Hamlet gives us seven soliloquies, all centered on the most important existential themes: the emptiness of existence, suicide, death, suffering, action, a fear of death which puts off the most momentous decisions, the fear of the beyond, the degradation of the flesh, the triumph of vice over virtue, the pride and hypocrisy of human beings, and the difficulty of acting under the weight of a thought ‘which makes cowards of us all’. He offers us also, in the last act, some remarks made in conversation with Horatio in the cemetery which it is suitable to place in the same context as the soliloquies because the themes of life and death in general and his attitude when confronted by his own death have been with him constantly. Four of his seven soliloquies deserve our special attention: ‘O that this too sullied flesh would melt’, ‘O what a rogue and peasant slave am I!’, ‘To be, or not to be, that is the question’, and ‘How all occasions do inform against me’.

Readings of these soliloquies are varied and diverse. However, three remarks are in order:
1. The density of Hamlet’s thought is extraordinary. Not a word is wasted; every syllable and each sound expresses the depth of his reflection and the intensity of his emotion. The spectator cannot but be hypnotized.
2. The language is extremely beautiful. Shakespeare was in love with words. His soliloquies are pieces of pure poetry, written in blank verse, sustained by a rhythm now smooth, now rugged, by a fast or a slow pace, offering us surprises in every line.
3. The soliloquies are in effect the hidden plot of the play because, if one puts them side by side, one notices that the character of Hamlet goes through a development which, in substance, is nothing other than the history of human thinking from the Renaissance to the existentialism of the twentieth century.

1. ‘O that this too sullied flesh would melt’ (Act One, Scene Two)
The Hamlet of the first soliloquy is an outraged man who, disgusted by his ‘sullied flesh’, can see no outcome to his disgust other than death. To free himself from the grip of his flesh he must put an end to his life. But there is the rub: God, the Everlasting, he tells us, does not allow one to act in this way. God still rules the universe and Hamlet must obey his strictures.

2. ‘O all you host of heaven’ (Act One, Scene Five)

3. ‘O what a rogue and peasant slave am I!’ (Act Two, Scene Two)
Some actors, including the very best, believe that the most beautiful soliloquy is that which comes at the end of Act Two, immediately after the first discussion between Hamlet and the travelling players. Here Hamlet is enraged, furious and rude. He lays himself, we feel, totally bare. He is no fool however. Recovering his spirits he devises a plan which will lead the king to betray himself. This is Shakespeare at the height of his theatrical prowess, stamping Hamlet’s language with relentless changes in tone, the peaks of rage inter-cut with short moments of profound depression or of incredulous questioning.

4. ‘To be, or not to be, that is the question’ (Act Three, Scene One)
In the first soliloquy Hamlet submits to rules and prohibitions; in the second he imagines and rationalises and decides to remain in the world, for the moment at least. But he goes much further. Throughout the final act he pictures the final scene. There, where another dramatist would have given the dying Hamlet a long discourse on death, Shakespeare has Hamlet say just a few words of disconcerting simplicity, ‘the rest is silence’, precisely because Hamlet has already said everything before.

5. ‘Tis now the very witching time of night’ (Act Three, Scene Three)

6. ‘And so a goes to heaven’ (Act Three, Scene 3)

7. ‘How all occasions do inform against me’ (Act Four, Scene Four)
The other two soliloquies are memorable because they reveal all the passionate nature of Hamlet’s personality. Observing young Fortinbras and his army on their way to conquer Poland-’an eggshell’, ‘a wisp of straw’-Hamlet, on the edge of despair, asks himself why he, when he has so many reasons, cannot stir himself to action, why he cannot carry out the necessary act of vengeance. Why? Why? The last lines of Act Four are very revealing: