Even people who aren’t sure what a soliloquy is know that Hamlet’s “To be or not to be” is the most famous soliloquy in theatre history. There’s just one problem. It’s not actually a soliloquy.

David Tennant played Hamlet with the RSC in 2008.

David Tennant played Hamlet with the RSC in 2008.

 

“To be or not to be…”

Spoken by the title character of Hamlet, the most famous speech in the history of theatre is 34 lines and 271 words long. Apart from providing titles for (or being quoted in) countless other plays, poems, novels, TV shows and movies, it has also appeared on posters, T-shirts, coffee mugs and keyrings. It’s even been translated into Klingon (“taH pagh taHbe”). There are at least 379,000 hits on the internet for the first line alone.

This speech is many, many things. One thing it is not, however, is a soliloquy.

Maxine Peake's Hamlet debuted last year at Manchester's Royal Exchange Theatre.

Maxine Peake’s Hamlet debuted last year at Manchester’s Royal Exchange Theatre.

The image of the ‘lone prince’, so endemic on the stage, duly made the transition to TV and motion pictures. Laurence Olivier’s 1948 version placed Hamlet alone on a windswept tower of Elsinore. Grigori Kozintsev’s 1964 version is another lone Hamlet, this time walking along the Danish shore. Franco Zeffirelli’s 1990 film sees Hamlet alone in his father’s sepulchre. Kenneth Branagh’s 1996 film places Hamlet in a mirrored hall, practically alone but for Ophelia hiding out of sight. Peter Wellington’s 2003 adaptation of the speech for the series Slings & Arrows features a seated, lone Hamlet. Gregory Doran’s 2009 TV adaptation of the Royal Shakespeare Company’s Hamlet has David Tennant’s Hamlet all alone, with Ophelia scurrying off immediately before the speech and tromping back on just as he finishes saying “Soft you now.”

New play 'Women Playing Hamlet' offers a fresh take on "To be or not to be" in 2015.

New play ‘Women Playing Hamlet’ offers a fresh take on “To be or not to be” in 2015.

Despite the entrenchment of the lone Hamlet on our cultural understanding of Hamlet, when we study the six quarto and three folio printings that comprise the original texts, we find the following: one, that the famous speech cannot be a soliloquy; two, that the entering Hamlet should know he is being spied upon; three, that Ophelia’s presence must be addressed; and, fourth and lastly, that Hamlet may be reading as he enters the scene.
My methodology does need some explanation. I believe in the primacy of the text: dramatic texts are the most important factor in creating a production. The words of a text are the skeleton of a play, and basing one’s interpretation on elements not in the text is problematic at best. Now, I’m not trying to say there is only one way of doing any play or moment from a play. I only distinguish between two kinds of performances – those that agree with the text and those that do not.

Shakespeare Theatre Company's 2007 Hamlet.

Shakespeare Theatre Company’s 2007 Hamlet.

Soliloquies feature lone speakers, but all nine original Hamlet printings agree that Hamlet is not alone, as Ophelia is also onstage throughout the speech. Therefore, the classical understanding of “soliloquy” does not apply.
Further, the “To be or not to be” speech features none of the characteristics of Hamlet’s actual soliloquies. In those speeches, he follows a pattern – he speaks about Claudius, the late King Hamlet, and, usually, Gertrude. Hamlet does discuss his family with some other characters, but when he knows he is accompanied by potential spies, he stays away from the topic of his family. The “What a piece of work is a man” speech, delivered just after Hamlet discovers he cannot trust Rosencrantz or Guildenstern, is an elaborate deception. When Hamlet delivers his speech to appease his friends-turned-spies, he does not mention the circumstances of his father’s murder. He only mentions the King and Queen as the people to whom Rosencrantz and Guildenstern must report.
“I will tell you why, so shall my anticipation prevent your discovery, and your secrecy to the King and Queen moult no feather.”

Gamut Theatre's 2015 Hamlet.

Gamut Theatre’s 2015 Hamlet.

Since “To be or not to be” takes place with others on stage, and since it deviates from the patterns Shakespeare established in Hamlet’s actual soliloquies, it cannot be a soliloquy. Since the speech is not a soliloquy, it cannot be staged as a soliloquy and still be faithful to the text. Text-based stagings focus on what is written. For instance, Hamlet, entering into the scene, knows he is being observed. The original printings agree that, by this moment in the play, Hamlet has discovered that his schoolmates have been dispatched by the King to spy on him. Further, all but one of the printings agree that Hamlet enters into the scene because he has been sent for by the King. The remaining printing, the First Quarto, does not mention this at all. What happens next is a strange division; all folio printings agree that the King and Polonius hide before Hamlet enters, while all quartos state they exit after Hamlet enters.

Peter O'Toole's legendary 1957 Hamlet at Bristol Old Vic.

Peter O’Toole’s legendary 1957 Hamlet at Bristol Old Vic.

