Soliloquy

Hamlet’s First Soliloquy: Act 1, Scene 2

‘O that this too solid flesh would melt…’ A soliloquy is a monologue addressed to
oneself; thoughts spoken out loud without addressing another character. In this soliloquy
Hamlet expresses his intense negative feelings toward his mother’s hasty remarriage.

The first soliloquy takes place after King Claudius and Queen Gertrude urge Hamlet in
open court to cast off the deep melancholy that, they believe, has taken possession of his
mind as a consequence of his father’s death. In the opinion of the king and queen, Hamlet has
already sufficiently grieved and mourned for his father. Prior to the soliloquy, King Claudius
and Queen Gertrude announce their upcoming marriage. According to them, the court could
not afford excessive grief. This announcement sends Hamlet into a deeper emotional spiral
and inspires the soliloquy that follows.

Hamlet refers to the world as an ‘unweeded garden,’ where disgusting and corrupt
things grow unchecked. He expresses his frustration that he cannot commit suicide and
explains that ‘self-slaughter’ is not an option because it is forbidden by God. He wishes that his
body could simply disappear on its own, without him having to commit the sin of ending his
own life: “O that this too solid flesh would melt”

Though saddened by his father’s death, the larger cause of Prince Hamlet’s misery is
Queen Gertrude’s disloyal marriage to his uncle. She announces the new marriage when
barely a month has passed since his biological father’s death. Hamlet mourns that even a
beast “would have mourned longer.” Additionally, he considers this marriage to be an
incestuous affair since his mother is marrying her dead husband’s brother.

Hamlet scorns his mother, but he accuses her of weakness rather than malice with the
line:

“Frailty, thy name is woman!”

 With this line, Hamlet criticizes her for what he sees as moral and emotional frailty,
particularly her quick remarriage to Claudius after King Hamlet’s death. Rather than labeling
her as malicious, he views her behavior as an example of human vulnerability, which he
generalizes as a weakness common to women. He concludes the soliloquy by voicing his
frustration that he must keep his objections to himself.

In William Shakespeare’s Hamlet, the titular character undergoes significant

transformations through soliloquies, or self-addressed monologues.

‘O all you host of heaven! O Earth! What else?’

In Act 1, Scene 5, the Ghost of Hamlet’s father tells Hamlet that he was murdered by
King Claudius, Hamlet’s uncle. Before exiting the scene, the Ghost implores Hamlet to avenge
his death and not to forget what he’s been told: ‘Adieu, adieu, adieu. Remember me’.

The soliloquy that follows this conversation carries Hamlet’s rage, grief and confusion.
The prince invokes the greater cosmos—heaven, earth and, almost as an afterthought, hell—
and asks that his body remain strong for what is about to happen. He refers to his head as a
‘distracted globe’ and hopes to wipe his mind of trivial facts and memories so that he may
remember and live by his father’s ‘commandment’.

Hamlet calls his mother the ‘most pernicious woman’ and his uncle a ‘smiling, damnèd
villain’. He makes a mental note—’Within the book and volume of my brain’—of the world’s
corruption, that people can deceitfully smile as they commit villainous acts. He is sure that
such treachery is, at the very least, present in Denmark.

Hamlet, now seeing his uncle for what he truly is, echoes his dead father’s words
—’adieu, adieu’—and vows to avenge his murder.

Hamlet, by appealing to both heaven and hell, reveals his uncertainty as to the moral
nature of the situation. It is possible that the powers of heaven will not aid Hamlet in avenging
his father, in which case ‘he may be forced to resort to the baleful demons of hell’.
 The Ghost’s origins and identity are also uncertain. At this point in the play, Hamlet
cannot know for sure whether the Ghost is truly that of his father or a malevolent
impersonator. The ambiguity of the Ghost’s identity will remain a problem throughout the rest
of the play.

‘What a rogue and peasant slave am I!’:

Act 2, Scene 2: Hamlet berates himself for his inaction. He compares himself
unfavorably to passionate actors who can evoke emotions on stage. This soliloquy reveals his
self-doubt and internal conflict. Hamlet questions his own courage and resolve.

