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"To be, or not to be" is a speech given by Prince Hamlet in the so-called "nunnery scene" of William Shakespeare's play Hamlet (Act 3, Scene 1). The speech is named for the opening phrase, itself among the most widely known and quoted lines in modern English literature, and has been referenced in many works of theatre, literature and music.
In 1774, William Richardson sounded the key notes of this analysis: Hamlet was a sensitive and accomplished prince with an unusually refined moral sense; he is nearly incapacitated by the horror of the truth about his mother and uncle, and he struggles against that horror to fulfill his task.
The entire second act comprises Hamlet. The audience gets involved during this segment when one audience member is asked to portray Ophelia for the Nunnery Scene. The rest of the audience makes up Ophelia's subconscious , divided into three sections representing her ego, superego, and id .
Shakespeare is thought to have written the following parts of this play: Act I, scenes 1–3; Act II, scene 1; Act III, scene 1; Act V, scene 1, lines 34–173, and scenes 3 and 4. [36] Summary Two close friends, Palamon and Arcite, are divided by their love of the same woman: Duke Theseus' sister-in-law Emelia.
Eliot's critique gained attention partly due to his claim that Hamlet is "most certainly an artistic failure." Eliot also popularised the concept of the objective correlative—a mechanism used to evoke emotion in an audience—in the essay. The essay is also an example of Eliot's use of what became known as new criticism. [2]
The character Claudius is both the major antagonist of the piece and a complex individual. He is the villain of the piece, as he admits to himself: "O, my offence is rank it smells to heaven" (Act III, Scene 3, Line 40), yet his remarkable self-awareness and remorse complicates Claudius's villain status, much like Macbeth.
is a phrase within a monologue by Prince Hamlet in William Shakespeare's play Hamlet. Hamlet is reflecting, at first admiringly, and then despairingly, on the human condition. The speech is recited at the end of the film Withnail and I and the text was set to music by Galt MacDermot for the rock opera Hair
Certain plays in particular fall into the category of those unfitted for the stage, for example, A Midsummer Night's Dream and Hamlet. Particularly in the greatest tragedies, this inner focus is so strong that Hazlitt again advances beyond the idea of individual character to that of the "logic of passion" [ 102 ] —powerful emotions ...