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Hamlet continues his fiery speech by degrading himself and resoluting to take some sort of action to revenge his father's death.
That’s the consideration that makes us suffer the calamities of life for so long.
Because who would bear all the trials and tribulations of time— the oppression of the powerful, the insults from arrogant men, the pangs of unrequited love, the slowness of justice, the disrespect of people in office, and the general abuse of good people by bad— when you could just settle all your debts using nothing more than an unsheathed dagger?
The speech is a stunning work of art and the most-studied of all of Shakespeare’s plays. However, a modern English rendering can untangle some of the puzzling lines and Elizabethan turns of phrase.
Ben Florman, Lit Charts’s co-founder, wrote the following modern English translation of Hamlet’s soliloquy: To live, or to die? Is it nobler to suffer through all the terrible things fate throws at you, or to fight off your troubles, and, in doing so, end them completely?
Image source: Stratford Festival Hamlet’s soliloquy contains what is probably the most-quoted line in all of Shakespeare: ‘to be or not to be.’ TIME’s compilation of the top 15 Shakespeare quotes put it at the top of their list.
It’s likely that you have heard, read, or said the famous opening words of the speech: ‘to be or not to be.’ There’s more to it, of course, than “to be or not to be.” Here are some features the speech that you may not have been aware of.
This tragic flaw makes him a tragic hero, a character who is destroyed because of a major weakness, as his death at the end could possibly have been avoided were it not for his tragic flaw.
Hamlet's flaw of irresolution, the uncertainty on how to act or proceed, is shown when Hamlet sees a play and the passion the actors had, after Hamlet's third soliloquy, in Hamlet's fourth soliloquy, and in Hamlet's indecisive pursuit in avenging his father's death.
Hamlet then observes one portion of the play in which one of the players put on a great display of emotion.
Hamlet, besieged by guilt and self-contempt, remarks in his second soliloquy of Hamlet of the emotion this player showed despite the fact that the player had nothing to be emotional about.