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

Hamlets Soliloquy - To be, or not to be Hamlets 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 bulk are vaguely familiar with the soliloquy even though they may not know the play. What gives these 34 lines such universal appeal and credit entry? What about Hamlets introspection has prompted scholars and theatregoers alike to ask questions about their own worldly concern over the centuries? In this soliloquy, Shakespeare strikes a chord with a fundamental humankind concern the validity and worthiness of life. Would it not be easier for us to scarcely enter a never-ending sleep when we find ourselves facing the frighten away 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 end what dreams may come / When we have shuffled off this soul coil / Must give us pause. Shakespeare seems to understand this dilemma by dint of his character Hamlet, and thus the phrase To be, or not to be has been immortalized indeed, it has pervaded our coating to such a remarkable extent that it has been referenced countless quantify in movies, television, and the media. Popular movies such as Billy Madison iterate the famous phrase, and www.tobeornottobe.com serves as an online archive of Shakespeares 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 hypernym to modern playwrights. However, this attitude is not new. Even centuries ago, the holiness of Shakespeares work enliven and awed audiences. In a letter dated October 1, 1775, Georg Christoph Lichtenberg, commenting on David Garricks proceeds of Hamlet (1742-1776) to his friend Heinrich Christian Boie, likens the To be, or not to be soliloquy to the Lords Prayer. He says that the soliloquy does not naturally make the same tactile sensation on the auditor as Hamlets other soliloquies do,But it produces an infinitely great 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