Hamlet by Shakespeare

 

Characters

King Hamlet

Prince Hamlet, Prince of Denmark

Claudius, Hamlet’s Uncle

Queen Gertrude

Ophelia

Polonius, Ophelia’s father

Laertes, Ophelia’s brother

Horatio, Rosencrantz & Guildenstern, Wittenberg Scholars, Hamlet’s Friends

Plot

On a dark winter night, the ghost of King Hamlet appears at Elsinore Castle, revealing to Prince Hamlet that he was murdered by his brother Claudius, who has since taken the throne and married Queen Gertrude. The ghost urges Hamlet to seek revenge.

Hamlet, deeply troubled, feigns madness while contemplating his course of action. Claudius, suspicious of his behaviour, employs Rosencrantz and Guildenstern to spy on him. Polonius, believing Hamlet is lovesick for Ophelia, also spies on him. Hamlet, however, rejects Ophelia and stages a play mimicking his father’s murder to confirm Claudius’s guilt. When Claudius reacts guiltily, Hamlet is convinced but hesitates to kill him while he prays.

Later, Hamlet mistakenly kills Polonius, thinking he is Claudius. As punishment, he is sent to England, but he escapes when pirates attack his ship. Meanwhile, Ophelia drowns in grief, and her brother Laertes, manipulated by Claudius, plots revenge. They arrange a fencing match where Laertes’ sword is poisoned, and Claudius poisons a drink as a backup plan.

During the duel, Hamlet is wounded but also wounds Laertes with the poisoned blade. Queen Gertrude accidentally drinks the poisoned wine meant for Hamlet and dies. Before dying, Laertes reveals Claudius’s treachery. Enraged, Hamlet kills Claudius before succumbing to the poison himself.

As Hamlet dies, he entrusts Horatio with telling his story. Fortinbras of Norway arrives to find the Danish royal family dead and assumes control of the kingdom, ordering Hamlet to be honoured as a fallen soldier.

Context

The “To be, or not to be” quote is taken from the first line of Hamlet’s soliloquy that appears in Act 3, Scene 1 also known as the “nunnery scene,” of the tragedy, Hamlet by William Shakespeare. His father’s murder, his mother’s hasty remarriage, Ophelia’s apparent rejection, and the corruption in Denmark have left him disillusioned with life. The first line “To be, or not to be, that is the question” is famous for its open-ended meaning that not only encompasses the thoughts raging inside Hamlet’s mind but also features the theme of existential crisis. Hamlet, torn between life and death, utters the words to the audience revealing what is happening inside his mind. It is a soliloquy because Hamlet does not express his thoughts to other characters.  A soliloquy is a speech given by a character alone on stage, used to reveal their thoughts and feelings directly to the audience. At its core, the speech explores the dilemma of action versus inaction, highlighting how fear and doubt can paralyze decision-making.

Soliloquy

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 And, by opposing, end them. To die, to sleep, No more. And by a sleep, to say we end  The heartache and the thousand natural shocks That flesh is heir to — ‘tis a consummation Devoutly to be wished. To die, to sleep; To sleep, perchance to dream. Ay, there's the rub.     For in that sleep of death, what dreams may come  When we have shuffled off this mortal coil     Must give us pause. There's the respect That makes calamity of so long life.     For who would bear the whips and scorns of time1,  Th' oppressor's wrong2, the proud man's contumely3,     The pangs of despised love4, the law's delay5, The insolence of office6, and the spurns That patient merit of the unworthy takes7, When he himself might his quietus make     With a bare bodkin? Who would fardels bear,      To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered country from whose bourn No traveler returns, puzzles the will, And makes us rather bear those ills we have, Than fly to others that we know not of?     Thus conscience does make cowards of us all,  And thus the native hue of resolution8 Is sickled o'er with the pale cast of thought9; And, enterprises of great pith and moment,  With this regard, their currents turn awry And lose the name of action.

consummation – ending     shuffled – shed coil – life respect – fear calamity – misery 1.the suffering that time brings 2.the injustices of cruel rulers 3.the insults of the powerful 4.the pain of unrequited love 5. the slow and unfair justice system 6. the arrogance of those in power 7.when good people are mistreated by those less deserving his quietus make - settle his account with God bodkin – dragger fardels – burden     bourn – frontier will – mind conscience – contemplation 8. Determination 9. Over thinking sickled -reaped cast – shade awry- off track

Summary

Hamlet’s soliloquy in Act 3, Scene 1 (“To be, or not to be”) explores the existential dilemma of life and death. He ponders whether it is better to endure life’s suffering passively or take control through death. However, the uncertainty of the afterlife—the “sleep of death” and what dreams may come—instils fear and hesitation. He likens death to an unknown voyage, possibly filled with horrors, which prevents decisive action. This inner conflict extends beyond personal despair to his duty of avenging his father’s murder. Hamlet’s overthinking leads to inaction, highlighting the play’s central themes of powerlessness, morality, and existential uncertainty.

