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- He makes the profound judgment that ‘conscience does make cowards of us all,’ This sentence is probably the most important one in the soliloquy. There is a religious dimension to it as it is a sin to take one’s life. So with that added dimension, the fear of the unknown after death is intensified. But there is more to it than that.
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‘To be or not to be, that is the question’ is the most famous soliloquy in the works of Shakespeare – quite possibly the most famous soliloquy in literature. Read Hamlet’s famous soliloquy below with a modern translation and full explanation of the meaning of ‘To be or not to be’.
Be all my sins remembered. The last section of the soliloquy, “To be, or not to be” begins with an epigrammatic idea. Here, the speaker says the “conscience doth make cowards of us all.” It means that the fear of death in one’s awareness makes him a coward.
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In the "To be or not to be" soliloquy, Shakespeare has Hamlet use a wide array of literary devices to bring more power, imagination, and emotion to the speech. Here, we look at some of the key devices used, how they’re being used, and what kinds of effects they have on the text.
The two most iconic moments in the play ― the Act III, scene 1 "To be or not to be" speech and the Act V, scene 1 image of Hamlet contemplating the skull of Yorick – may be linked when the play is remembered, but the two moments occur in different acts of the play.
Hamlet gives his "to be or not to be" soliloquy in act 3, scene 1. This occurs shortly before the players perform the Mousetrap drama which will reenact the murder of Hamlet 's father as...
The monologue communicates Hamlet’s fixation on the play’s primary moral question: whether it is right for Hamlet to avenge his father’s death by killing his father’s suspected murderer, Claudius. The speech also conveys Hamlet’s obsession with the concepts of life (“to be”) and death (“not to be”).
After a few more words about how thinking stops action, Hamlet sees Ophelia and greets her. His greeting, like his soliloquy, is surprising. Ophelia has dumped him, and he has paid her a strange, silent visit that frightened her, but now he says "Nymph, in thy orisons / Be all my sins remember'd" (3.3.89-90).
