Hamlet Quotes
To be, or not to be, that is the question
Hamlet's soliloquy explores his deep internal conflict over existence, suffering, and the morality of action versus inaction, using elevated poetic language and literary devices...
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 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.
Hamlet's soliloquy explores his deep internal conflict over existence, suffering, and the morality of action versus inaction, using elevated poetic language and literary devices to dramatize his psychological and philosophical struggle.
Hamlet's soliloquy, beginning with the iconic line "To be, or not to be: that is the question," is a profound meditation on existence, suffering, and the nature of action versus inaction. The speech is marked by Shakespeare's formal, poetic diction, rich with imagery, metaphor, rhetorical questions, and philosophical musings. Hamlet uses elevated language and perfect iambic pentameter, employing caesura—pauses created by colons and semicolons—to emphasize his deep internal conflict and hesitation. The soliloquy reveals Hamlet's intelligence, introspection, and emotional turmoil as he grapples with the pain of life, the appeal of death as an escape, and the fear of the unknown after death. He questions whether it is nobler to endure life's hardships or to end his suffering, knowing that suicide is considered a sin. This internal struggle is intensified by his sense of duty to avenge his father's murder and his inability to reconcile action with morality. The passage has become synonymous with existential questioning, resonating with audiences for its universal exploration of mortality, meaning, and the human condition. Shakespeare's use of dramatic, intentionally complex language calls attention to Hamlet's psychological state and the broader philosophical dilemmas at the heart of the play.
This above all: to thine own self be true,
Polonius's advice to Laertes is both a sincere call for authenticity and a source of irony, as Polonius himself fails to embody the integrity he espouses. The lines highlight the...
This above all: to thine own self be true,
And it must follow, as the night the day,
Thou canst not then be false to any man.
Polonius's advice to Laertes is both a sincere call for authenticity and a source of irony, as Polonius himself fails to embody the integrity he espouses. The lines highlight the importance of self-honesty as the foundation for honest relationships with others, while also exposing the dangers of hypocrisy and the conflict between personal integrity and societal expectations.
Polonius, in his parting advice to his son Laertes, delivers the memorable maxim: "This above all: to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man." This advice, often cited as a universal truth about the importance of authenticity and integrity, is presented as the highest principle—if one is honest with oneself, honesty with others will naturally follow. The simile "as the night the day" underscores the inevitability of this connection. Polonius's words have resonated through centuries, even echoing in later philosophical works such as Emerson's "Self-Reliance." However, the context of the play adds layers of irony: Polonius, though dispensing wise counsel, is himself often hypocritical, meddling, and fails to live by his own advice. This hypocrisy is further highlighted by his contradictory treatment of his children—while urging Laertes to be true to himself, he instructs Ophelia to ignore her own feelings and obey his commands. The advice stands in contrast to the actions of other characters as well; Laertes, who largely follows this advice, remains open about his intentions, while figures like Claudius and Hamlet are marked by duplicity. The quote thus serves as both a genuine moral touchstone and a commentary on the gap between words and actions, reflecting the play's broader themes of authenticity, appearance versus reality, and the tragic consequences of failing to live with integrity.
How weary, stale, flat, and unprofitable / Seem to me all the uses of this world
Hamlet, overwhelmed by grief and disillusionment, wishes for death but is restrained by religious prohibitions against suicide. His language reveals a longing for escape and...
O, that this too, too sullied flesh would melt,
Thaw, and resolve itself into a dew,
Or that the Everlasting had not fixed
His canon 'gainst self-slaughter! O God, God,
How weary, stale, flat, and unprofitable
Seem to me all the uses of this world.
Hamlet, overwhelmed by grief and disillusionment, wishes for death but is restrained by religious prohibitions against suicide. His language reveals a longing for escape and purification, while also establishing his internal conflict, spiritual ambiguity, and the play's central themes of mortality, futility, and the tension between personal desire and moral law.
In this passage, Hamlet, alone with his thoughts, expresses a profound wish for death, longing for his 'sullied flesh' to melt away and dissolve into dew. The imagery of melting and dew suggests not only a desire for escape from his painful reality but also a yearning for purification and release from the corruption he feels within himself and in the world around him. Hamlet's use of 'sullied' reflects his sense of being tainted by recent events, particularly his father's death and his mother's swift remarriage to Claudius, which he finds deeply disturbing and unnatural. However, Hamlet is acutely aware that suicide is forbidden by religious doctrine—'the Everlasting had not fix'd His canon 'gainst self-slaughter'—and this divine prohibition restrains him from acting on his suicidal impulses. The emotional intensity of the passage is heightened by Hamlet's exclamations and repetition of 'God,' revealing the depth of his despair. Through this soliloquy, Shakespeare provides intimate access to Hamlet's troubled psyche, establishing his indecision, spiritual ambiguity, and the existential crisis that will define his actions throughout the play. The passage introduces major themes such as mortality, the futility of life, the conflict between personal desire and moral or religious law, and the pervasive sense of disillusionment and alienation that Hamlet experiences.
