Hamlet's Soliloquy Research Articles

Understanding Hamlet's Delay Through Munir's Words: Comparative Analysis of 'To be, or not to be: that is the Question', and Munir Niazi's Poem: 'Hamaisha Dair Kar Dayta Hoon'

This article explores to understand Hamlet's delay through similarities of action by analyzing Hamlet's soliloquy: To be, or not to be: that is the question: and Munir Niazi's poem 'Hamaisha Dair Kar Dayta Hoon'. The qualitative study unfolds Hamlet, a visualized character, and Munir Niazi, Urdu and Punjabi poet, as two intellectually active personalities having an intensity of feelings coupled with action found in both the literary pieces, which ultimately shed light on their philanthropic and humanitarian nature as individuals. The study also exposes that both the personalities have a synonymous characteristic; action manifested through inaction found in the soliloquy: 'To be or not to be is the question of life...' and 'Hamaisha Dair Kar Dayta Hoon', by revealing that both are though philosophical but full of worries about benighted future if action taken goes wrong and both the utterances predict a commitment to action, but that is to be taken honourably.

A cognitive poetic analysis of LIFE and DEATH in English and Ukrainian: a multiple-parallel-text approach to Hamlet's soliloquy

The article zeroes in on the discrepancy between the verbalization of life and death in Hamlet’s soliloquy ‘To be or not to be’ in the English version and three Ukrainian ones. The Multiple-Parallel Text-based analysis shows that the conceptual metaphors living is existing, dying is not existing, death is sleep, death is a country, death is a journey and life is a burden reconstructed from the original have been largely left intact in the translations. However, we find that the actual verbalization and conceptualization in the two languages are highly culture-specific and that the versions exhibit great inter- and intra-language variations.

Suicide risk assessment: myth and reality.

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; … Hamlet, III i Hamlet's soliloquy is surely the most famous expression of suicidal ideation in English literature. However, by the end of the play, it is not Hamlet, but Ophelia who has taken her own life, even though she gave no prior hint of self-destruction.

To Scope or Not to Scope? A Doctored Version of Hamlet's Soliloquy

1Division of Gastroenterology & Hepatology, William Beaumont Hospital, Oakland University-William Beaumont School of Medicine, Royal Oak, Michigan, USA Correspondence: Mitchell S. Cappell, MD, PhD, Division of Gastroenterology & Hepatology, William Beaumont Hospital, MOB 233, 3535 West Thirteen Mile Road, Royal Oak, Michigan 48034, USA. E-mail: [email protected]

Removal of laryngeal mask airway: awake vs anesthetized

Anesthesiologists have been debating on the timing of tracheal extubation (removal of laryngeal mask airway, laryngeal tube, etc.) in children on whether the extubation has to be done while the children are anesthetized or awake. Some studies have shown that removal of airway devices in an anesthetized state was accompanied by less minor respiratory complications such as coughing, hypersalivation and desaturation than in awake [1]. However, the upper airway obstruction after the removal of airway devices in the anesthetized state remains as a potential life-threatening risk. Kim et al. [2] suggest in this month's edition that the use of caudal block may be a solution in lowering both minor and major complications. The laryngeal mask airway was designed originally to be placed within the mouth until the return of protective airway reflexes. However, in clinical practice, it is true that many anesthesiologists have not always followed this rule [1]. Caudal block is one of the most frequently used regional blocks in pediatric patients. This technique provides postoperative analgesia after infraumbilical operations as an adjunct to general anesthesia. Neuraxial anesthesia has been reported to have direct sedative properties and to markedly reduce the amount of hypnotic agents required for general anesthesia. The assumptive mechanism includes decrease in the general anesthetic demand by blocking the pain from surgical site and suppressing movement in response to a noxious stimulus [3]. Kim et al. [2] have also shown that the apparently separate two anesthetic procedures- removal of laryngeal mask airway and caudal block, could be clinically associated. However, there are several points to be taken into consideration. Firstly, it seems somewhat unethical to observe that there is significant difference in managing the postoperative pain between the two groups, considering that there was nothing done in the control group comparable to the caudal block. Secondly, since they have already showed that laryngeal mask airway removal could be accomplished without coughing, moving, or any other airway complication at 1.8% end-tidal sevoflurane concentration in 50% of anesthetized children in their previous article, the need for control group appears questionable [4]. Thirdly, this paper is deficient in delineating the level of the caudal analgesia that is truly blocked in the children. Despite the existing difficulties of checking the truly blocked level, it could have been checked right after the extubation. In addition, use of various concentrations or volume of the local anesthetics for caudal blocks may have strengthened the author's opinions. Finally, there is a need to conduct such studies by recruiting a number of patients as it could bring in a drastic understanding and methodological changes in anesthesiologists. To be conservative or not, that is not only Hamlet's soliloquy. It is difficult for clinicians to change their concepts, traditions and practices based on a single published literature. The efforts of Kim et al. [2] have helped us by providing a new strategy in an effort to increase safety in removing the laryngeal mask airway.

