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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 ...
Eliot uses Lady Macbeth's state of mind as an example of the successful objective correlative: "The artistic 'inevitability' lies in this complete adequacy of the external to the emotion….", as a contrast to Hamlet. According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him.
Under their referencing system, 3.1.55 means act 3, scene 1, line 55. References to the First Quarto and First Folio are marked Hamlet "Q1" and Hamlet "F1", respectively, and are taken from the Arden Shakespeare "Hamlet: the texts of 1603 and 1623" (Thompson and Taylor, 2006b). Their referencing system for "Q1" has no act breaks, so 7.115 means ...
[132] The book also notes James Joyce's interpretation, stating that he "did far better in the Library Scene of Ulysses, where Stephen marvellously credits Shakespeare, in this play, with universal fatherhood while accurately implying that Hamlet is fatherless, thus opening a pragmatic gap between Shakespeare and Hamlet."
Hamlet and His Problems" is an essay written by T. S. Eliot in 1919 that offers a critical reading of Hamlet. The essay first appeared in Eliot's The Sacred Wood: Essays on Poetry and Criticism in 1920. It was later reprinted by Faber & Faber in 1932 in Selected Essays, 1917-1932. [1]
The literal graveness of the situation (the funeral) subsides to the humor. This makes it possible for the characters to look at the subject of death objectively, giving rise to such speeches as Hamlet's musings over the skull of Yorick. The tone is set from the opening of the scene, during the Gravediggers' dialogue regarding Ophelia.
For example, Hamlet begins after the death of Hamlet's father, which is later discovered to have been a murder. Characters make reference to King Hamlet's death without the plot's first establishment of this fact. Since the play is about Hamlet and the revenge more so than the motivation, Shakespeare uses in medias res to bypass superfluous ...
Shakespeare famed for his mastery of wordplay and double-meaning, such as in Sonnet 11's opening line, "As fast as thou shalt wane so fast thou grow'st." This echoes the maxim, "Youth waineth by increasing," an aside of the elderly, with which Shakespeare will conclude his series of sonnets to the young man at Sonnet 126 .