Hamlet soliloquies
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The first, where the mists are blown from his mind, Hamlet feels a natural wonder and disgust at his inaction for so long. There are two parts to this third soliloquy. He suddenly sees his course before him, a sudden realization of what had earlier been obscured from his understanding. When the entertainment is over and Hamlet is left alone, the Aristotelian purgation by tragic pity and terror has been effected. The mists of self-absorption are cleared from the mind, allowing one to see one’s own troubles in proper focus and perspective. Hamlet similarly thirsts for dramatic distraction, evidenced by his excitement at the players’ arrival. Fits of melancholia, brought about by bouts of disappointment or excessive introspection, can be wonderfully alleviated by a play. It also has a salutary effect to Hamlet’s melancholic depression. The third motive is linked to the dramatic purposes of the “rugged Pyrrhus” declamation., which is to furnish a kind of parallel between Pyrrhus-Priam-Hecuba and Hamlet-Claudius-Gertrude. His third soliloquy was actuated by three motives of Shakespeare’s, to show Hamlet’s abhorrence of his own inaction, and his melancholy. Hamlet’s self-reproaches, curses on Claudius and perplexity about his own inaction all imply his faith in the identity and truthfulness of the Ghost. These two soliloquies present a wider intellectual range than the others And both end with an almost-triumphant declaration of his practical resolution (“my thoughts be bloody, or be nothing worth!” and “the play’s the thing/ wherein I’ll catch the conscience of the King”). Both mark a psychological progress from intense self-dissatisfaction and even self-abuse (“How all occasions do inform against me” and “O what a rogue and peasant slave am I!”), through elaborate self-analysis, to self-confidence. The final soliloquy is a close and doubtlessly intentional counterpart of the third.
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“Rightly to be great”: a discriminating realization, sympathetic appreciation of Fortinbras’ spirit “god-like reason”: clear sense of personal power The final soliloquy was the finest in the play, and corroborates the idea that Hamlet’s tragedy arises not from the excessive postponement, but from the too early development of the crisis. The second immediately follows the exit of the Ghost, the third was inspired by the Player’s moving declamation, the fifth following the success of the Mousetrap, and the seventh evoked by the impressive sight of Fortinbras’ army. The other four soliloquies show Hamlet in a far more normal and admirable mood, each having been produced by a state of special excitement. The first occurs before Hamlet learns of his father’s murder, the fourth in the quiet of the morning before the Mousetrap, and the sixth in the presence of a motionless an suppliant Claudius.
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These aforementioned three soliloquies are the result of a relatively quiescent frame of mind (a state of dormancy/inactivity before events happen which change the state of mind). The complete selfishness of the argument, the refusal to recognize any duty to live for the sake of his mission, and the oblivion of his allusion to “the undiscover’d country from whose bourn / No traveller returns” when he has recently spoken with his deceased father’s ghost, all shock the attentive audience and show his intelligence at its nadir (lowest point). The fourth soliloquy marks the lowest intellectual level reached by Hamlet. The first, fourth and sixth soliloquies show Hamlet inert and over-reflective, inclined to toy with the idea of suicide, to overlook the responsibilities of life, and speculate in an unhealthy manner on existence beyond the grave. His soliloquies also offer glints of truthfulness amidst the watchedness and performance of the state. They evoke more empathy in the audience, especially as they include more involvement with just one character. His soliloquies are stark, raw and naked, showing the true Hamlet in his most sincere and heartfelt moments. Seventh: “How all occasions do inform against me/ And spur my dull revenge!” (4.4) Sixth: “Now might I do it pat while he is praying” (3.3) Third: “O what a rogue and peasant slave am I!” (2.2)įifth: “‘Tis now the very witching time of night” (3.2) Second: “O all you hosts of heaven! O earth! What else?” (1.5) First soliloquy: “O that this too too solid flesh would melt” (1.2)