Roadmap to Success

Roadmap to Success Antoinette Winstead A Fortunate Life. Robert Vaughn. Thomas Dunne, 2008. 336 pages; $26.95. Robert Vaughn's wonderfully crafted autobiography, A Fortunate Life, serves as a historical record of not only his life, but also of some of the most exciting and turbulent times in American history. More over, his story provides a subtle yet remarkable roadmap to success. A tale of determination, perseverance, and dedication, Vaughn paints a picture that appears simple, yet, on closer inspection, proves to be a masterpiece of intricately woven detail, gracefully and cleverly [End Page 90] camouflaged as serendipity. Of course, one might consider Vaughn's beginnings serendipitous, having been born into a family of actors. However, unlike his favorite character Hamlet, no vagaries or indecisions mar the path Vaughn craved for himself. It is quite apparent from his recollections that he consciously decided his life's ambition and then doggedly pursued it. The story of his determination to be an actor unfolds in Chapter One, "Hamlet and Me," where he reveals how he was bitten "by the acting bug" at the tender age of four when his mother, Lucy Seward, taught him to recite Hamlet's soliloquy, "To Be or Not To Be." This early introduction to the Bard led him to pursue a career not only in theater, but also in radio, television, and film, culminating in his best-known role as the star on the television hit, The Man From U.N.C.L.E. His determination is further elucidated in Chapter Two, "Discovering Life in Murphy Bed," where in he writes about pursuing his dream by making a permanent move to Los Angeles to both attend college and become a Hollywood actor. Chapters Three through Seven explore his early years in Hollywood and his relationships with various actors, including his long-standing friendship with Natalie Woods, which he details in Chapter Three, "From Jew in a Jockstrap to Natalie's Beau." In this chapter, he also explains how his tenacious pursuit of his life's ambition landed him a role in The Ten Commandments, which opened the floodgates to other roles, eventually leading to his breakout performance in The Young Philadelphians (1959) for which he garnered an Oscar nomination for best supporting actor. The picture he paints seems straightforward, but in Chapters Four through Six, he details, somewhat lightheartedly, how he prepared himself for success through the constant study of his craft. Always positive in his recollections, he also discusses being drafted into the army in 1956, which he presents as a mere bump in the road on his journey to success. Upon careful reading, these three chapters unfold as a practical guide on how to succeed in Hollywood —and in life, for that matter —despite any obstacles placed in one's way. And succeed Vaughn did when he landed the role of "Napoleon Solo" on NBC's The Man From U.N.C.L.E. in 1963, solidifying his place in analogues television history, which he details in Chapter Seven, "Going Solo." With the exception of the last chapter, Thirteen, titillatingly and misleadingly titled, "If You'll Put Your Head Between Marisa's Legs . . ." the remaining five chapters of Vaughn's autobiography, Chapters Eight through Twelve, serve as an historical record of the turbulent years of the 1960s where in Vaughn describes his involvement with the antiwar movement. He also details his personal relationships with Bobby Kennedy and Allard Lowenstein; his "undecided" debate with William F. Buckley; and his brief encounters with both Dr. Martin Luther King Jr. and President Johnson. In addition, he gives a full account of his harrowing experience in Prague during the USSR invasion in 1968. However, the most interesting and intriguing of these historical chapters is Chapter Twelve, "Still Unsolved?" In this chapter, Vaughn presents evidence, gathered through several reliable sources, which points to a possibility of conspiracy in connection to the assassination of Bobby Kennedy. Though merely a theory, it nonetheless opens the door to many unanswered questions that Vaughn shamelessly calls to attention, bringing into focus Vaughn's unabashed, fearless determination to stand for right even if it means being the only one to do so, as illustrated when...

