Soliloquies in Hamlet
C. Cheng, May, 1999
Soliloquies in Hamlet
As a playwright, Shakespeare uses abundant of
soliloquies. Soliloquies are legally defined as “the act of talking to oneself”.
This dramatic monologue gives the illusion of series of unspoken thoughts. And
hence, it is the tool to make known the decision-making and the psychological
facet of the characters. In the play Hamlet, it serves as a medium by which
audiences directly participate in the actor’s dilemma and emotions, and thus
infuse emotions into the audience and creates effects of a tragedy. O God, O, God! a beast, that wants discourse of reason, With bitter language, he condemns his uncle and his mother.
However, the end of this soliloquy betrays the tragic flaw of Hamlet. “But break
my heart, for I must hold my tongue.” This shows Hamlet as a procrastinating
prince, who would later bring his own downfall with this flaw. This very
conflict of will allows the plot to evolve, and establishes the fundamental
conflicts within the play: the psychological conflict between mind and action
within Hamlet, and the superficial conflict between Claudius and Hamlet. Yea, from the table of my memory This soliloquy shows
an unbending hatred towards Claudius, and explains the zealous vengeance as the
plot unweaves. In contrast with the first soliloquy, the audiences visualize
Hamlet’s determination to avenge his father’s blood. This simply evokes
catharsis and builds sympathy among the audience, which are important aspects
for a tragedy. Whether 'tis nobler in the
mind to suffer He sought
suicide as an alternative to escape dilemma. This soliloquy is the condensed
version of the recurring mind struggle throughout the play. It is the direct
clash between action and procrastination. But, procrastination prevails, and
mind struggle continues to haunt Hamlet. This dramatic reflection or examination
of conscious becomes the climax and the centre of the tragedy, for the tragic
flaw prevails and it slowly starts to bring about the doom of Hamlet. It is the
turning point at which the falling action commences.
Specifically in the play of Hamlet, the role of
soliloquies formulates the structure of the play. This tragic play draws
audiences’ attention through passion and sympathy. Soliloquies arouse these
emotions among audiences by unveiling the psychic state of Hamlet. By revealing
appropriate emotions and thoughts of Hamlet, Shakespeare unveils the tragic flaw
of the protagonist, Hamlet. This creates a natural catharsis and successfully
makes the play “Hamlet” into an epic tragedy.
In act 1 scene ii, Hamlet reveals his death wish through a
soliloquy, “How weary, stale, flat, and unprofitable seem to me all the uses of
the world!” He then protests against the sudden death of his father and his
mother’s hasty marriage to his uncle in the same soliloquy,
Would have mourn'd longer--married with my uncle,
My father's brother, but no more like my father
Than I to Hercules: within a month:
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes,
She married. O, most wicked speed, to post
With such dexterity to incestuous sheets!
The fundamental conflict within Hamlet’s mind is established early
in the play. Indeed, the entire play evolves around the conflict between
deliberation and procrastination. The procrastinating disposition from scene ii
poses a struggle within Hamlet’s character; it is best contrasted in act 1 scene
v, where the ghost of Hamlet tells of the regicide. The tale of ghost Hamlet
evokes dramatic reaction within Hamlet’s character. Knowing the murder of his
father, Hamlet discharges he turbulent state of mind in a soliloquy,
I'll wipe away all trivial fond records,
All saws of books, all forms, all pressures past,
That youth and observation copied there;
And thy commandment all alone shall live
Within the book and volume of my brain,
Unmix'd with baser matter: yes, by heaven!
Apart from building catharsis and expressing inward emotions,
soliloquies also clarify and exploit the mind struggle and the rational mind
behind Hamlet’s “antic disposition” for creating climax within the play. In the
famous soliloquy “to be or not to be”, Shakespeare expresses the dilemma and the
mind struggle of Hamlet. Through pondering between suicide and direct action for
revenge, Shakespeare reveals the weakness of Hamlet. He fails to make quick and
decisive resolutions.
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to…
Two other soliloquies further demonstrate
emotional contradictions within the character of Hamlet, which arouse deep
sympathy and interests among the audiences. However, these two soliloquies
reveal nothing new. It is but the repetitive struggle between sloth and
deliberate action. In act 3 scene iii, Hamlet spares Claudius from his blade
because he is offering a prayer, and that Hamlet wishes Claudius to die in a
state of sin. His righteous yet procrastinating means is justified in his
soliloquy, “…Now ‘a is a-praying, and now I’ll do’t. And so ‘a goes to heaven,
and so am I revenged. That would be scanned. A vallain kills my father, and for
that … do the same villain send to heaven.” Rather than noting the soliloquy as
a justification, it is more logical to note it is rationalization.
In act 4 scene iv, Hamlet meets the army of Fortinbras and
resolves to take action. In the soliloquy, he unveils his thoughts once again.
He compares his own indecision with Fortinbras’ positive action against the
Poles.
Bestial oblivion, or some
craven scruple
Of thinking too precisely on the event,
A thought which, quater'd, hath but one part wisdom
And ever three parts coward…
Then he claims that when honour is at stake, it is obligatory to act,
But greatly to find quarrel
in a straw
When honour's at the stake. How stand I then,
That have a father kill'd, a mother stain'd,
Excitements of my reason and my blood,
And let all sleep?
And thus he vows that he will take immediate action to avenge
his father’s death. This last reflection ends the struggle with a deliberate
decision for revenge (and thus ends the play).
Soliloquies reveal the inward facet of
characters. It shows traits of characters otherwise inexplicable by acting and
plot. It serves one major function: to arouse emotions of audiences. Without
these monologue reflections, the main component of tragedy, catharsis, will be
difficult to establish. Soliloquies allow us as audiences to explore into the
minds of characters, and further, to take part in their hardships and miseries.
It is by these auto-dialogues that we understand the character of Hamlet, and
have sympathy of him. It is with these dramatic tools that Shakespeare makes his
works famous, and makes his audiences part of his plays.