To Be or Not

Episode 230.  To Be or Not 

Episode 230 continues an examination of Chronos time and Kairos times through an examination of Hamlet’s “to be or not to be” soliloquy from Shakespearae’s Hamlet.  Special attention is paid to Hamlet’s decision NOT to act - that waiting for Kairos - or the right moment to make a decision - is a decision in itself - and Hamlet ends up being the story of a man who cannot make up his mind.

Transcript

https://www.youtube.com/watch?v=errvrs6CICk

Welcome to Celebrate Poe - Episode 230 - To Be or Not

When I was a little boy, my parents told me that we were going on the train - my father was a railroad conduction and got free train tickets - to see Richard Burton in Shakespeare’s Hamlet on Broadway.  Of course, at the time, I was bored to tears by the play, and was far more excited by the train ride to New York.  I thought the play would never end - so you can imagine my feelings at the   end of Act One that there was another full act to come.  It seemed to last forever.  But when Richard Burton gave the “to be or not to be,” soliloquy, I felt chills going up and down my spine - even as a kid.  Of course, at the time, I had no idea that I was in the presence of
greatness.

My original intention was to look at the use of various concepts of time in some of Shakespeare’s plays - and while there is no direct evidence to suggest that William Shakespeare was explicitly familiar with the Greek terms "Chronos" and “Kairos," Shakespeare's extensive knowledge of classical literature, including works by ancient Greek and Roman authors, is well-documented.  By the way, the term Kairos is pronounced Kayros - kinda like you are starting to say Cairo.  But I have heard the word Chronos pronounced as Crownos and Chronos - and I think I have used both pronunciations in this podcast,   But the correct way to pronounce CHRONOS is crownos - think of the black bird crownos.  I will try to stick to that one.

Shakespeare lived during the Renaissance, a period marked by a revival of interest in classical learning. The works of ancient Greek and Roman writers were studied and translated during this time. While the direct use of the terms "Chronos" and "Kairos" in Shakespeare's plays or writings is not evident, the concepts represented by these terms were certainly part of the intellectual environment of the Renaissance.

MUSICAL BRIDGE

Now I am an interpreter for the deaf who specializes in interpreting Shakespeare in American Sign Language - and I think it might be very helpful to at least talk about the thought process behind signing “to be or not to be” for the deaf - just the first 10 words, not the entire solioquy.   Now in American Sign Language or ASL, the vocabulary is naturally different because you are using a different language - in fact there are no ASL words for “to be or not to be, that is the question” - of course, how you sign it the line depends on your interpretation of the concepts - so I sign the sign for  “Life” to signify “to be” on one side of the body - then “death” on the other side of the body to signify “not to be” - followed by “which” signifying that this is a choice or decision that the actor is contemplating - and the sign for “which” shows that a choice is being made.  In other words, I believe the soliloquy delves deeply into a contemplation of life and death, and is an exploration of existence.

And furthermore, when analyzing this soliloquy through the lens of chronos and kairos, two distinct concepts of time, we can uncover deeper layers of meaning within Hamlet's introspection.

As I hope you know by now, Chronos refers to chronological or sequential time, the measurable and linear progression of events. In the soliloquy, Hamlet contemplates the hardships and struggles that come with life, portraying a sense of enduring time and the burdens it carries. An example of chronos are the lines in when Hamlet reflects on the troubles that individuals face throughout their lives, such as "The slings and arrows of outrageous fortune.” This seems to highlight the ongoing challenges that people encounter over time.

Kairos, on the other hand, represents an opportune moment or a qualitative aspect of time, emphasizing the significance of the present moment. Within the soliloquy, Hamlet grapples with the idea of seizing an opportunity for change or action. An instance of kairos can be seen when Hamlet ponders whether it is nobler to endure life's struggles or to take action against them, contemplating the opportune moment to make a decision that could alter his fate.

The problem is - and we see this over and over in the play - is that Hamlet cannot decide the right time to act or make a decision.  And by NOT making a decision, he is, in essence, made a decision.

Hamlet seems to be always wrestling with doubt and the desire for absolute certainty before taking action.  Unfortunately, Hamlet’s indecision allows Claudius to solidify his power and potentially plot against Hamlet. This reinforces the importance of recognizing and seizing Kairos moments when they arise. And I am sure that we have all put off making a decision until what we feel is exactly the right moment - only to find that the time for effective action has passed.