Hamlet debates whether it is nobler to endure the hardships of life (“the slings and arrows of outrageous fortune”) or to actively resist and end suffering (“take arms against a sea of troubles”). The idea of rest and escape from "the heart-ache and the thousand natural shocks" seems desirable.  Death appears as an escape, likened to sleep, which could bring peace. However, the uncertainty of what follows death (“what dreams may come”) causes hesitation. Fear of the unknown (“the undiscovere’d country”) keeps people from choosing death, making them endure life’s burdens. Hamlet concludes that overthinking weakens resolve (“Thus conscience doth make cowards of us all”), leading to inaction.

Thus, Hamlet weighs life's suffering—the injustices of cruel rulers, the insults of the powerful, the pain of unrequited love, the slow and unfair justice system, the arrogance of those in power—against the possibility of escape through death. However, while death seems like a peaceful release, its unknown nature instils fear. The idea of an afterlife, potentially worse than the hardships of life, makes him hesitate. The speech reflects his deep existential crisis, fear, and philosophical introspection.

Paraphrase

1.     Hamlet wonders if it is more honourable to endure life's hardships and misfortunes passively. The "slings and arrows" symbolize the pains and struggles life throws at a person.

2.     The alternative is to fight against these hardships (metaphorically "taking arms"), and by doing so, put an end to them—perhaps through death.

3.     Hamlet equates death with sleep. He imagines that death could be a peaceful escape from pain, suffering, and life's hardships. He sees this as something desirable ("a consummation devoutly to be wished").

4.     However, death as sleep raises a problem ("there’s the rub" = there's the difficulty). If death is like sleep, then dreams might come—and Hamlet fears what kind of dreams they might be.

5.     He fears the unknown after death. The "mortal coil" refers to earthly life, and he worries about what happens after we leave it. This fear makes people hesitate.

6.     This fear of the unknown is why people endure long, painful lives instead of choosing death.  

7.     A person could easily end their suffering with something as small as a "bare bodkin" (a dagger). Hamlet is contemplating suicide.

8.     He asks: who would carry life's burdens and suffer through it?

9.     He answers his own question: people fear the unknown after death.

10.  He calls it "the undiscovered country" because no one has come back to tell us what it is like. Because of this fear, people choose to endure their current suffering rather than risk something worse in the afterlife.

11. Overthinking (conscience) leads to fear, making people too afraid to act.

12.  Hamlet compares determination ("native hue of resolution") to a strong color, but excessive thinking ("pale cast of thought") weakens it, making people hesitant.

13.  Because of overthinking, even the most important plans ("great pitch and moment") get disrupted and fail to become actions.

Paragraphs

Image of Death

In Hamlet’s soliloquy, “To be, or not to be,” the image of death is central to his contemplation of existence. Death is likened to sleep, a seemingly peaceful escape from life’s burdens, yet one fraught with the uncertainty of dreams—symbolizing the fear of the unknown afterlife. This fear acts as a "rub" or obstacle, preventing decisive action. Hamlet further imagines death as an uncharted voyage, a journey into unknown territory from which no traveler returns, raising the possibility of unimaginable horrors. The image of a “quietus” (a final end) contrasts with life’s fardel (a heavy burden), reinforcing the struggle between passive endurance and active resistance. However, conscience and fear of divine judgment make action impossible. Ultimately, death, though desirable as an escape, remains an uncertain and terrifying unknown, leaving Hamlet trapped in existential paralysis.

Delineation of Life

In his soliloquy “To be, or not to be” (Act 3, Scene 1), Hamlet portrays life as a state of suffering, passivity, and powerlessness. He describes it as enduring “the slings and arrows of outrageous fortune”—a series of hardships, injustices, and disappointments beyond one’s control. The burdens of life include “the whips and scorns of time,” “the oppressor’s wrong,” “the proud man’s contumely,” “the pangs of despised love,” “the law’s delay,” and “the insolence of office.” These grievances highlight human struggles with oppression, rejection, and systemic failure. Hamlet suggests that the only way to actively oppose life’s suffering is through death, which he compares to “sleep.” However, the unknown nature of death—“what dreams may come”—creates fear and hesitation. He likens death to an undiscovered country from which no traveller returns, reinforcing the idea that fear of the afterlife prevents decisive action in life.

