Hamlet critical essay

Hannah Vivancos
Note by Hannah Vivancos, updated more than 1 year ago
Hannah Vivancos
Created by Hannah Vivancos over 1 year ago



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There is, perhaps, no well-known passage in Shakespeare that has been found so perplexing as that in which Hamlet communes with himself between the preparation of the play to catch the conscience of the king and its performance—'To be, or not to be, that is the question . . .' It can perplex for various reasons, one of them being the variety of different explanations of crucial phrases that can reasonably be made. (In the Furness Variorum edition the text completely disappears for a couple of pages whilst a footnote marshals conflicting interpretations of the opening and general tenor; at a rough estimate the 34 lines of the soliloquy have some 440 lines of small-type commentary.) Another reason is that the speech is almost too well-known for its features to be seen distinctly, as Charles Lamb said: I confess myself utterly unable to appreciate that celebrated soliloquy in Hamlet, beginning, 'To be, or not to be,' or to tell whether it be good, bad, or indifferent; it has been so handled and pawed about by declamatory boys and men, and torn so inhumanly from its living place and principle of continuity in the play, till it has become to me a perfectly dead member. Perhaps we need not be too much dismayed; the meaning may be simpler—even if in some ways subtler—than is commonly supposed. Since the speech is crucial I must ask your indulgence whilst I read it, indicating as best I may the stopping of the good Quarto, which is considerably lighter than that in most current editions. 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 heartache, and the thousand natural shocks That flesh is heir to; 'tis a consummation Devoutly to be wished. 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, Th' oppressor's wrong, the proud man's contumely, The pangs of disprized 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 these 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? 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. . . . There is no need for me to do more than remind you of the main puzzles. Does 'To be, or not to be' refer to a contemplated action, to the continuation of Hamlet's life, or to survival after death? When he speaks of the 'The undiscover'd country from whose bourn No traveller returns', has he forgotten the Ghost, or has he given up belief in its honesty? What is the meaning of that 'conscience' that makes cowards of us all, or indeed 'thought'? And so on. It is of course clear that among the thoughts in Hamlet's mind are thoughts of action against the King, of suicide, and of the nature of life after death, but the transitions are not clear, and as soon as we attempt to give an exact paraphrase we run into difficulties. At this point we may resort to Dr. Johnson, whose note on the passage begins: Of this celebrated soliloquy, which bursting from a man distracted with contrariety of desires, and overwhelmed with the magnitude of his own purposes, is connected rather in the speaker's mind, than on his tongue, I shall endeavour to discover the train, and to shew how one sentiment produces another. This he proceeds to do, and I must say with considerable success, so far as success is possible; but the essential point is in his opening comment: it is the speech of a man 'distracted with contrariety of desires', and the connexions are 'rather in the speaker's mind, than on his tongue'. In other words it is not paraphrasable, and the reasons why it is not so are of some interest. It is of course true that poetry that without loss of meaning could be put into other words would cease to be poetry. But we all know that there is a great deal of poetry of which we can usefully make for ourselves a tentative prose translation as a way of getting to grips with the full poetic meaning. Now there are passages in Shakespeare (as indeed in other poets) where even this tentative and exploratory procedure is of a very limited usefulness indeed, for what we are given is not the poetic apprehension of thought, but thought in the process of formation. Such a passage is the speech of Macbeth in the moment of temptation ('This supernatural soliciting Cannot be ill; cannot be good . . .') where we are directly aware both of the emotional and the bodily accompaniments of a state of being issuing in a conception that will not easily yield itself to conceptual forms (my though, whose murder yet is but fantastical). Such again is that other great soliloquy, 'If it were done, when 'tis done . . .' where the meaning is composed of an emotional current running full tilt against an attempted logical control. In the Hamlet passage the pace is more meditative, but such ideas as it contains are...

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