Essay: Uncovering Existential Journey in Shakespeare’s Most Famous Soliloquy “To be or not to be”

“To be or not to be” can be identified as the most well-known soliloquy in the history of literature but what does this phrase genuinely entail? In essence, this soliloquy follows Hamlet on an existential journey in which he addresses the ultimate question, is human existence worth the horrors and difficulties of mortal life? Shakespeare’s use of meter, characterization, point of view and a variety of other literary devices in this soliloquy reveal Hamlet’s belief that the possibility of death would be far more attractive than the struggles and strifes that accompany life, if not for human being’s fear of the unknown.
This soliloquy serves as one of the few times in which Hamlet’s inner feelings and thoughts are revealed to the reader because of the objective point of view utilized by Shakespeare throughout this work. This choice in narration inhibits readers from diving into the conscious of the characters and limits their knowledge of characters’ intentions and feelings only to what is revealed through soliloquies and asides. This particular speech allows for the realization of Hamlet’s internal struggle, over the value of his existence. Hamlet’s articulation of his own feelings and difficulties results in a more genuine depiction of his conflict than what would have been revealed through a narrator or omniscient being. Thus, this narrative decision was especially important to the communication of the meaning of this text.
Unlike most Shakespearean sonnets, which relay meaning and theme near their conclusion, this soliloquy begins with a succinct line which essentially establishes the subject of its entirety. Additionally, this line also serves to highlight the meter, iambic pentameter, used by Shakespeare throughout this play. This meter, composed of five feet, is characterized by an alternating pattern of unstressed and stressed syllables which offer subtleties to the meaning of this text. Those syllables that are stressed are emphasized to be more relevant to meaning. The words “be” and “not” are stressed in the first line, emphasizing the existential conflict that the soliloquy is addressing, as well as the word “is”. This emphasis takes on a subtle nuance in the fact that Hamlet believes that the question “to be or not to be” (Shakespeare 127) is the ultimate question that humans must ponder. The stress placed on the word “is” also creates a sense of resignation or even irony as human existence essentially depends on this seemingly innocent question. As well as the words themselves, the pauses that Shakespeare utilizes to accentuate certain words or phrases are present throughout the speech. Particularly in the first line is the presence of a caesura, or a pause within a line of poetry that contributes to the rhythm of the line. Hamlet’s pause before continuing, “that is the question”, characterizes Hamlet as being slightly skeptical of his own thoughts, before he goes on to affirm his feelings. This caesura serves to differentiate between the first and second part of the line, which conveys a more accurate depiction of Hamlet’s thought process. Accompanying the iambic pentameter and caesura, this first line, as well as many others within this soliloquy, possess a feminine ending, or an extra, unstressed syllable. This ending serves to reveal a sense of tentativeness and hesitancy in Hamlet’s words as he realizes their weight, but also finds it necessary to rationalize his existential thoughts. Therefore, it can be seen that Shakespeare’s use of meter offers distinctions to the meaning of Hamlet’s words that would not otherwise be realized.
In addition to these subtle distinctions presented by structural devices, this soliloquy is rife with literary devices that add meaning and nuance to the text. With the main subject of this soliloquy being death, it is of no surprise that death is referenced in various, unique ways. In an extended metaphor, Hamlet likens the troubles of life to turbulence at sea, declaring that just as fighting against the waves at sea is of no use, standing up to life’s struggles is futile and pointless. Instead Hamlet believes that death is a peaceful, tranquil state and utilizes a metonymy to reference death as a sleep. “To die, to sleep –/No more”, he pronounces, “to sleep, perchance to dream” (127). In connecting death with sleep in this metonymy, Hamlet reveals the idealized version of death that he possesses, in which death offers a serene state, free from the problems of man. But Hamlet fluctuates between characterizing death as dreamless and dreamful, and it is revealed that it is Hamlet’s fear of these bad dreams, or rather his fear of the unknown following death, that prevents him from taking the fateful step of ending his life. This is obvious in yet another metaphor where death is correlated with “The undiscovered country from whose bourn/No traveler returns”(129). Hamlet recognizes the limitations on his knowledge of death and it is this fear of the unfamiliar that prevents him from putting his thoughts into action. Though Hamlet is hesitant to end his life, this does not take away from the hope and possibility that he correlates with death in contrast to the suffering and horror that he associates with life. To him, death offers an end to “the whips and scorns of time” (127). In personifying time, Hamlet discloses that time merely causes suffering for people and the more time that one spends on this earth, the more burdens they must experience. Similarly, the use of anaphora when Hamlet voices the struggles of life like, “Th’ oppressor’s wrong, the proud man’s contumely,/The pangs of despised love, the law’s delay” (128) serve to further stress human suffering. The repetition of the word “the” is used to emphasize the sheer number of life’s horrors. Additionally, the contrast between his characterization of death as idyllic and perfect, further highlights the suffering associated with life. This use of antithesis, or the introduction of two opposites for a contrasting effect, is seen in the soliloquy’s entirety. The speech, itself, begins with one in the phrase “to be or not to be” (127), contrasting the state of existence with its end. More subtly though, Hamlet discusses the conflict between suffering for something moral and fighting to end one’s troubles. In this contrast, Hamlet sees the latter as the best choice as he views the heroic endurance of life’s troubles as futile and meaningless because of its inevitable end. Instead, he finds that ending one’s troubles through their own choice is much more powerful and meaningful. The use of antithesis, as well as the various other literary devices discussed, serve to relay Hamlet’s belief that life is not worth the suffering and trouble that it brings and death would offer the most viable option, if not for its mysteriousness.
From the beginning of this play, Hamlet is characterized as a melancholy, dejected individual whose existence seems to be a hindrance to his own happiness and wellbeing. This characterization is continued through the entirety of this particular soliloquy as a result of Hamlet’s disturbing fantasies of death and depressing view of life. His focus on the horrors and struggles of life rather than its more heartening moments paints a dreary picture and undoubtedly highlights Hamlet’s own unhappiness and misery. This is reflected in the tone of this passage which is characterized by despair and sorrow in Hamlet’s articulation of his internal argument. Further, the tone is denoted by an air of urgency as he wishes to come to an agreement and make a decision in regards to his existence. Though he fails to come to a true decision, this manner of urgency serves to further accentuate Hamlet’s weakness and indecisiveness. Throughout this work, Hamlet chooses to wallow in self-pity and loathing rather than take action, and again in this passage Hamlet chooses to wish and fantasize about death instead of taking action and commiting suicide. In this way, this soliloquy simply serves to continue the characterization of Hamlet as a weak and indecisive being, while also revealing Hamlet’s depressing, inner dialogue.
Though urgent in his manner and strong in his words, Hamlet does not truly answer the question that he asks of himself, “to be or not to be”. Instead he comes to the self-realization that life, though far more depressing and filled with suffering than death, is slightly more attractive than the unknown that follows death. This realization of Hamlet’s is revealed to the reader through a variety of literary devices, including meter, tone and characterization, that serve to add nuance and subtlety to the belief that Hamlet voices as he contemplates the ultimate question.