This metaphor brings clarity to the fact that death truly is permanent and that nobody knows what, if anything, comes after life. A metonym is when an idea or thing is substituted with a related idea or thing i. In "To be or not to be," Shakespeare uses the notion of sleep as a substitute for death when Hamlet says, "To die, to sleep.
Because the act of sleeping looks very much like death. Think about it: we often describe death as an "eternal sleep" or "eternal slumber," right? Since the two concepts are closely related, this line is a metonym instead of a plain metaphor. The phrase "to die, to sleep" is an example of repetition, as it appears once in line 5 and once in line 9. Hearing this phrase twice emphasizes that Hamlet is really albeit futilely attempting to logically define death by comparing it to what we all superficially know it to be: a never-ending sleep.
A far less common literary device, anadiplosis is when a word or phrase that comes at the end of a clause is repeated at the very beginning of the next clause. The anadiplosis gives us a clear sense of connection between these two sentences. For example, this Calvin and Hobbes comic from depicts a humorous use of the "To be or not to be" soliloquy by poking fun at its dreary, melodramatic nature. Many movies and TV shows have references to "To be or not to be," too.
In an episode of Sesame Street , famed British actor Patrick Stewart does a parodic version of the soliloquy "B, or not a B" to teach kids the letter "B":. As you can see, over the more than four centuries since Hamlet first premiered, the "To be or not to be" soliloquy has truly made a name for itself and continues to play a big role in society. Its iconic "To be or not to be" soliloquy, spoken by the titular Hamlet in Scene 3, Act 1, has been analyzed for centuries and continues to intrigue scholars, students, and general readers alike.
The soliloquy is essentially all about life and death : "To be or not to be" means "To live or not to live" or "To live or to die". Hamlet discusses how painful and miserable human life is, and how death specifically suicide would be preferable, would it not be for the fearful uncertainty of what comes after death.
Even today, we can see evidence of the cultural impact of "To be or not to be," with its numerous references in movies, TV shows, music, books, and art.
It truly has a life of its own! In order to analyze other texts or even other parts of Hamlet effectively, you'll need to be familiar with common poetic devices , literary devices , and literary elements. What is iambic pentameter? Shakespeare often used it in his plays —including Hamlet. Learn all about this type of poetic rhythm here. Need help understanding other famous works of literature? Then check out our expert guides to F. She is passionate about education, writing, and travel.
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Venus and Adonis [But, lo! Imperiously he leaps, he neighs, he bounds, And now his woven girths he breaks asunder; The bearing earth with his hard hoof he wounds, Whose hollow womb resounds like heaven's thunder; The iron bit he crushes 'tween his teeth Controlling what he was controlled with. His ears up-prick'd; his braided hanging mane Upon his compass'd crest now stand on end; His nostrils drink the air, and forth again, As from a furnace, vapours doth he send: His eye, which scornfully glisters like fire, Shows his hot courage and his high desire.
Sometime her trots, as if he told the steps, With gentle majesty and modest pride; Anon he rears upright, curvets and leaps, As who should say, 'Lo! For rich caparisons or trapping gay? He sees his love, and nothing else he sees, Nor nothing else with his proud sight agrees. Look, when a painter would surpass the life, In limning out a well-proportion'd steed, His art with nature's workmanship at strife, As if the dead the living should exceed; So did this horse excel a common one, In shape, in courage, colour, pace and bone Round-hoof'd, short-jointed, fetlocks shag and long, Broad breast, full eye, small head, and nostril wide, High crest, short ears, straight legs and passing strong, Thin mane, thick tail, broad buttock, tender hide: Look, what a horse should have he did not lack, Save a proud rider on so proud a back.
Sometimes he scuds far off, and there he stares; Anon he starts at stirring of a feather; To bid the wind a race he now prepares, And whe'r he run or fly they know not whether; For through his mane and tail the high wind sings, Fanning the hairs, who wave like feather'd wings. He looks upon his love, and neighs unto her; She answers him as if she knew his mind; Being proud, as females are, to see him woo her, She puts on outward strangeness, seems unkind, Spurns at his love and scorns the heat he feels, Beating his kind embracements with her heels.
Then, like a melancholy malcontent, He vails his tail that, like a falling plume Cool shadow to his melting buttock lent: He stamps, and bites the poor flies in his fume. His love, perceiving how he is enrag'd, Grew kinder, and his fury was assuag'd. His testy master goeth about to take him; When lo! As they were mad, unto the wood they hie them, Out-stripping crows that strive to over-fly them.
NB: the lack of female performers in the above list. What did you think of each of these renditions? What did you like or dislike? Each of these performances bring something of the time and of the individual to the role. They make the role their own. This is essential to remember when we play Hamlet ourselves.
What is important is not trying to fit the mould of the performers who have come before us, but rather to bring something of our own uniqueness to the role. To bring our own understanding of what it means to live and exist on this earth, having suffered our own pain and our own challenges in our own way.
So much focus and pressure is put into the first line of this speech. How do we say it? What word s do we stress and why? Think about all that has led up to this moment, what headspace the character is in right now and the thoughts which are rushing around his mind which force him to need to speak in order to try and find the solution to his problems.
This is a truly wonderful and challenging speech to deliver. Remember, the key to this speech is investing yourself in the role and empathising with the many problems that Hamlet is facing at this point in his life. Start from the beginning, speak the words out loud slowly to yourself and consider what comes to mind when you speak them.
Like any soliloquy, there is a debate taking place. Argue the points Hamlet is making, both with himself and the audience. Hamlet is searching for an answer rather than simply accepting his own doom. He is still alive, therefore he has not committed himself to one fate.
He is alive and any outcome is possible. All of these possibilities must be alive within the performer at every point throughout this most famous of soliloquys. Is made up of the core Stage Milk writers. We work together to come up with a number of our lists and articles. Hamlet Act 1, Scene 2. Gertrude Monologue Act 4, Scene 7. Ophelia Monologue Act 3, Scene 1. Henry V Monologue Act 4, Scene 3.
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