Hamlet’s Dilemma

Hamlet’s soliloquy “To be, or not to be” (Act 3, Scene 1) is not just a reflection on life and death but a deeper exploration of Hamlet’s internal conflict. His fear of action, which ultimately leads to his procrastination and delayed revenge against Claudius, is revealed through this soliloquy. Hamlet is at a crossroads—he is struggling to reconcile his desire for revenge with the moral and philosophical implications of taking action.

This soliloquy answers a primary question in the play: whether Hamlet will act on his desire for vengeance against his uncle Claudius, or whether he will continue to delay, paralyzed by existential doubt. It marks the beginning of the falling action. Hamlet's contemplation of death and his acknowledgment of life's suffering act as a precursor to the tragic events that unfold later in the play.

His conflict revolves around enduring the suffering of life or choosing the escape of death. He initially presents death as a release from life’s injustices—the “slings and arrows of outrageous fortune”—and describes it as a “sleep” that offers peace. However, he hesitates because of the uncertainty of what lies beyond death, fearing the “undiscovered country from whose bourn no traveler returns.” This fear prevents him from making a decision, trapping him in inaction.

Beyond contemplating suicide, Hamlet’s dilemma also reflects his hesitation in avenging his father’s murder. Convention and duty demand that he kills Claudius, but his conscience, religious beliefs, and fear of consequences restrain him. He acknowledges that “conscience does make cowards of us all,” highlighting how overthinking weakens resolve. His indecisiveness is a recurring theme throughout the play—whenever an opportunity for action arises, he hesitates, finding excuses or questioning his motives. Hamlet's failure to act at every moment ultimately contributes to the unfolding of the tragedy.

Literary Devices used in Soliloquy

In Hamlet's soliloquy, several literary devices are employed to convey the depth of his internal conflict and the philosophical musings on life, death, and the human condition.

·       Antithesis:  juxtaposing two contrasting ideas

Hamlet juxtaposes two contrasting ideas, such as life versus death, suffering versus the unknown. The famous line “To be, or not to be, that is the question” itself presents the ultimate existential dichotomy, where Hamlet weighs the value of enduring life's burdens against the uncertainty of the afterlife.

·       Metaphor: an implicit, implied, or hidden comparison between two unrelated things

Hamlet compares life to a "sea of troubles" and the act of ending it to a "sleep" that could offer a permanent escape.

·       Rhetorical questions: a question asked for effect, where the answer is either obvious or not expected to be answered.

Hamlet repeatedly asks questions, such as “To die: to sleep; No more; and by a sleep to say we end” and “Who would fardels bear, to grunt and sweat under a weary life,” which reflect his inner turmoil and desire for answers. These questions emphasize his indecision and inability to act, as he is paralyzed by the complexity of life’s dilemmas.

·       Personification: the attribution of human characteristics to something non-human

“The heart-ache and the thousand natural shocks that flesh is heir to” – Human suffering is personified as something that the body is destined to endure.

·       Irony:  the meaning of words or actions is opposite of what is expected or intended.

Hamlet speaks of death as a possible "sleep," a peaceful escape, yet he hesitates to embrace it, fearing the unknown afterlife. This highlights the ironic tension between the desire for peace and the fear of what follows.

·       Hyperbole: exaggerated statements or claims not meant to be taken literally.

"To take arms against a sea of troubles." is an exaggerated image of Hamlet's conflict with his inner turmoil, likening it to a battle with an endless, overwhelming sea.

Detailed Summary of Hamlet

Act 1: The Ghost’s Revelation

At Elsinore Castle in Denmark, soldiers Marcellus, Francisco, and Barnardo are disturbed by the appearance of a ghost that resembles the recently deceased King Hamlet. They convince Prince Hamlet’s friend, Horatio, to witness the ghost himself. When Horatio sees the apparition, he decides they must inform Hamlet, the prince of Denmark and son of the late king.

Meanwhile, Denmark’s new king, Claudius, has ascended the throne following his brother’s death and has married the widowed Queen Gertrude, Hamlet’s mother. Claudius seems to be an effective ruler, handling a potential invasion by Prince Fortinbras of Norway, whose father was killed by King Hamlet in battle. However, Prince Hamlet is deeply resentful of his uncle’s rule and furious with his mother for marrying Claudius so soon after his father’s death. He sees their marriage as a betrayal and dishonor to his father’s memory.

Hamlet meets the ghost, who claims to be his father’s spirit. The ghost reveals that he was murdered—poisoned in his sleep by Claudius. Enraged and seeking justice, Hamlet swears to avenge his father’s death but soon begins to wrestle with doubt and hesitation.