How strange or odd soe'er I bear myself / To put an antic disposition on
Hamlet reveals to his friends that he will pretend to be mad as part of his plan for revenge, making them swear to keep his intentions secret. This introduces the motif of feigned...
Here, as before, never, so help you mercy,
How strange or odd soe'er I bear myself,
As I perchance hereafter shall think meet
To put an antic disposition on,
That you, at such times seeing me, never shall,
With arms encumber'd thus, or this headshake,
Or by pronouncing of some doubtful phrase,
As 'Well, well, we know,' or 'We could, an if we would,'
Or 'If we list to speak,' or 'There be, an if they might,'
Or such ambiguous giving out, to note
That you know aught of me: this not to do,
So grace and mercy at your most need help you, Swear.
Hamlet reveals to his friends that he will pretend to be mad as part of his plan for revenge, making them swear to keep his intentions secret. This introduces the motif of feigned madness, the theme of appearance versus reality, and creates dramatic irony as only the audience and a select few know the truth behind his behavior.
After encountering the ghost of his father, Hamlet confides in Horatio and Marcellus that he intends to feign madness—what he calls putting on an "antic disposition"—as part of his strategy to investigate Claudius and carry out the ghost's command for revenge. He makes his friends swear not to reveal or even hint at his intentions, emphasizing the need for secrecy by warning them not to betray him through words, gestures, or ambiguous remarks. This calculated act of madness serves several purposes: it grants Hamlet the freedom to probe Claudius's guilt without arousing suspicion, allows him to speak and act in ways that would otherwise be considered dangerous, and helps him avoid being seen as a threat. The moment is pivotal, introducing the motif of feigned madness and the theme of appearance versus reality, as Hamlet's outward behavior will mask his true intentions. The ambiguity of Hamlet's sanity becomes a central tension in the play, as his pretense blurs the line between genuine madness and calculated deception. This scene also highlights the atmosphere of distrust in Elsinore, as Hamlet feels compelled to hide his true motives even from those closest to him, and sets up dramatic irony for the audience, who are aware of Hamlet's act while other characters are not.
The play's the thing / Wherein I'll catch the conscience of the King
Hamlet devises a plan to use a staged play to confirm Claudius's guilt, reflecting his need for certainty, his moral hesitation, and the play's broader themes of deception,...
I'll tent him to the quick. If he but blench,
I know my course. The spirit that I have seen
May be a devil; and the devil hath power
T' assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me. I'll have grounds
More relative than this. The play's the thing
Wherein I'll catch the conscience of the King.
Hamlet devises a plan to use a staged play to confirm Claudius's guilt, reflecting his need for certainty, his moral hesitation, and the play's broader themes of deception, performance, and the search for truth.
Hamlet, deeply troubled by the task of avenging his father's murder, is plagued by doubt about Claudius's guilt and the reliability of the ghost's accusation. Fearing that the ghost may be a devil seeking to damn him, Hamlet seeks more concrete evidence before taking irrevocable action. He devises a plan to stage a play that reenacts his father's murder, hoping that Claudius's reaction will reveal his guilt. This moment is pivotal, marking Hamlet's transition from contemplation to action, though his subsequent actions remain fraught with hesitation and tragic consequences. The play-within-a-play not only serves as a literal device to expose Claudius but also mirrors the broader themes of deception, surveillance, and performance that permeate the court. Hamlet's reliance on artifice to uncover truth reflects the play's exploration of appearance versus reality, as well as the motif of entrapment—just as Hamlet seeks to trap Claudius, he himself is ensnared by the schemes of others. This scene encapsulates Hamlet's intellectual complexity, moral caution, and the intricate interplay between reality and performance in the world around him.
Is the main motive of our preparations
Fortinbras is portrayed as a decisive and energetic leader who seeks to reclaim his father's lost honor and lands, highlighting themes of revenge, political instability, and...
