Search results
Results from the WOW.Com Content Network
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:
1 Act I. Toggle Act I subsection. 1.1 Scene 1. ... William Shakespeare's play Hamlet has contributed many phrases to common English, ... scene 2, 431–440
"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.
The omission of this speech—as well as the long soliloquy in act 4, scene 4{{efn|The "How all occasions do inform against me" soliloquy which is at act 4, scene 4, lines 34–69. [12] —is generally considered to have been done in the playhouse for various practical reasons.
Niobe's iconic tears were also mentioned in Hamlet's soliloquy (Act 1, Scene 2), in which he contrasts his mother's grief over the dead King, Hamlet's father – "like Niobe, all tears" – to her unseemly hasty marriage to Claudius. [22]
In this work, the title character is chastised by his uncle (and new stepfather), Claudius, for grieving his father so much, calling it unmanly. In his resultant soliloquy, Hamlet denounces his mother's swift remarriage with the statement, "Frailty, thy name is woman." [1] He thus describes all of womankind as frail and weak in character. [2]
The king is not without redeeming virtues, though. He is seen to be an able monarch (notwithstanding the unfavourable comparison to his murdered predecessor in Hamlet's first soliloquy) as well as a smart thinker and smooth talker, who in Act IV, Scene 5 converts Laertes from rebel to accomplice. [4]
In Hamlet, Rosencrantz and Guildenstern always appear as a pair, except in editions following the First Folio text, where Guildenstern enters four lines after Rosencrantz in Act IV, Scene 3. [1] The two courtiers first appear in Act II, Scene 2, where they attempt to place themselves in the confidence of Prince Hamlet, their