The quarto texts allow Hamlet to see the King and his crony hide; Hamlet would clearly know he is being spied upon. In all three folio printings, the King and Polonius exit before Hamlet enters the scene. Even if a director chooses the folio option, it is still reasonable that Hamlet knows he is being spied upon. Hamlet already suspects Claudius on some level before the action of the play, as evidenced by his response to the Ghost’s news that Claudius murdered Hamlet’s father: “O my prophetic soul! / Mine uncle?”
The King has just sent for Hamlet. If, as in the folios, Hamlet enters not seeing the King and Polonius, he still has another reason to be suspicious: the King is absent, but Ophelia is directly in his path.
Brooke Hamlet Scarf
Let’s talk about Ophelia and the issue of the silent actor. In order to stage the scene, we must have a better understanding of Ophelia and her relationship with Hamlet. She has only appeared twice before, in scenes revolving around her relationship with Hamlet. Ophelia speaks on this subject with her father, Polonius, saying her relationship with Hamlet is an honorable and affectionate one that has included every promise, save that of matrimony. Polonius dismisses this as Hamlet merely wanting to master her chaste treasure and commands her to never see Hamlet again.
When Ophelia is placed in Hamlet’s way, she is being used to provoke her boyfriend into showing why he is behaving so strangely. This is part of Polonius’ plan to discover if Hamlet is mad for his daughter’s love. Claudius accedes to the plan and, immediately before Hamlet’s entrance, describes his plan to Gertrude, that Hamlet should “affront” Ophelia.
The meaning of the word “affront” is crucial: “to put oneself in the way of so as to meet; to accost, address.” By strategically placing Ophelia onstage, Polonius and Claudius mean for her to come face to face with Hamlet so they can hear what follows between them. As a result, Ophelia could be Hamlet’s audience, either in part or in whole.

Shakespeare Theatre Company's 2001 Hamlet.

Shakespeare Theatre Company’s 2001 Hamlet.

Before this passionate meeting, there is one more discovery to address: what Hamlet is doing as he enters the scene. The First Quarto offers a fascinating option. In it, before Hamlet enters for “To be or not to be”, the King says, “see where he comes poring upon a book.” This is similar to Gertrude’s statement in an earlier scene, “But look where sadly the poor wretch comes reading,” which appears in all other printings of the story. It may be the First Quarto misplaces Hamlet’s entrance, but this anomaly bears study. Hamlet does have a book in other scenes, so a Hamlet who enters reading can be textually valid. In fact, the book he reads may still exist.
Douce in 1839 and Hunter in 1845 noted that Girolamo Cardano’s 1576 book Comfort includes passages very similar to a portion of Hamlet’s speech:
“…saying, that [death] did not only remove sickness and all other griefs but… what should we accompt of death to be resembled to anything better then sleep… and to die is said to sleep.”
Compare all this talk of death, the easing of griefs, and sleeping to this famous portion of Hamlet’s speech:
“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…”

Gamut Theatre's 2011 Hamlet.

Gamut Theatre’s 2011 Hamlet.

A reading Hamlet opens up a new possibility to the speech. If Hamlet is reading about death, his speech might refer to the book. Shakespeare gives us a similar situation in Henry IV, Part One, where, examining a letter from a confederate, Hotspur reads a phrase and then makes a scathing response. If this formula were applied to Hamlet’s speech, “the question” may refer to ideas raised in the book itself. A staging using this reading can allow the prop to help explain why Hamlet is in this frame of mind.
Studying the original texts with a respect for their primacy reveals that the cherished long-established vision of Hamlet simply does not agree with the text. The options revealed by the text and its established circumstances are many and must be explored in a production. After studying the evidence, I staged the scene two different ways. In the first, Hamlet entered reading, responded to the book like Hotspur in Henry IV, and discussed the contents with Ophelia. In the second staging, I took Hamlet’s book away, allowed him to see Claudius and Polonius exit, and had him confess his dark thoughts to Ophelia.
The first staging was greatly intellectual. Hamlet mused about the ideas of death, sharing them on that level with Ophelia. This Hamlet is the consummate philosopher, matching wits with Ophelia and even referring to the book she is carrying. The concepts of death and release are explored with great cerebral impact, so much so that, in directing a full production, I can easily see Hamlet reading voraciously through the early stages of the play.

Haunting poster image for the upcoming Barbican Hamlet which will star Benedict Cumberbatch.

Haunting poster image for the upcoming Barbican Hamlet which will star Benedict Cumberbatch.

The second staging focused upon the circumstances of the characters. Hamlet, knowing he is spied upon, takes refuge in the arms of his forbidden love but is unable to tell her the whole truth of his problems. Ophelia, torn by duty to her father, her King, and her love, must react to Hamlet’s considering death and suicide. This staging speaks to the troubles as written by Shakespeare and had great emotional and visceral impact. Similar to the first staging, I can see a full production of this sort of Hamlet.
These are two very different interpretations of the “To be or not to be” speech, but it is vital to remember they are both based on Shakespeare’s texts.
“So what?” you may be thinking. “Why is this important?” Well, for hundreds of years the theatre world has embraced a version of Hamlet that does not agree with the words Shakespeare wrote. Elsewhere in Hamlet, Shakespeare commands “suit the action to the word”, charging us to base our versions of his work on the words he left behind. He did the job of a playwright well, creating the skeleton of his plays. It falls to us to give that skeleton a heart, a soul, and scars.

