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With this regard their currents turn awry,Īnd lose the name of action.-Soft you now! Is sicklied o’er with the pale cast of thought,īecomes sickly with the pale color of thought,Īnd endeavors of great might and grandness In this way, thinking makes cowards of us all Īnd thus the natural color of decision-making Thus conscience does make cowards of us all The undiscover’d country from whose bournĪnd makes us rather bear those ills we haveĪnd makes us prefer to endure the troubles we have With a bare blade? Who would bear burdensīut that the dread of something after death, With a bare bodkin? who would fardels bear, The contempt of our victors, and the rejections that happen to those who don’t merit them That patient merit of the unworthy takes, The pains of unrequited love, the delays of the law, The injustice of the oppressor, the proud man’s arrogant rudeness,
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The oppressor’s wrong, the proud man’s contumely, Must make us stop and think: there’s the thingįor who would bear the whips and scorns of time,įor who would endure the affronts that time brings, When we have shuffled off this mortal coil,Īfter the haphazardness and ruckus of life left behind us, To sleep: maybe to dream: oh, there’s the catch įor in that sleep of death what dreams may comeįor in death’s sleep who knows what kind of dreams might come To sleep: perchance to dream: ay, there’s the rub That we are subject to, it’s an accomplishment That flesh is heir to, ’tis a consummation The emotional disturbance and the many tensions The heart-ache and the thousand natural shocks That’s all and in sleep to say that we end Or to take up weapons against our troublesĪnd by opposing end them? To die: to sleep Īnd end them by agitating? To die: to sleep Or to take arms against a sea of troubles, The slings and arrows of outrageous fortune, Whether ’tis nobler in the mind to suffer To exist, or not to exist: that is the question: “To be, or not to be: that is the question: This was a popular scripting style of Shakespeare, and he used it to similarly effect in Macbeth’s ‘Tomorrow’ speech. The soliloquy is scripted in an iambic pentameter with a feminine ending, meaning every line has eleven syllables rather than ten, the last of which remains unaccented. Even though the character morally determines to choose life at the end, the whole speech is based on the subject of death. This widely interpreted and scholarly debated soliloquy appears in Hamlet’s Act III, scene i (58-90). These essay’s inspired many passages in Hamlet including the famous soliloquy ‘To Be or Not To Be’.Ī soliloquy is defined as ‘ The act or custom of displaying one’s innermost thoughts in solitude.‘ Perhaps the most famous speech in English literature which is majorly governed by rationality and not frenetic emotion appears in William Shakespeare’s Hamlet, written in 1602.
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While writing Hamlet, William Shakespeare is said to have been influenced by the philosophical moral essays of French essayist Michel de Montaigne.