Act 2: Hamlet’s Feigned Madness and Investigation

As Hamlet grapples with his emotions, he pretends to be mad to investigate Claudius’s guilt without raising suspicion. However, his behaviour becomes erratic and troubling to those around him.

Polonius, the king’s chief counselor, believes Hamlet’s madness is due to his love for Polonius’s daughter, Ophelia. Polonius shares his theory with Claudius and Gertrude, and they decide to spy on Hamlet. Meanwhile, Claudius summons Hamlet’s childhood friends, Rosencrantz and Guildenstern, to Elsinore to uncover the reason for Hamlet’s strange behavior. Hamlet quickly realizes their true purpose—to serve as spies for the king.

To confirm Claudius’s guilt, Hamlet devises a plan. A troupe of actors arrives at Elsinore, and Hamlet asks them to perform The Murder of Gonzago, a play that mirrors the manner in which King Hamlet was allegedly murdered. Hamlet believes that if Claudius reacts to the play, it will prove his guilt.

Act 3: The Play and Ophelia’s Rejection

Before the play, Ophelia approaches Hamlet under Polonius’s orders to test whether his madness is caused by love. Ophelia returns gifts and letters Hamlet had previously given her, suggesting they had a deep romantic relationship. Hamlet, now bitter toward women due to his mother’s betrayal, rejects Ophelia and declares: “Get thee to a nunnery.” He becomes increasingly disillusioned with women, accusing them of deceit and corruption.

That night, the actors perform The Murder of Gonzago. When the murder scene is enacted, Claudius abruptly rises and leaves, proving to Hamlet that the ghost was telling the truth. Now convinced of his uncle’s guilt, Hamlet is ready for revenge.

However, when Hamlet later finds Claudius alone and seemingly praying, he hesitates. He fears that killing Claudius while he is praying will send his soul to heaven, unlike his father’s soul, which was condemned to purgatory. Hamlet decides to wait for another opportunity.

When Hamlet goes to speak with his mother, Gertrude, he lashes out at her, accusing her of betrayal. During the argument, he hears a noise behind a tapestry and, thinking it is Claudius, stabs the figure—only to discover he has killed Polonius instead.

Act 4: Claudius’s Schemes and Ophelia’s Madness

Claudius, seeing Hamlet as a threat, decides to send him to England, secretly ordering his execution upon arrival. He sends Rosencrantz and Guildenstern along with Hamlet, carrying a letter instructing the English king to kill Hamlet.

Meanwhile, Ophelia, devastated by her father’s death and Hamlet’s rejection, falls into madness. She wanders Elsinore singing cryptic songs and handing out imaginary flowers, symbolizing grief, betrayal, and lost innocence. Shortly afterward, she drowns in a suspected suicide.

Polonius’s son, Laertes, returns from France in a rage, demanding revenge for his father’s death. Claudius manipulates him, turning him against Hamlet. When Claudius learns that Hamlet has survived and is returning to Denmark, he devises another plot: a friendly duel between Laertes and Hamlet, in which Laertes will use a poisoned sword. As a backup, Claudius also poisons a goblet of wine intended for Hamlet.

Act 5: Ophelia’s Funeral and the Deadly Duel

As Hamlet returns to Denmark, he stumbles upon Ophelia’s grave and is overcome with grief. He declares his love for Ophelia, but Laertes, consumed with rage, attacks him. They are separated, but the tension between them escalates.

At the castle, Hamlet tells Horatio how he outwitted Claudius’s plan—he discovered the execution order, rewrote it to command the deaths of Rosencrantz and Guildenstern instead, and escaped. He now believes in fate and is ready for whatever comes.

The duel between Hamlet and Laertes begins. Unaware of the treachery, Hamlet fights honorably, but Laertes wounds him with the poisoned blade. In the chaos, they switch swords, and Hamlet wounds Laertes. Meanwhile, Gertrude drinks the poisoned wine, despite Claudius’s warning, and dies.

Before dying, Laertes reveals Claudius’s plot. Enraged, Hamlet finally takes revenge—he stabs Claudius with the poisoned sword and forces him to drink the poisoned wine. Claudius dies, ending his treacherous rule.

As Hamlet lies dying, he entrusts Horatio with telling his story. Fortinbras, the Prince of Norway, arrives at Elsinore to find nearly everyone dead. Hamlet, with his final breath, declares that Fortinbras should be the next King of Denmark. Horatio, grief-stricken, bids Hamlet farewell: “Good night, sweet prince, and flights of angels sing thee to thy rest.”

Fortinbras orders Hamlet’s body to be carried away with the honours due to a fallen soldier, and Horatio prepares to tell the world the tragic story of Prince Hamlet.