Now, sir, young Fortinbras,
Of unimproved mettle hot and full,
Hath in the skirts of Norway here and there
Shark'd up a list of lawless resolutes,
For food and diet, to some enterprise
That hath a stomach in't; which is no other--
As it doth well appear unto our state--
But to recover of us, by strong hand
And terms compulsatory, those foresaid lands
So by his father lost: and this, I take it,
Is the main motive of our preparations,
The source of this our watch and the chief head
Of this post-haste and romage in the land.
Fortinbras is portrayed as a decisive and energetic leader who seeks to reclaim his father's lost honor and lands, highlighting themes of revenge, political instability, and contrasting approaches to action and legacy.
Throughout the play, Fortinbras is depicted as a decisive and action-oriented character, serving as a foil to Hamlet. Early on, Horatio explains that Fortinbras, the son of the slain Norwegian king, is gathering a band of mercenaries—described as 'lawless resolutes'—to reclaim lands lost by his father to Denmark. This characterization paints Fortinbras as impulsive, energetic, and perhaps reckless, willing to use any means necessary to avenge his father's defeat and restore his family's honor. The language used—such as 'unimproved mettle hot and full' and 'shark'd up a list of lawless resolutes'—emphasizes both his youthful impetuosity and the threat he poses to Denmark, contributing to the atmosphere of political unrest and anxiety that pervades the state after King Hamlet's death. Fortinbras's actions highlight themes of revenge, filial duty, and the pursuit of honor, paralleling Hamlet's own struggles but contrasting in their decisiveness. As the play progresses, Fortinbras's military success and eventual arrival in Denmark, marked by a ceremonial 'warlike volley,' signal the end of the old regime and the establishment of a new order. His journey from a potentially reckless avenger to a figure of authority and mercy at the play's conclusion complicates his initial portrayal and underscores the play's exploration of action, legacy, and the consequences of revenge.
Rightly to be great / Is not to stir without great argument
Hamlet, witnessing Fortinbras lead an army to risk their lives for a trivial cause, reflects on his own inaction and questions the value of honor and ambition when they lead to...
Witness this army of such mass and charge
Led by a delicate and tender prince,
Whose spirit with divine ambition puffed
Makes mouths at the invisible event,
Exposing what is mortal and unsure
To all that fortune, death and danger dare,
Even for an eggshell. Rightly to be great
Is not to stir without great argument,
But greatly to find quarrel in a straw
When honor's at the stake. How stand I then,
That have a father killed, a mother stained,
Excitements of my reason and my blood,
And let all sleep -- while, to my shame, I see
The imminent death of twenty thousand men,
That for a fantasy and trick of fame
Go to their graves like beds, fight for a plot
Whereon the numbers cannot try the cause,
Which is not tomb enough and continent
To hide the slain?
Hamlet, witnessing Fortinbras lead an army to risk their lives for a trivial cause, reflects on his own inaction and questions the value of honor and ambition when they lead to senseless violence. This moment intensifies his self-reproach and inspires him to resolve to act.
In this pivotal soliloquy, Hamlet observes Fortinbras leading a massive army to reclaim a piece of land so insignificant it is likened to an "eggshell." Hamlet is struck by the willingness of so many men to risk their lives for a cause that seems trivial, driven by honor, ambition, and the expectations of leadership. He contrasts Fortinbras's decisive action and sense of duty with his own paralyzing hesitation to avenge his father's murder, despite having far greater justification. Hamlet's language is ambivalent: while he tries to use Fortinbras as a model to shame himself into action, he also questions the morality and value of risking lives for pride or fame, describing Fortinbras's ambition as "puffed" and the cause as a "fantasy and trick of fame." The passage critiques the political and cultural norms that glorify war and honor, exposing the senselessness and vanity that can underlie such pursuits. Ultimately, this moment deepens Hamlet's self-reproach and marks a turning point in his resolve, as he grapples with the nature of true greatness, the ethics of action, and the cost of inaction.
Now might I do it pat, now he is praying;
Hamlet hesitates to kill Claudius while he is praying, fearing that doing so would send Claudius's soul to heaven and fail to achieve true revenge. This moment highlights Hamlet's...
HAMLET. Now might I do it pat, now he is praying;
And now I'll do't. And so he goes to heaven,
And so am I revenged. That would be scann'd.
A villain kills my father; and for that,
I, his sole son, do this same villain send
To heaven.
O, this is hire and salary, not revenge!
Hamlet hesitates to kill Claudius while he is praying, fearing that doing so would send Claudius's soul to heaven and fail to achieve true revenge. This moment highlights Hamlet's moral and religious struggle, his introspective nature, and the play's exploration of justice and conscience.
