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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 ...
The monologue, spoken in the play by Prince Hamlet to Rosencrantz and Guildenstern in Act II, Scene 2, follows in its entirety. Rather than appearing in blank verse, the typical mode of composition of Shakespeare's plays, the speech appears in straight prose:
"An example of how Shakespeare added biblical references to what he found in his sources can be seen in the passage in Hall relating the death of Warwick's brother. Hall simply says: “He [Lord Fitzwater] was slayne, and with hym the Bastard of Salisbury, brother to the erle of Warwycke, a valeaunt yong gentelman."
The Bible verses about death remind us that while we will all go through it before Jesus ... Thinking about our own imminent death or the death of a loved one can be scary. But there is hope and ...
"Mortal coil"—along with "the slings and arrows of outrageous fortune", "to sleep, perchance to dream" and "ay, there’s the rub"—is part of Hamlet’s famous "To be, or not to be" speech. Schopenhauer's speculation
The Queen in "Hamlet" by Edwin Austin Abbey "The lady doth protest too much, methinks" is a line from the play Hamlet by William Shakespeare.It is spoken by Queen Gertrude in response to the insincere overacting of a character in the play within a play created by Prince Hamlet to elicit evidence of his uncle's guilt in the murder of his father, the King of Denmark.
{{verse transliteration-translation | lang = ja | originalHeading = Original Japanese | 屋根より 高い 鯉のぼり 大きい 真鯉は お父さん 小さい 緋鯉は 子供たち 面白そうに 泳いでる | transliterationHeading = Rōmaji | yane yori takai koinobori ōkii magoi wa otōsan chiisai higoi wa kodomo-tachi omoshirosō ni oyoideru | translationHeading = English ...
The poem contains 2126 dodecasyllabic lines, with caesurae after the sixth syllable, composed in six books (libars). The linguistic basis of the book is Split Čakavian speech and the Štokavian lexis, and the Glagolitic original of the legend; the work thus foreshadows the unity of Croatian language.