There is a huge time gap between Hamlet’s first and second soliloquies possibly of a few weeks as the ambassadors sent to Norway on Act 1 scene 2 have returned in this period of time Hamlet has encountered a ghost that bears a resemblance to his dead father. The ghost has told him that his father was murdered by Claudius and makes Hamlet swear he will seek vengeance. To hide is plan Hamlet has taken on an ‘antic disposition’. This means hat the soliloquies are even more important because this is the only time when Hamlet can be himself. Nevertheless, Hamlet hasn’t taken any action which raises the question ‘Why isn’t Hamlet doing anything?’
Hamlet’s second soliloquy (2, 2, 553-601) can be broken down into four sections. Which are Hamlet’s reaction to the actor, anger with himself’ anger with Claudius and the plan.
‘O what a rogue and peasant slave am I!
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul into his own conceit,’
(2, 2, 554-557)
The first section focuses on a player’s reaction to his lover death. This clearly un-hinges Hamlet. He begins to flog himself by using words of low demeanour. His tone during this part of the soliloquy is like he is talking to someone but the audience is aware that he is alone on stage; he could be talking to the audience. Shakespeare introduces this idea to allow the audience to partially question Hamlets sanity. Hamlet once again uses comparisons to convey his feelings to the audience. He is distraught with himself that someone can conjure up feelings yet Hamlet seems to keep his silence. Shakespeare uses extremely powerful language ‘monstrous’, ‘passion’ to parallel Hamlet’s feelings. Hamlet is a very intellectual and this allows Shakespeare to use an array of writers’ techniques.
‘With this slave’s offal. Bloody, bawdy villain,
Remorseless, treacherous, lecherous, kindles
Villain!
O vengeance! ’
(2, 2, 586-588)
Hamlets frustration with himself boils over into self ridicule. There is a use of sibilance which evokes a hissing sound of a snake. This implies deceit, sin, temptation and also it could refer back to the snake that supposedly killed King Hamlet. It also reiterates the meaning of each word. It is like Hamlet is actually beating himself up. The usage of the ‘b’ sound produces a felling of something being hit. The usage of such negative language builds up like a volcano until Hamlet erupts with ‘villain’, the pause dose indicated that Hamlet will calm down, however he erupts again with ‘O vengeance’ yet after this the pause is used to calm Hamlet, slightly. There is also the timing of the meter involved, the second half of the first line ‘bloody’ etc uses 2 syllables but as the flogging increases so do the syllables ‘trech-er-ous’. The use on enjambment shows continuous self loathing. Shakespeare uses this later to show Hamlet’s line of thought.
Hamlet’s character has developed in this soliloquy from self-loathing to the formation of a plan;
‘More relative than this - the play’s the thing
Wherein I’ll catch the conscience of the king’
(2, 2, 611- 612)
This moves the play forwards, the as well as prepares the audience for action. Shakespeare cements Hamlet’s decision to take action in a rhyming couplet. Although this adds more conviction to Hamlet’s words the audience are very much aware that this is another way for Hamlet to avoid confronting Claudius. Shakespeare does present Hamlet as more assertive in comparison to the ‘John-a – dreams’ earlier on in the soliloquy. Each line also has 10 syllables which present order and concentration on Hamlet’s part.
‘To be, or not to be, that is the question:
Whether ‘tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,’
(3, 1, 56-59)
In a short space of time Polonius along with the permission of the King and Queen have decided to spy on Hamlet. In the third soliloquy we see Hamlet reverting back to the same person that the audience encountered in the first soliloquy. Hamlet is debating suicide ‘To be, or not to be’. It is frustrating to the audience how he has regressed from plotting, to taking his own life. Due to the fact that Hamlet is a scholar he presents a logical argument with himself. He proposes different courses of action other that suicide ‘take arms against a sea of troubles’. But the use of the word ‘sea’ suggests that the problems could be too great for one person. ‘Outrageous fortune’ refers back to when Hamlet first found out he would have to take on this task ‘O cursed spite… set it right’ (1, 5, 194-196). Hamlet is aware of the corruption, deceit and espionage that have engulfed Denmark and society, he is debating whether he should take action against it or suffer under the burdens. Next Hamlet considers death as a solution to his problems
‘ To die, to sleep-
To sleep perchance to dream, ay there’s the rub,
For in that sleep of death what dreams may come’
(3, 1, 64-66)
Shakespeare uses an extended metaphor, sleep and death. Hamlet would like to die only if he could enter a state of oblivion in which he would not be able to dream. The mystery of life after death keeps Hamlet from committing suicide. Hamlet’s use of sleep with death allows the audience to imagine what death may bring it also leads to a state of not knowing just like in death. Dreams are used as a parallel for Heaven and Nightmares are Hell. ‘For in that ... come,’ implies that it is impossible for people to grasp the concept of life death.
Hamlet constantly regresses back to his mood in the first soliloquy. This is because he felt safer in a state of ignorance and by encountering the ghost his world became ‘sullied’ and corrupt. Hamlets soliloquies are there to show the struggle of Hamlet’s conscience as well as his inability to separate his emotions from rationality. In Hamlet’s first soliloquy he resolves it by deciding not to take action for the time being. This is an extremely ambiguous action; Hamlet could be seen as biding his time until the moment is perfect to seek his vengeance. However, it is more likely that Hamlet’s conflicting conscience makes him apprehensive when it comes to taking action.
Hamlet’s constant debating of the issue of revenge creates tension within the audience who can see that Hamlet is procrastinating and yet they sympathise with Hamlet due to the fact he opens up to the audience in each soliloquy. The soliloquies are there to establish a relationship between the protagonist and his audience.
In Hamlet’s last soliloquy (4, 4) he concentrates more on action although he does revert back to his second soliloquy by accusing himself of thinking too much
‘How all occasions do inform against me,
And spur my dull revenge!’
(4, 4, 32-33)
Which lead to leads to his inaction. He wishes to cast aside his ‘Bestial Oblivion’. Hamlet also reveals that he doesn’t know why he has not yet sought revenge. Hamlet the character has finally realised what the audience has already picked up on, that he is putting off his revenge. Shakespeare however continues to manipulate the emotions of his audience by then letting Hamlet ponder why he has not done anything and conclude he ponders too much!!!. Shakespeare also allows Hamlet to slip back into his self loathing exhibited in his second soliloquy. Hamlet describes Fortinbras as ‘divine prince’ because he respects what Fortinbras is doing to avenge his father. ‘Rightly to be… at stake’ (4, 4, 55-58) shows that Hamlet still despises himself because he is very much aware that he has not take action.
In each of his soliloquies Shakespeare laments Hamlet’s inability to avenge his father’s death. When Hamlet finally takes action it is because he is forced to, as a result of Claudius’s plans. The soliloquies suggest that Hamlet is more of a scholar than a soldier. He would rather contemplate the metaphysical questions of life than fight for anything, even though the audience is aware that he is capable of fighting for what he believes in. In spite of this Hamlet is still able to retain some honour. Shakespeare uses the soliloquy as a source of meditation, introspection and the expression of emotions from his characters. Matthew Arnold even described soliloquies as ‘The dialogue of the mind, with itself.’ Yet in Hamlet Shakespeare uses his soliloquies to confirm to his audience what he already let them know; fulfilling at once the expectations of the audience and the demands of the dramatic art. Although each soliloquy takes a slightly different approach to Hamlet’s problem, Hamlet’s essence and character never changes.