Hamlet finds himself with a clear opportunity to kill Claudius while he is praying, which would fulfill his quest for revenge. However, Hamlet hesitates, reasoning that killing Claudius in a state of prayer would send his soul to heaven, an outcome Hamlet deems unfit as true revenge for his father's murder, since his father died without the chance for confession. This moment reveals Hamlet's deep internal conflict and his preoccupation with the morality and consequences of his actions, particularly concerning the afterlife. Hamlet's reluctance is not just about the act itself, but about ensuring that his revenge is just and complete, reflecting his struggle between the demands of vengeance and his own conscience. This pivotal scene underscores Hamlet's tendency toward overthinking and inaction, as well as the play's broader themes of justice, morality, and the complexities of human motivation. Additionally, Hamlet's hesitation can be seen as a retreat into the melancholy and paralysis that have plagued him since learning of his father's murder and the corruption in Denmark.
But I have that within which passeth show
Hamlet insists his grief is genuine and not just outward show, contrasting his deep sorrow with the superficial displays of others and introducing the play's central concern with...
Good Hamlet, cast thy nighted color off,
And let thine eye look like a friend on Denmark.
Do not for ever with thy vailed lids
Seek for thy noble father in the dust.
Thou know'st 'tis common. All that lives must die,
Passing through nature to eternity.
Ay, madam, it is common.
If it be,
Why seems it so particular with thee?
Seems, madam? Nay, it is. I know not seems.
'tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye,
Nor the dejected havior of the visage,
Together with all forms, modes, shapes of grief,
That can denote me truly. These indeed seem,
For they are actions that a man might play;
But I have that within which passeth show,
These but the trappings and the suits of woe.
Hamlet insists his grief is genuine and not just outward show, contrasting his deep sorrow with the superficial displays of others and introducing the play's central concern with the difference between appearance and reality.
Hamlet's exchange with his mother reveals the depth and authenticity of his grief following his father's death and his mother's swift remarriage. While Gertrude urges Hamlet to move on, suggesting that mourning is a common experience, Hamlet pointedly distinguishes between genuine sorrow and its outward display. He insists that his mourning is not merely a matter of wearing black or displaying visible signs of sadness—actions that could be easily performed by anyone, even an actor—but is instead a profound internal reality. This contrast not only highlights Hamlet's sincerity but also serves as a veiled criticism of his mother's apparent lack of genuine feeling. The passage introduces the central theme of appearance versus reality, as Hamlet expresses disdain for superficiality and the performative nature of the Danish court. This moment foreshadows the play-within-the-play, where Hamlet uses performance to expose hidden truths, and sets the stage for his ongoing struggle to discern authenticity in a world rife with deception and pretense.
The serpent that did sting thy father's life / Now wears his crown
The Ghost reveals to Hamlet that Claudius murdered his father and now rules Denmark, using serpent imagery to evoke themes of deception, moral decay, and the loss of innocence....
Now, Hamlet, hear.
'tis given out that, sleeping in mine orchard,
A serpent stung me. So the whole ear of Denmark
Is by a forged process of my death
Rankly abused. But know, thou noble youth,
The serpent that did sting thy father's life
Now wears his crown.
The Ghost reveals to Hamlet that Claudius murdered his father and now rules Denmark, using serpent imagery to evoke themes of deception, moral decay, and the loss of innocence. This revelation drives Hamlet's quest for revenge and highlights the play's central conflicts of truth, corruption, and the struggle between personal values and duty.
In this crucial moment, the Ghost reveals to Hamlet that his father was not killed by a snake, as the public believes, but was instead murdered by Claudius, who now sits on the throne. The Ghost's use of the serpent metaphor alludes to the biblical story of the Garden of Eden, casting Claudius as a Satanic figure whose deception and evil have corrupted the Danish court, turning it into a fallen paradise. This allusion not only frames Claudius as the embodiment of moral decay but also implicates Gertrude, likening her to Eve and suggesting a broader corruption that has overtaken Denmark. The motif of ears and hearing underscores the theme of misinformation and the spread of lies, as the entire nation has been misled about the true cause of King Hamlet's death. The Ghost's command for Hamlet to seek revenge propels the plot and introduces a profound internal conflict: Hamlet must reconcile his Christian and humanist values with the demand for vengeance. This tension explains Hamlet's subsequent behavior—his feigned madness, his hesitation, and his elaborate schemes to confirm Claudius's guilt. Ultimately, the Ghost's revelation sets the stage for the play's exploration of revenge, betrayal, appearance versus reality, and the necessity of purging corruption to restore order.
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