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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:
The use of the pronouns "us" and "we" when talking from a woman's perspective, along with the wife's success at the end of the tale, has led scholars to suggest that the tale was originally written for the Wife of Bath but as that character developed she was given a more fitting story and the Shipman took on this tale. [4]
"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.
Hamlet: Peter Verstegen Amsterdam: 2018 9789025370527, 9025370527 1079229341 Estonian Taani Prints Hamlet: A.F. Tombach-Kaljuvald Tartu: 1930 924373442 Finnish Hamlet: Paavo Cajanderin Charleston: 2014 9781502465009 German Hamlet: Norbert Greiner Tübingen: 2006 9783860575673 214348716 Haitian Creole Hamlèt (Prens Denmak) Nicole Titus ...
William Shakespeare's play Hamlet has contributed many phrases to common English, from the famous "To be, or not to be" to a few less known, but still in everyday English. Some also occur elsewhere (e.g. in the Bible) or are proverbial. All quotations are second quarto except as noted:
An English version, The Hystorie of Hamblet, was published in 1608. An English stage version, conventionally known as the Ur-Hamlet, appeared by 1589. The play is lost but is mentioned in a few other sources, the first being Thomas Nashe's 1589 preface to Robert Greene's Menaphon. William Shakespeare wrote his play Hamlet sometime between 1599 ...
Even in the famous 3.1 soliloquy, Hamlet gives voice to the conflict. When he asks if it is "nobler in the mind to suffer", [80] Cantor believes that Shakespeare is alluding to the Christian sense of suffering. When he presents the alternative, "to take arms against a sea of troubles", [81] Cantor takes this as an ancient formulation of goodness.
Shakespeare lends all the characters and settings an air of verisimilitude, so that the reader might consider "the whole play [to be] an exact transcription of what might be supposed to have taken place at the court of Denmark, at the remote period of time fixed upon, before the modern refinements in morals and manners were heard of.