In other words, Hamlet seeks a Kairos moment, a moment of perfect timing and absolute proof of Claudius's guilt. This internal struggle between the pressure of immediate action (Chronos) and the search for the right moment (Kairos) drives much of the play's conflict.

Other examples of chronos time in Hamlet's "To Be or Not To Be" soliloquy (though they may not seem specific at first) can be found in his reflections on the enduring struggles and challenges of life that happen regularly. For instance, when Hamlet mentions "The slings and arrows of outrageous fortune" in the soliloquy, he is alluding to the ongoing adversities and misfortunes that individuals face throughout their lives

Some scholars believe that this reference encapsulates the idea of chronos time by highlighting the continuous nature of life's hardships and the enduring burden they impose on individuals as they navigate through life.
Another example of chronos in the soliloquy is when Hamlet contemplates the "whips and scorns of time," emphasizing the relentless passage of time and its impact on individuals as they endure the trials and tribulations that inevitably come with it - and during Shakespeare’s time those trials and tribulations seemed to occur like clockwork.

The structure of Hamlet’s "To Be or Not To Be" speech, is characterized by a unique and reflective form that delves deep into existential contemplation. Many critics believe this soliloquy stands out as atypical compared to other monologues in Shakespeare's works as it is entirely dedicated to introspection and reflection

The soliloquy is a moment of deep reflection for Hamlet, where he contemplates the fundamental questions of life and death. It is devoid of direct action or interaction with other characters, focusing solely on Hamlet's internal musings.

And unlike typical soliloquies that provide answers or insights into the character's motives, Hamlet's soliloquy spreads doubts rather than offering clarity. The doubts and uncertainties expressed by Hamlet even extend to the audience - both in audiences during Shakespeare’s time, as well as modern audiences - creating a sense of questioning and doubt .
Hamlet's thoughts unfold gradually in a process of seeking, reflecting, and associating ideas. The opening line, "To be, or not to be," sets the tone for a series of contemplations and questions that continue throughout the soliloquy.

Various grammatical structures are employed in the soliloquy, including a series of infinite forms like "to suffer," "to take arms," "to say," "to lie," "to sleep," among others. These structures contribute to the deliberative and contemplative nature of Hamlet's speech

The soliloquy delves into such themes as the struggle between existence and non-existence, the burdens of life, the fear of the unknown after death, societal injustices, and the complexities of human existence.

Overall, the structure of Hamlet's soliloquy in the "To Be or Not To Be" speech is characterized by its reflective nature, lack of resolution, sequential thought process, use of diverse grammatical structures, and exploration of profound existential themes.

Most critics believe that the purpose of Hamlet's soliloquy in the play is multifaceted and essential to the development of the character, the plot, and the overall atmosphere of the play for a variety of reasons.  Hamlet actually has seven soliloquies in the play, but it is generally felt that the “to be or not to be” soliloquy is the most important in his development.  And many of the characteristics of the other six soliloquies are also reflected
In the “to be or not to be” speeches.

Hamlet's soliloquies - especially “to be or not to be” - provide a direct insight into his innermost thoughts, emotions, and struggles. They offer a glimpse into his true self, revealing his complex character beyond what is shown in interactions with other characters. 

Through his soliloquies, Hamlet's character is developed and portrayed in a more profound manner. The soliloquies showcase his introspection, doubts, fears, and contemplations, allowing the audience to understand the depth of his internal struggles and conflicts making decisions at the appropriate time.

Each soliloquy contributes to advancing the plot by shedding light on Hamlet's motives, decisions, and state of mind. They serve as a narrative device that propels the story forward while providing crucial insights into Hamlet's actions and responses

The soliloquies help create a specific atmosphere within the play by immersing the audience in Hamlet's emotional turmoil and existential contemplations. They add depth and complexity to the overall tone of the play.

Specifically, Hamlet's soliloquies, particularly the "To Be or Not To Be" speech, reflect the theme of madness in the play through a complex portrayal of Hamlet's inner turmoil and conflicting emotions.

Let me explain - Hamlet's soliloquies unveil his profound mental struggles, showcasing his inner conflicts, doubts, and emotional turmoil. The soliloquies provide a glimpse into the complexities of his mind, highlighting his descent into madness or his feigned madness as a strategic ploy - in other words, they point at the possibility that Hamlet might be faking madness.