This soliloquy conveys Hamlets touching turmoil at the events around him. Hamlet
stingingly accuses himself of cowardice (Am I a coward?) for failing to mete out revenge. This
soliloquy also creates atmosphere because of the way Hamlet talks about himself; He uses
unsympathetic language and calls himself names such as rogue, peasant slave, ass, and whore.
This language makes the audience sympathize with Hamlet because he has a lot to worry
about with his mother marrying too soon and his uncle possibly having married his mother. It
gives Hamlet a reason to be acting so mad because there is a lot to deal with in his life, his
character becomes relatable to the audience because he is overwhelmed therefore allowing
there to be some justification of his actions. ‘Hamlet’s sense of himself as a coward is derived
from a crude, simplistic judgement turning on whether or not he has yet taken any action
against the man who murdered his father.’ So, importance of this soliloquy can’t be ignored to
the whole context of the play.

’To be or not to be’

Act 3, Scene 1: Perhaps the most famous soliloquy in literature, Hamlet ponders the
nature of existence, the pain of life, and the fear of the unknown after death. He grapples with
the idea of suicide and the complexities of human suffering.

This introspective monologue explores existential questions and the struggle between
life and death.
 ‘To be, or not to be: that is the question:’ Hamlet is questioning whether it is better to
live (‘to be’) or to die (‘not to be’). He is weighing the merits of enduring the struggles of life
versus ending his suffering through death.

He wonders if it is more honorable to endure life’s hardships and misfortunes or to fight

against these troubles, perhaps by choosing death as a form of escape.

Hamlet compares death to sleep, suggesting that death might be a peaceful end to the
pain and suffering of life. The idea of eternal rest seems desirable.

However, he hesitates. Death, though it might bring rest, could also bring unknown
consequences in the afterlife. This uncertainty makes him wary.

Hamlet lists the many injustices and hardships people endure in life, such as oppression,
rejection, delays in justice, and disrespect. He wonders why people choose to suffer these
when they could end it all with a ‘bare bodkin’ (a dagger).

He suggests that the fear of the unknown after death (‘the undiscovered country’) keeps
people from ending their lives. This fear outweighs their suffering, making them endure life’s
burdens (‘fardels’).

Hamlet concludes that overthinking and self-reflection (‘conscience’) paralyze people,

turning bold intentions into hesitation. This leads to inaction, as fear and doubt take over.

‘Tis now the very witching time of night’:

Act 3, Scene 2: Hamlet’s fifth soliloquy falls in Act III, Scene 2, prior to his entering
Gertrude’s chambers for a conversation. This soliloquy sets the stage for Hamlet’s decisive
actions. This soliloquy reveals Hamlet’s dark and conflicted emotions as he prepares himself to
confront his mother, Queen Gertrude, in her chamber.

Hamlet describes the uncanny, supernatural atmosphere of midnight, a time often

associated with witchcraft, ghosts, and evil. Hamlet expresses his rage and thirst for
vengeance. The metaphor of drinking ‘hot blood’ illustrates his readiness to commit violent
acts. He feels capable of deeds so horrific that they would terrify the daylight itself.

Hamlet reminds himself to maintain control over his emotions. He references Nero, the
Roman emperor infamous for his cruelty (particularly for killing his mother), and resolves not
to let such unnatural cruelty influence him. Hamlet vows to confront his mother harshly
(‘speak daggers to her’) but not to harm her physically.

‘Now might I do it pat, now he is praying’

Act 3, Scene 3 of Shakespeare’s Hamlet. This moment captures Hamlet as he

contemplates killing King Claudius, who is alone and apparently praying. However, Hamlet
ultimately decides not to act. The soliloquy reflects his internal conflict over vengeance,
morality, and the afterlife.

Hamlet begins by acknowledging that this is the perfect opportunity to kill Claudius, who
is alone and defenseless while praying. However, he hesitates, thinking about the
consequences. If he kills Claudius while he is praying, his soul might ascend to heaven. Hamlet
questions whether such an outcome would truly be revenge.

Hamlet reflects on the moral imbalance of allowing a murderer like Claudius to reach
heaven while his father, King Hamlet, was killed without the chance for repentance. Hamlet
feels that this would not serve as proper justice.

Hamlet compares Claudius’s situation to his father’s. Claudius killed King Hamlet while
he was ‘grossly, full of bread’—unrepentant and immersed in sin—sending him to the afterlife
unprepared. Hamlet feels that killing Claudius now, while he is confessing and potentially
absolved of sin, would be more like rewarding him rather than enacting revenge.

Hamlet concludes that killing Claudius during prayer would not satisfy his desire for true
justice. Claudius would die purified and prepared for death, which Hamlet finds unacceptable.
He wants Claudius to suffer the same fate as his father: to die unprepared and burdened by
sin.
 Hamlet decides to delay his revenge, resolving to kill Claudius at a moment when he is
committing a sinful act. This would ensure Claudius’s soul is condemned to hell, making
Hamlet’s revenge more complete and satisfying.