McGuffey's Oxford (Ohio) Shakespeare

James Fenimore Cooper regarded Shakespeare as “the great author of America.” For most frontier readers, this distinctly American Shakespeare was disseminated within the pages of the ubiquitous McGuffey Rhetorical Readers, and Hamlin Garland speaks for several generations across the Ohio frontier when he writes, “I got my first taste of Shakespeare from the selected scenes which I read in these books.” This Oxford (Ohio) canon draws generously from the Roman and English history plays, including scenes from the surprisingly popular King John and Henry VIII, and students were encouraged to memorize, and read aloud, classic orations such as “Antony's Oration over Dead Caesar's Body” and “Henry V. to His Troops.” The tragedies were most frequently represented by “The Hamlet Soliloquy,” and the more problematic comedies were virtually ignored, with the exception of brief appearances by a much sanitized John Falstaff. By the close of the century, the McGuffey canon had contributed to an American belief in Shakespeare's authority as second only to the Bible's, a point of view reflected in Emerson's judgment that Shakespeare is “inconceivably wise.”

A 'Sea of Troubles' and a 'Pilgrimage Uncertain' / Dial Of Princes as the Source for Hamlet's Soliloquy

SCHOLARS have known since the nineteenth century that William Shakespeare often made free use of the images and phrases found in Thomas North's translation of Plutarch's Lives. As George Wyndham wrote in the preface to North's magnum opus: ‘Shakespeare … not only copies North's picture, he also uses North's palette.’1 Wyndham then showed that many passages, like Shakespeare's description of Cleopatra's voyage up the Cydnus and Volumnia's climactic speech to Coriolanus, overflow with phrases taken directly from Plutarch's Lives. Shakespeare also appears to have studied North's translation of Dial of Princes (1557) by Antonio de Guevara and turned to its speculations on death when penning Hamlet's famous soliloquy. Chapters XLVIII–LII and LVII of Dial of Princes devote themselves almost exclusively to meditations on mortality, but the most relevant passages are: (i) the successive discussions of death by Secundus and Seneca (chapter XLVII); (ii) Panutius's oration to the dying Marcus Aurelius (chapters L, LI); and (iii) Aurelius's response to these mortal reflections just before he died (chapter LVII). Scholars who peruse these sections will not only find precisely the same philosophical viewpoint as that expressed by Hamlet, they are likely to read many comments that seem eerily familiar. For example, in chapter XLVII, Secundus refers to death as a ‘kind of sleeping …, a pilgrimage uncertain’ and, in the next paragraph, Seneca observes, ‘for of all those which are dead none returned.’2 This is reminiscent of Hamlet's notable description of death as a kind of sleeping and an ‘undiscover’d country, from whose bourn / No traveler returns (3.1.79–80).3 Similarly, while Panutius, in chapter LI, describes death as way to escape ‘the assaults of life and broils of fortune’,4 Hamlet, of course, refers to it as a way to escape ‘the slings and arrows of outrageous fortune’. Dial of Princes also includes the phrases ‘sea of troubles’, ‘of so long life’, and, in one sentence, places forms of the words sleep, perchance, and dream in proximity. The following table provides a list of a few of the resemblances between the soliloquy and Dial of Princes (emphasis occasionally added):

2B or Not 2B

Shakespeare's famous line from the play Hamlet focuses our attention on one the most important strategic decisions for most firms today. It's almost as if Shakespeare knew of the dilemma faced by a company trying to decide whether to participate in today's business to business (B2B) marketplace exchanges. As Prince Hamlet's soliloquy (Hamlet, Act 3, Scene 1) goes:

Persona and performance: the meaning of role in drama, therapy, and everyday life