The soliloquies depict Hamlet's emotional instability and erratic behavior, reflecting his internal chaos and psychological distress following the traumatic events in his life. These emotional outpourings contribute to the perception of his madness

.The soliloquies blur the lines between Hamlet's feigned madness and a potential genuine descent into insanity. They create ambiguity around whether his actions are part of a calculated plan or a manifestation of true mental instability, adding layers to the theme of madness in the play

Hamlet's soliloquies serve as a tool for character development, showcasing the evolution of his mental state and the impact of external events on his psyche. They reveal the internal conflicts that drive his actions and decisions throughout the play.

In essence, Hamlet's soliloquies play a crucial role in reflecting the theme of madness by delving into his inner struggles, emotional turmoil, existential contemplations, and the blurred lines between sanity and insanity. These introspective monologues offer a window into Hamlet's complex psyche and contribute significantly to the portrayal of madness within the play.

The character of Hamlet exhibits signs of mental distress, such as depression and melancholy, which are evident in his soliloquies and actions throughout the play. Some analyses propose that Hamlet's condition could be attributed to a depressive illness, potentially in combination with episodes of mania that align with symptoms of bipolar disorder

While Hamlet's behavior includes elements of feigned madness for strategic purposes, there are indications that he may genuinely suffer from mental illness. His struggles with grief, existential contemplation, and the pressures of avenging his father's death contribute to his deteriorating mental state. The soliloquies reveal his inner turmoil and contemplation of life and death, reflecting a mind in distress

Overall, while Hamlet's portrayal involves elements of both feigned and potentially genuine madness, and interpretations vary regarding the extent to which he can be considered mentally ill. The character's complex psyche, emotional struggles, and erratic behavior contribute to a nuanced depiction that blurs the lines between sanity and insanity within the context of the play.
 
Even though most common mental illnesses were not given a name until centuries after Shakespeare’s death, Shakespeare wrote what could considered extremely accurate accounts of individuals with many common mental illnesses of today,
Some of the mental illnesses that Hamlet's behavior could be linked to include:

Borderline Personality Disorder (BPD): BPD is characterized by difficulties in controlling emotions, unstable mood swings, impulsivity, poor self-image, and stormy relationships. Hamlet's emotional instability, impulsive actions, and struggles with relationships align with symptoms of BPD

Bipolar Disorder: Bipolar disorder involves severe mood swings between manic and depressive episodes. Hamlet's fluctuating moods, from moments of intense melancholy to periods of heightened energy and agitation, resonate with the symptoms of bipolar disorder.  I have seen performances of Hamlet where the actor playing the lead role of Hamlet uses this interpretation and ends up totally out of control by the end of the play.

Major Depressive Disorder (MDD): Major depressive disorder is marked by persistent feelings of sadness, hopelessness, and loss of interest in activities. Hamlet's profound grief over his father's death, his contemplation of suicide, and his overall pessimistic outlook on life reflect symptoms of MDD

Schizophrenia: Schizophrenia is a lasting mental disorder characterized by impaired thought processes and emotional responses. Some interpretations suggest that Hamlet's erratic behavior, hallucinations, and struggles with reality could be indicative of schizophrenia

And finally, Dissociative Identity Disorder (DID): DID involves the presence of two or more distinct personality states within an individual. While not as commonly discussed in relation to Hamlet, some analyses suggest that his complex character and internal conflicts could be associated with dissociative identity disorder.

Well, let me conclude with the actual words of “to be or not to be” .  There are some incredible videos of great actors performing this speech- I have the URL to a video of Sir Richard Burton performing the “to be or not to be” soliloquy on YouTube at the top of the transcript for this episode on the website celebratepoe.buzzsprout.com - I am concluding with me reading “to be or not to be” - not to compete with some of the greats on YouTube such as Richard Burton, Lawrence Olivier, Kenneth Branagh, Benedict Cumberbatch, and Kennth Branagh, - but if you don’t have access to YouTube at the moment:

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,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
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.
For who would bear the whips and scorns of time,
Th'oppressor's wrong, the proud man's contumely,
The pangs of dispriz'd love, the law's delay,
The insolence of office, and the spurns
That patient merit of th'unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovere'd country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience doth make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry
And lose the name of action.

Join Celebrate Poe for episode 234 - More Than Love where I delve into more uses of Chronos and Kairos, and even dreams in the works of William Shakespeare.

Sources include Hamlet by William Shakespeare.

Thank you for listening to Celebrate Poe.