Hamlet acknowledges that his hesitation is giving Claudius more time to live, but he
reassures himself that this delay serves a purpose. He then leaves to confront his mother,
putting off his revenge for a more ‘horrid’ opportunity.

‘How all occasions do inform against me’

Act 4, Scene 4 of Shakespeare’s Hamlet. In this passage, Hamlet reflects on his failure to
take decisive action against King Claudius, despite the numerous motivations and
opportunities he has had. The soliloquy marks a turning point in Hamlet’s character, as he
resolves to act with determination.

Hamlet begins by lamenting how everything he observes seems to highlight his inaction
and cowardice. ‘All occasions’ refers to every event or circumstance that reminds him of his
duty to avenge his father’s murder, yet he has failed to act.

Hamlet questions the purpose of human existence. He argues that humans, unlike
animals, have reason and intellect, which should guide them to act with purpose. To live only
to eat and sleep is to live like an animal, not a thinking, rational being.

Hamlet asserts that God gave humans the ability to think deeply and reflect on the past
and future (‘large discourse’). This reasoning power is wasted if it is not used for meaningful
action. Hamlet criticizes himself for failing to utilize this divine gift.

Hamlet considers the reasons for his inaction. Is it forgetfulness (‘bestial oblivion’) or
excessive overthinking (‘craven scruple’)? He acknowledges that his over-analysis (‘thinking
too precisely’) leads to inaction. Despite having all the motivation, ability, and opportunity to
take revenge, he has delayed.
 Hamlet reflects on Fortinbras, a young prince who is leading an army to claim a
relatively insignificant piece of land (‘an eggshell’). Fortinbras willingly risks everything—life
and fortune—driven by ambition, despite the triviality of his cause. This example shames
Hamlet, as his own cause (avenging his father’s murder) is far more significant, yet he has not
acted.

Hamlet muses that true greatness lies not in avoiding action unless the cause is
monumental, but in being willing to act decisively even over small matters when honor is
involved. Fortinbras’s willingness to fight for a ‘straw’ contrasts with Hamlet’s hesitation
despite his deeply personal and moral obligation.

Hamlet criticizes himself for his failure to act. He has every reason to seek revenge: his
father has been murdered, his mother has been dishonored by her hasty marriage to Claudius,
and his emotions and rationality both demand action. Yet he has allowed himself to remain
passive.

Hamlet contrasts his inaction with Fortinbras’s soldiers, who are willing to march to
their deaths over a worthless piece of land (‘not tomb enough’ to bury the dead). Their
sacrifice for honor and ambition highlights Hamlet’s own shameful delay.

Hamlet resolves to adopt a new mindset: from now on, his thoughts and actions will be
focused on revenge. He will no longer let overthinking or hesitation prevent him from fulfilling
his duty.

EXTRAS

Many scholars argue that Shakespeare’s use of soliloquy was inspired by a new art form
– the essay – which became fashionable in England during the late 1590s.

After Montaigne’s Essays (1580) began to be translated from French into English, English
writers such as William Cornwallis began to publish their own attempts.
 The essay form was new and fresh. Writers would speak of their personal experiences as
they grappled with issues such as ‘Of Life and the Fashions of Life’ (Cornwallis) or ‘Of Sadness
or Sorrow’ (Montaigne).

The essay form allowed writers to explore issues in a philosophical, questioning and
reflective tone, similar to the mood of Hamlet’s soliloquies in which he ponders the mysteries
of life and death.

The use of soliloquy is a dramatic necessity in the play because, as James Shapiro
argues, “Hamlet needs to talk; but there is nobody in whom he can confide”.

Hamlet has a terrible secret which he cannot share. Old friends such as Rosencrantz and
Guildenstern are now agents of the King and Ophelia has been used as bait against him.

Hamlet does confide in Horatio, sharing his suspicions of Claudius’ guilt with him, but he
does not reveal everything to him.

The Mousetrap scene (Act 3, Scene 2)

The Mousetrap scene (Act 3, Scene 2) in Hamlet is of profound significance to the

development of the plot, the revelation of character motivations, and the thematic depth of
the play.

Hamlet’s Strategy for Exposing Claudius’s Guilt

The Mousetrap scene is where Hamlet, seeking to confirm the ghost’s accusation of
murder against his uncle Claudius, uses a play-within-a-play, The Murder of Gonzago, to elicit a
reaction from Claudius. Hamlet’s use of the play as a ‘mousetrap’ (a device to catch a rat, or in
this case, a murderer) underlines his belief that truth will be revealed through performance.