Preface. A journeyer to the spiritual mount. 1. The Origins of Role. Hamlet's soliloquy and the paradox of drama Role ambivalence The origins of role in drama/theatre The origin of role in the social sciences The origin of role in art and literature From role metaphor to role concept. 2. The Development of Role. The human being as role recipient The human being as role-taker The human being as role-player The role system. 3. The Drama Therapy Role Method. The invocation of the role The naming of the role The playing out/working through of the role Exploring alternative qualities in sub-role Reflecting upon role-play: discovering role qualities, functions and styles inherent in the role Relating the fictional role to everyday life Integrating roles to create a functional role system Social modeling. 4. The Case of Michael. The treatment: Beginnings The three bears The Lawyer Black rage The boy who learned to burn Fathers and sons The judge and the raincoat The mask of the actor The critic The blind girl An integration. 5. The Case of Michael Part II. The kiss The wooden clogs and the rubber boots The marriage proposal The glass heart Bugs More glass Me vida abajo (My life down there) The confused searcher The beat of black wings My father's body Mickey and Jake: you dream at your own risk Victor/victim The ring Postscript. 6. The Case of Hansel and Gretel: An Example of a Drama Therapy Group. Implications of the role method for diagnosis Evaluation. 7. Role in Everyday Life. Role type and archetype Somatic roles Cognitive roles Affective roles Social/cultural roles Spiritual roles Aesthetic roles. 8. A Taxonomy of Roles: Building a Theatrical Archetype System. The form of the taxonomy: The taxonomy of roles. 9. The Taxonomy: Cognitive and Affective Domains. Domain: cognitive Domain: affective. 10. The Taxonomy: Social Domain Domain: social. 11. The Taxonomy: Spiritual and Aesthetic Domains. Domain: spiritual Domain: aesthetic The use and significance of the taxonomy. 12. Conclusion. References. Appendix.

The Mayo Legacy in Medical Education

The Mayo Legacy in Medical Education

Chaos as Orderly Disorder: Shifting Ground in Contemporary Literature and Science

MAGINE THAT YOU are in bowels of a computer, and a sequence of ones and zeros floats by. Without knowing anything about program, you have no way of knowing whether you have just seen a portion of Manhattan telephone directory, number 1,456, or be or not to be. At this level all information, whether G6del's Theorem or Hamlet's soliloquy, exists in same form. Carry fantasy a step further and imagine that computer itself, along with you, could also be specified by sequences of ones and zeros. We are now close to world of Edward Fredkin, who asserts the basic stuff that everything is made of is information.' A professor at MIT who works at intersection of physics and computer science, Fredkin believes that fundamental structure of both matter and energy can be reduced to flows of information. To Fredkin world is quite literally a text, a physical embodiment of informational markers. There was a time when Fredkin's views would have

The wave logic of consciousness: A hypothesis

A physical model is proposed for volitional decision making. It is postulated that consciousness reducesdoubt states of the brain into labels by a quantum-mechanical measurement act offree choice. Elementary doubt states illustrate analogical encodement of information having “insufficient resolution” from a classical viewpoint. Measures ofcertitude (inner conviction) and doubt are formulated. “Adequate propositions” for nonclassical statements, e.g., Hamlet's soliloquy, are constructed. A role is proposed for the superposition principle in imagination and creativity. Experimental predictions are offered for positive and negative interference of doubts. Necessary criteria are made explicit for doubting sense information.Wholeness of perception is illustrated using irreducible, unitary representations ofn-valued logics. The interpreted formalism includes nonclassical features of doubt, e.g., scalor representations for imprecise propositions and state changes due to self-reflection. The “liar paradox” is resolved. An internal origin is suggested for spinor dichotomies, e.g., “true-false” and “good-bad,” analogous to particle production.

To Sleep, Perchance to Dream...

SHAKESPEARE'S musings about death in Hamlet's soliloquy encapsulate man's concerns through the ages with this most compelling topic. Such questions as "What does it feel like?" and "Is there a heaven and hell, where one can reunite with lost friends and family?" have bothered ecclesiastics and laymen alike throughout history and have been generally recognized as unanswerable. While heaven is thought of as a pleasant place, death itself is usually considered a painful state—a person is "cold in the grave," for example—and attempts are made to make the corpse as comfortable as possible, both in the grave and during the journey to an afterworld. Thus, the ancients placed food in the tomb, while modern man may bury someone in a silk-lined casket with an innerspring mattress.¹Heaven becomes a reward for both the suffering of living and the pain of being dead. The idea of returning from death has

Slins and arrœs*

ReadingVolume 6, Issue 1 p. 20-26 Slins and arrœs* JOHN DOWNING, JOHN DOWNINGSearch for more papers by this author JOHN DOWNING, JOHN DOWNINGSearch for more papers by this author First published: March 1972 https://doi.org/10.1111/j.1467-9345.1972.tb00913.x † * These extracts from the i.t.a. transliteration of Hamlet's soliloquy are from the anthology of English literature printed in i.t.a. in Downing (1964). AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume6, Issue1March 1972Pages 20-26 RelatedInformation

