Performing Arts: Hamlet

Throughout William Shakespeare's Hamlet, the author's utilization of soliloquies aides in developing the protagonist's character. In Hamlet's soliloquy found in Act II, Scene II, Shakespeare's choice of words and imagery reveal his struggle to act with certainty. Furthermore, Hamlet's contemplative and philosophical disposition is evident in his marrying of thought with action; a characteristic that is not so much seen in his contemporaries. Finally, Hamlet's resolution in proclaiming, “The play's the thing…” (591) exposes a logical intellect that often appears to vanish in the company of others. Thus, Hamlet's second soliloquy provides the audience with an opportunity to observe the main character as he would act uninhibited by the presence of other characters. The diction and imagery of the said passage portray Hamlet as a passionately natured young man, attempting to fuse reason and philosophy in order to discover a certain truth pertaining to the mysterious death of his father (Foakes, 54-61).

Hamlet's self criticism runs rampant in his second soliloquy, exposing his strife with the impossibility of certainty. In fact, he begins this soliloquy by exclaiming that he is a “rogue” (533) and “peasant slave” (533). Hamlet believes himself to be a low-life and a vagrant- quite a paradoxical assertion for a noble prince. He slanders his own name, labeling himself as “pigeon-liver'd” (562) and proclaiming that he “lack gall” (562). This self-induced verbal abuse reveals a certain disgust that Hamlet feels for being unable to act with unwavering certainty. For this reason, Hamlet both respects and resents the player he encounters prior to his soliloquy. The young prince admires the actors talent and passion, painting a vivid picture of a man whose soul has been torn to the core with “his visage waned” (337), “tears in his eyes” (338), and “a broken voice” (339) among other attributes. Yet, Hamlet also shows a sense of indignation towards this player, for he is able to summon up so great a passion for someone that is of no value to him while Hamlet cannot stir to action over his dearly departed father. He questions how the actor would respond had he the same “inspiration” that burdens Hamlet, concluding the player would “drown the stage with tears/ and cleave the general ear with horrid speech” (545-546). Hamlet, then ponders how his motivation would arouse so great an emotion in one man but lies dormant in himself. Thus any indignation Hamlet has for ...