Theatrical Metaphor: Acting as a Reflection of Reality

The play within the play reflects one of Hamlet’s central themes: the blurred boundary
between appearance and reality. Throughout the play, characters constantly wear masks—
whether of madness, grief, or deceit—and the Mousetrap scene highlights this theme by using
theatrical performance as a mirror to truth. The actors, playing the role of the murderers,
become stand-ins for the characters on stage, drawing a parallel between the world of the
play and the world of Elsinore, where lies and treachery conceal deeper truths. The scene
reflects Hamlet’s frustration with the inability to reveal the truth directly and instead opting
for an indirect means of exposing it.

Claudius’s Reaction: The Revelation of His Guilt

Claudius’s reaction to the play is crucial. When the scene in the play mirrors the murder
of his brother, Claudius reacts with visible agitation, demanding the lights be turned on and
the play stopped. This strong, involuntary response betrays his guilt, as he cannot mask his
reaction to the portrayal of his crime. Hamlet’s assumption that ‘the play’s the thing / Wherein
I’ll catch the conscience of the king’ is proven true. Claudius’s discomfort validates the ghost’s
story and provides Hamlet with the proof he needs to move forward with his revenge. This
moment marks a turning point for Hamlet, who now knows the truth and can no longer hide
behind doubt.

Hamlet’s Role as the Play’s Director

In this scene, Hamlet not only manipulates the situation to confirm Claudius’s guilt but
also acts as the director of the performance. He organizes the play, instructs the actors, and is
deeply involved in its execution. This underscores Hamlet’s growing understanding of the
power of performance, both onstage and in life. Hamlet himself becomes a performer, acting
in his role as madman and avenger, while the court is likewise playing roles in their own lives.

Foreshadowing of Future Conflict

Claudius’s reaction to the play serves as a catalyst for the events that follow. His
immediate discomfort pushes him into a state of desperation, and his decision to send Hamlet
to England for his safety (and possibly to arrange his murder) propels the narrative toward its
tragic conclusion. The tension between Hamlet and Claudius escalates after the Mousetrap
scene, and the subsequent actions of both characters lead directly to the play’s tragic
resolution. The Mousetrap scene thus sets in motion a chain of events that culminates in the
play’s devastating end.

Background

Hamlet is unsure whether or not to trust the ghost, and if it is his father or not. In the
period in which Shakespeare wrote the play, Ghosts were either a real soul from the past
delivering a message or a representative of the Devil trying to cause evil.

Hamlet tells Horatio the plan and asks him to watch Claudius during the play to look for
any signs of guilt.

The play tells the story of a duke named Gonzago and his wife, Baptista. Gonzago is a
virtuous and loving ruler, but he is betrayed by his nephew, Lucianus. Lucianus, motivated by
greed and ambition, pours poison into Gonzago’s ear while he sleeps in his orchard, killing
him. This echoes the manner in which King Hamlet was murdered by Claudius. The killer
returns, faking grief, and woos the queen with gifts until she falls for him.

Quotes

Textual Quotes

1. “To be, or not to be: that is the question.” (Act 3, Scene 1)

2. “Something is rotten in the state of Denmark.”

Speaker: Marcellus

Context: In Act 1, Scene 4, Marcellus says this to Horatio after witnessing the ghost of
King Hamlet. The line symbolizes the underlying corruption and moral decay in Denmark’s
political and familial spheres.

3. “Frailty, thy name is woman!”

Speaker: Hamlet
 Context: In Act 1, Scene 2, Hamlet laments his mother Gertrude’s hasty marriage to
Claudius following King Hamlet’s death. The line reflects Hamlet’s feelings of betrayal and his
perception of women’s weakness.

4. “The rest is silence.”

Speaker: Hamlet

Context: In Act 5, Scene 2, these are Hamlet’s final words as he dies. The line
underscores the inevitability of death and the transition to the unknown, resonating with the
play’s meditation on mortality.

Critical Quotes

 “before Shakespeare there was characterisation, after Shakespeare there were

characters.” – Bloom
 “too horrible to be read or uttered” – Dr Johnson on Hamlet not killing Claudius
when he could.
 full of “meditative excess” – Coleridge (Hamlet)
 “negative and insignificant” – TS Eliot (Gertrude)
 “a character of ambiguous morality whom we can never fully know” – GF Bradby
(Gertrude)