The Player's Speech in Hamlet

6`4RROFESSOR Dover Wilson, in his edition of Hamlet, writes of Player's speech in Act II, scene ii, Critics are agreed neither upon purpose of episode ... nor whether Shakespeare himself approved of Pyrrhus speech.' Discussion of speech is by now voluminous, and ranges from Dryden's What a pudder is here kept in raising expression of trifling thoughts to Coleridge's the lines, as epic narrative, are superb. In thoughts, and even in separate parts of diction, this description is highly poetical. A. C. Bradley made a masterly survey of problems in Note F appended to his Shakespearean Tragedy, and showed that Shakespeare could hardly have intended speech to be taken other than seriously. The question still needs to be asked, what function does speech have in play? In following pages I shall try to suggest an answer to this question. It is important to examine speech in context of episodes from Hamlet's O Jephtha Judge of Israel, what a treasure hadst thou! to end of scene. Though difficulty of this section is mainly that of function of Player's speech, additional obscurities are present in sudden transitions from Jephtha to Dido and Aeneas, to Pyrrhus and Priam, and to plan to present Gonzago play. The only obvious and natural transition is that from tears in player's eyes to first half of Hamlet's soliloquy. Yet movement of thought in whole passage can be made clear if we bring to light submerged links between each section. There is no doubt that plan to present Murder of Gonzago, which is mooted immediately after Player's speech, and explained in Hamlet's soliloquy, is a deliberate use of device of a mirror. In murder of Gonzago, Claudius is to recognize a representation of his own guilty deed. But not only does this section end with planning of a mirror that will reflect original crime; it begins with dramatically ironic mirroring of Polonius and Ophelia in Biblical story of Jephtha and his daughter. Here Hamlet's apparent madness has method in it. He invites Polonius to identify himself with JephthaAm I not i' right, old Jephtha? and Polonius, interpreting in terms of his theory of cause of Hamlet's melancholy, accepts parallel: If you call me Jephtha, my lord, I have a daughter that I love passing well. Hamlet then attempts to direct Polonius' attention to literal sequence of ballad lines, pointing to Jephtha story as one having significance for Polonius, the first row of pious chanson will show you more. This episode is a cryptic warning to Polonius in terms of Biblical story of Jephtha and his daughter. It

Hamlet's Soliloquy and American Loyalty

Hamlet's Soliloquy and American Loyalty

Hamlet's Soliloquy

Research Article| March 01 1946 Hamlet's Soliloquy George L. Barnett George L. Barnett Search for other works by this author on: This Site Google Modern Language Quarterly (1946) 7 (1): 57–60. https://doi.org/10.1215/00267929-7-1-57 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation George L. Barnett; Hamlet's Soliloquy. Modern Language Quarterly 1 March 1946; 7 (1): 57–60. doi: https://doi.org/10.1215/00267929-7-1-57 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsModern Language Quarterly Search Advanced Search The text of this article is only available as a PDF. Copyright © 1946 by Duke University Press1946 Article PDF first page preview Close Modal Issue Section: Articles You do not currently have access to this content.

The Meaning of Hamlet's Soliloquy

Many scholars have found in Hamlet's soliloquy beginning “To be, or not to be” the crux of the drama. Those who, like the Romantic critics, have interpreted the play as a struggle between Hamlet's determination to avenge his father and his inhibiting propensity to over-subtle philosophizing have felt that here, more clearly than anywhere else, he is exposing his malady: over-delicate sensibility and a love of intellectual hair-splitting which absorb energy that should have gone into decisive action. Such critics point for further confirmation to the soliloquy at the end of Act ii, in which Hamlet contrasts his own lethargy (in language far from lethargic) with the deep histrionic passion of the player who has just recited for him, and to the later soliloquy (iv. iv), in which he certainly does quite roundly chide himself for procrastination, while he confesses to have had “cause, and will, and strength, and means, / To do't.”

Hamlet's soliloquy

Hamlet's soliloquy Get access Ed.. Marshall Ed.. Marshall Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume s6-VI, Issue 141, 9 September 1882, Page 216, https://doi.org/10.1093/nq/s6-VI.141.216d Published: 09 September 1882