hamlet “to be or not to be” soliloquy

The opposite term is an organic -e, in which the final -e might be silent today, but at one point historically was pronounced and usually descends grammatically from a now defunct declension.

Hamlet appears to be a coward as well as depressed.

Without being able to return to Wittenberg, Hamlet no longer has an escape from his problems.

These works about Hamlet are extremely beneficial to the reader.

SEHNSUCHT: Duriez discusses the idea in two senses. (1) In medieval German literature and Scandinavian ballads, an inconsolable longing brought about by natural or artistic beauty--especially for something unobtainable. In continental medieval literature, this is often embodied by the symbol of a blue flower. (2) A yearning or longing that leads on to joy, which C.S. Lewis argued was an important feature of fantasy literature, creating places, creatures otherworlds, wonderlands that serve as "regions of spirit" that ironically help us to better connect with the real world of nature (Duriez 102) C.S. Lewis felt that fantasy literature centered around sehnsucht.

I pray thee stay with us, go not to Wittenberg.

As Hamlet becomes more uncertain and unable to avenge his father’s death, his emotional saturation and lack of physical confidence propels himself and other characters further into discord and tragedy.


Therefore be at peace with God,whatever you conceive him to be.

SENECAN TRAGEDY: A following the conventions of the Roman writer Lucius Anneaus Seneca Minor (Seneca the Younger), a first-century CE stoic philosopher and philosopher who dabbled as a playwright and wrote ten surviving tragedies. Humanist scholars in the Renaissance rediscovered his lost works, and they became influential in Elizabethan and Neoclassical drama. Senecan tragedies tend to focus on gruesome, bloodthirsty revenge. They are unusual in that the violence takes place on stage before the audience, as opposed to the classical Greek tradition, in which murders and suicides typically took place off-stage while the on-stage characters reacted to the news or to what they hear nearby. Examples of Renaissance tragedies influenced by the Senecan mode include Shakespeare's Hamlet, Thomas Kydd's The Spanish Tragedy and John Webster's The Duchess of Malfi.

Seneca cannot be too heavy, nor Plautus too light.

Hamlet, from William Shakespeare’s timeless classic, Hamlet, has had his famous soliloquy, “To be or not to be”(III.i.56), reproduced in a variety of tones throughout history.

The king has bet heavily on Hamlet, probably to divert suspicion.

However, by the time Hamlet undergoes mental transformation and equalizes the imbalance between physical confidence and emotional saturation, the characters have already began their final fall into a resolution of death....

For your desire to know what is between us,O'ermaster't as you may.

However, this speech was not intended to be a lighthearted reference as indicated by Hamlet’s contemplative, philosophical, and bitter tones he uses while questioning the nature of life and death in this soliloquy.

Belleforestadapted Saxo's historical fiction.

To begin with, Hamlet starts off his speech asking, “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” (Shakespeare 3.1.57-60)....