquy. There is a religious dimension to it as it is a sin to take one’s life. So with that added dimension, the fear of the unknown after death is intensified.

But there is more to it than that. It is not just about killing himself but also about the mission he is on – to avenge his father’s death by killing his father’s murderer. Throughout the action of the play, he makes excuses for not killing him and turns away when he has the chance. ‘Conscience does make cowards of us all.’ Convention demands that he kill Claudius but murder is a sin and that conflict is the core of the play.

At the end of the soliloquy, he pulls himself out of this reflective mode by deciding that too much thinking about it is the thing that will prevent the action he has to rise to.

This is not entirely a moment of possible suicide. It’s not that he’s contemplating suicide as much as reflecting on life, and we find that theme all through the text. In this soliloquy, life is burdensome and devoid of power. In another, it’s ‘weary, stale, flat and unprofitable,’ like a garden overrun with weeds. In this soliloquy, Hamlet gives a list of all the things that annoy him about life: the whips and scorns of time, the oppressor’s wrong, the proud man’s contumely, the pangs of despised love, the law’s delay, t he insolence of office and the spurns t hat patient merit of the unworthy takes. But there’s a sense of agonized frustration in this soliloquy that however bad life is we’re prevented from doing anything about it by fear of the unknown.

Watch Two Theatre Greats Recite Hamlet’s Soliloquy

David Tenant as Hamlet in the RSC’s 2009 Hamlet production:

We couldn’t resist but share Patrick Stewart’s comedy take on the soliloquy for Sesame Street!

Commonly Asked Questions About ‘To Be Or Not To Be’

Why is hamlet’s ‘to be or not to be’ speech so famous.

This is partly because the opening words are so interesting, memorable and intriguing, but also because Shakespeare ranges around several cultures and practices to borrow the language for his images. Just look at how many now-famous phrases are used in the speech – ‘take arms’, ‘what dreams may come’, ‘sea of troubles’, ‘to sleep perchance to dream’. ‘sleep of death’, ‘whether tis nobler’, ‘flesh is heir’, ‘must give us pause’, ‘mortal coil’, ‘suffer the slings and arrows’, outrageous fortune’, ‘the insolence of office’… the list goes on and on.

Add to this the fact that Shakespeare is dealing with profound concepts, putting complex philosophical ideas into the mouth of a character on a stage, and communicating with an audience with a wide range of educational levels, and you have a selection of reasons as to why this soliloquy is as famous as it is. Just look at how many now phrases

How long is ‘To be or not to be’?

The ‘To be or not to be’ soliloquy is 33 lines long, and consists of 262 words. Hamlet, the play in which ‘to be or not to be’ occurs is Shakespeare’s longest play with 4,042 lines. It takes four hours to perform  Hamlet  on the stage, with the ‘to be or not to be’ soliloquy taking anywhere from two to four minutes.

Why is ‘To be or not to be’ so important?

‘To be or not to be’ is not important in itself but it has gained tremendous significance in that it is perhaps the most famous phrase in all the words of the playwright considered to be the greatest writer in the English language. It is also significant in the play,  Hamlet , itself in that it goes directly to the heart of the play’s meaning.

Why does Hamlet say ‘To be or not to be’?

To be or not to be’ is a soliloquy of Hamlet’s – meaning that although he is speaking aloud to the audience none of the other characters can hear him. Soliloquies were a convention of Elizabethan plays where characters spoke their thoughts to the audience. Hamlet says ‘To be or not to be’ because he is questioning the value of life and asking himself whether it’s worthwhile hanging in there. He is extremely depressed at this point and fed up with everything in the world around him, and he is contemplating putting an end to himself.

Is ‘To be or not to be’ a metaphor?

The line ‘To be or not to be’ is very straightforward and direct, and has no metaphorical aspect at all. It’s a simple statement made up of five two-letter words and one of three – it’s so simple that a child in the early stages of learning to read can read it. Together with the sentence that follows it  – ‘that is the question – it is a simple question about human existence. The rest of the soliloquy goes on to use a number of metaphors.

What is Shakespeare saying in ‘To be or not to be’?

In the ‘To be or not be to’ soliloquy Shakespeare has his Hamlet character speak theses famous lines. Hamlet is wondering whether he should continue to be, meaning to exist or remain alive, or to not exist – in other words, commit suicide. His thoughts about that develop in the rest of the soliloquy.

Why is ‘To be or not to be’ so memorable?

Ask people to quote a line of Shakespeare and more often than not it’s ‘To be or not to be’ that’s mentioned. So just what is it that makes this line of Shakespeare’s so memorable?

The line is what is  known as a chiasmus  because of its balance and structure, and that’s what makes it memorable. Look at this chiasmus from John F Kennedy: ‘Do not ask what your country can do for you; ask what you can do for your country.’  Far more complex than Shakespeare’s line but even so, having heard it one could never forget it. The first and second halves mirror each other, the second being an inversion of the first. Winston Churchill’s speeches are full of chiasma. Even when he is joking they flow: ‘All babies look like me, but then I look like all babies.’

Chiasma are always short and snappy and say a lot in their repetition of words and their balance. And so it is with Hamlet’s speech that starts ‘to be or not to be’, arguably Shakespeare’s most memorable line – in the collective conscience centuries after the words were written and performed.

Look at the balance of the line. It has only four words: ‘to,’ ‘be,’ ‘or’ and ‘not.’ The fact is that the language is as simple as language can get but the ideas are extremely profound. ‘To take arms against a sea of troubles,’ for example, and ‘To die, to sleep, no more, but in that sleep of death what dreams may come,’ every word but one monosyllabic, go right to the heart of human existence and the deepest dilemmas of life.

Let’s try reading it again…

If you’re still with us, you should now have a pretty good understanding of the true meaning behind the words of Hamlet’s ‘To be or not to be’ speech. You may have also watched two fantastic actors speak the immortal words, so should have a much clearer understanding of what messages the soliloquy is trying to convey.

With all of this in mind, why not try reading the words aloud to yourself one more time:

David Tennant speaks Hamlet’s ‘To be or not to be’ soliloquy

And that’s all for this take on Hamlet’s immortal lines. Did this page help you? Any information we’re missing that would be useful? Please do let us know in the comments section below!

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“To be or not to be is straight forward and not a metaphor” Actually it can be read as metaphor ie. “To kill or or to kill”. The entire thing can be read as Hamlet questioning if he should kill the King.

To Be or Not to Be is so complex. The question is raised many many times in ones life. It seems to me that the phrase is relevant to life’s unknowns. I am 89 years of age, an MD for many of those years in New York and Santa Fe. I continue to struggle withe its meaning.

Howard Schwartz, MD, retired Albuquerque NM USA

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