To Be Or not to Be: Inaction and Hesitation in Hamlet

While Hamlet waits for Ophelia to arrive at their predetermined meeting, the young price drones in on his dilemma, a lethal quandary that deeply fixates into the human condition. Perhaps Hamlet feels guilt from his shifting views on religion, or perhaps he feels consumed by thoughts of his uncle’s betrayal or Ophelia’s alienation. Wherever this loss of joy in life stems from, Hamlet feels unacquainted to deal with these issues, forever a victim of his self- doubt. Beaten- down from a difficult, unfulfilling life, the young price drones in on his dilemma and uses the audience as a witness to his declining perception of self-worth. In this soliloquy, Hamlet recognizes how inaction has made him a victim to the torments of life and makes a swift personal promise to finish what he has started. Hamlet utilizes emotive language, alliteration, biblical references, and generalization to self-motivate and convince the audience to not waste time overthinking.

Hamlet begins his soliloquy to the audience by describing his dilemma through emotive language as a means to broadcast his internal dialogue and focus on the issues that he wants to target. He questions “to be or not to be”- or rather- to live or not to live. Is it better to partake in the “outrageous fortune”, the inevitable fleeting highs and the prolonged sufferings of life? Or to “take arms against” this taxing cycle in the only way we know how: death. In his rambling, Hamlet is untainted by the judgment of others. Hamlet’s suicidal soliloquy was not a spontaneous move to convince his foes of his instability but rather spoke honestly of his thoughts and emotions. Is it better to float with the tide or to swim for a goal? However, Hamlet is not debating whether or not to try to change external events. He understands this indestructible cycle, and he feels utterly victimized by the trends of life. Hamlet is asking whether or not to be, whether or not he should commit suicide.

Hamlet goes on to demonstrate why his thoughts are not one of a happy man by alliteration, extensively developing why he adopted this new view on life in order to create a sense of relatedness, and create an atmosphere of empathy to his very-human struggles. Hamlet broadens his argument, explaining the foils of human life, like: “the pangs of dispriz’d love” or the” patient merit of th’unworthy takes.” Hamlet suffers grievously from life’s circumstances, connecting “dispriz’d love” to Ophelia’s inconsistent love. The uphill battle against bad takes root in his father’s untimely death and feelings of betrayal at the “o’er hasty” marriage of his mother to his uncle. Though Hamlet says what he means, he is not the only one to benefit from this self- projection. Pain is universal, and humans experience similar emotions. He spoke to the audience as a means of dulling alienation. Hamlet pushes the audience in to see life through his lens- not through the eyes of a crazed man, but a battered soul.

Hamlet goes on to establish why his relationship with death is flawed by utilizing biblical references in order to relate his internal dialogue to the audience. In this segment, Hamlet realizes why he is so puzzled by death. Hamlet takes great pride in his connectedness to God. He often alludes to a higher power, feeling pressured to live life through a moral nature. Through venturing the underlying fears that cripple his mind, Hamlet clearly illustrates the inner conflict between his loss of joy in life and his religious beliefs. In the soliloquy, Hamlet further mentions this religious turmoil: “The undiscovere’d country, from whose bourn/ No traveller returns.” Hamlet compares the afterlife to an obscure country that mystifies everyone. Those alive can only guess what his country holds, and those dead cannot return to tell their tale. Before this soliloquy, Hamlet did not shy from themes of mortality and the afterlife. He admits this hope: “the Everlasting had not fix’ d/ His canon ‘gainst self-slaughter!”. Hamlet wishes that God had not declared suicide to be a sin. This lamentation, made before he knows the cause of his father’s death, implies directly that the young prince had been suffering feelings of depression and suicidal thoughts throughout the play. These discussions seem in conflict with itself. Hamlet’s desire to dip his toe in murder, suicide and revenge closely conflicts with his preached Christian notions of love, Providence, and forgiveness. Hamlet realizes he cannot act on these impulses, as the fear of something greater after death trumps all the issues of today.

Hamlet concludes this self-deprecation through generalizing his human experience, which makes the audience internalize his message and exercise change to their lives as well. In the last segment of the soliloquy, Hamlet berates himself for his inaction and realizes his deepest character flaw. “Thus conscience does make cowards of us all.” Through using “we” instead of “I,” Hamlet can call the audience to action. Hamlet wants to avenge his father’s unjust death, yet he drags his feet for so long. Rather than acting quickly, he explores alternatives like proving the guilty conscience of the king, misdirecting those around him, and eventually suicide. In this segment, the revelation is not just a sad man’s thoughts - it is a means of self-evaluation and self-motivation. Hamlet spent the entire play thinking, not acting. Hamlet communicates to the audience that we cannot take control of external forces. However, we can control our actions and our reactions to these external events. When completely drained by a dull, unfulfilling life, we cannot prolong our decisions. We solely have control over ourselves to do the right thing and accept hardships with dignity.