This article originally appeared in Shakespeare Magazine Issue 6. Go here to see the original version.

One of the most admired all-rounders in the Shakespeare world, Ben Crystal reckons we should “speak the speech” the way the Bard did. And that means “from the gut and the groin…”

Portraits of Ben Crystal by Piper Williams for Shakespeare Magazine.

Perhaps best known for his Shakespeare on Toast book and Passion in Practice workshops, Ben Crystal is an actor, writer, producer and director. Alongside his father, linguist David Crystal, he has pioneered the practice of Original Pronunciation, getting as close as he can to how Shakespeare would have sounded to Elizabethan audiences.

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Would you define your work as a Shakespearean quest?
“Yeah, definitely! I didn’t start out on a quest, I started off wanting to act it more than anything. And then the ideas for the books came up one by one and I became known as the boy who wrote that book. I struggled to get acting auditions for Shakespeare and then, partly though the writing and partly through needing an outlet, I found myself doing more workshops, writing more, exploring more. Finding the issues in both performance and education and in audiences’ perception of Shakespeare and what seemed to be missing, and chasing that down.”

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“Now, through following this path of spreading the word of the Bard, I’ve explored disciplines like pronunciation, become fascinated by the idea of the original Shakespeare ensemble, found myself with an education programme, an OP programme and a Shakespeare ensemble. If you’d asked me when I was 16 or 17 what my dream was, it would have been to be at the RSC. But you follow the path you’re on, and the path I’m on certainly seems to be a quest. I’m very happy with it.”

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Could you explain Original Pronunciation for those who are new to the term?
“It’s a recreation of the soundscape, the accents that Shakespeare’s actors spoke in 400 years ago, in the same way as the Globe spaces are recreations of the original spatial dynamics. It’s a recreation of a sound system, not an attempt to be authentic – because that’s impossible, and there’s only so much you’re going to learn from authenticity. The Globe spaces are as close as we can get to what the spaces looked like, felt like, and we have spent a fair amount of time trying to work out how that can change or improve the way that we act Shakespeare. It’s exactly the same with this sound.”

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How do you go about recreating the accent?
“It’s based on my father’s scholarly work for the Globe in 2004. He gathered all the evidence he could from three sources. One of these was the rhymes. Often Shakespeare’s rhymes don’t work in a modern accent. To let them rhyme again requires particular types of vowel qualities. That’s one source of data. Then, if you go back to the Folio and the Quartos, they used to spell a lot more like they spoke. So, for example, the word film was spelt philome which is very definitely a two syllable word (fil’um) which you still hear in Northern Ireland. That’s an Elizabethan pronunciation carried over from 400 years ago.”

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“Then there were people who wrote linguistic-like descriptions of what the accent sounded like. With those three sources of data combined you get to about 90 percent and that last 10 percent drives my father crazy, but he can’t fill it in. I see it as a great advantage because it means that if you and I were to form a Shakespeare company using OP then we would sound 90 percent the same but then that last 10 percent will be filled up with our natural accents, the story, the audible vocal sound of our experiences.”

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“Compare that to using RP [Received Pronunciation] which is not tied to a particular geographic location. If there is one thing that accent means to people, it’s identity and territory. To me, the idea that Shakespeare should be spoken in this identity-less accent where it flattens out everybody’s character and they all sound the same, takes away its inherent uniqueness.”

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How different does it feel to perform in OP?
“Acting in RP versus OP or even in your own natural accent, your actor’s centre will shift.
A lot of people find in RP that their centre tends to be around their throat. When I act in my natural accent I find that my centre shifts to my chest. And with OP the centre shifts all the way down to your gut and into your groin. You plant your feet much more firmly on the ground and it tends to lead you to stronger character choices.”

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“They tend to be earthier, more active choices and, as a knock-on effect, you tend to move faster as well. You follow Hamlet’s advice to ‘speak the speech trippingly on the tongue’. It ramps everything up and you’re flying around the stage connecting with fellow actors in a vastly different way. One of the final results of all that is that it tends to engage your heart rather than your head. And people tend to find that it’s easier to understand and they tend to get more emotionally engaged. And that’s all we want – to make you laugh, make you cry, bring the audience along with us.”

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Do you think OP can attract bigger, more mainstream audiences?
“That’s an interesting question. Because of course I do, otherwise I wouldn’t be spending time on it. But I have to caveat that it’s not a cash bunny. I don’t see it as the sort of a performance quality in Shakespeare that money can be made out of necessarily. I’m excited by it. Irrespective of whether or not it becomes popular, there is nothing a Shakespeare geek is excited more by than an unexplored area of his field.”

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Is there a key thing that you’ve discovered by performing in OP?
“There are plenty of lost rhymes and lost puns, but the biggest discovery has been more ephemeral, really. More abstract or intangible, because you end up with a different play on your hands. You speak the lines differently and end up with characters who are completely different animals to those you expected. When I did Hamlet there was no question that he was anything like the stereotypical passive, indecisive, boring fellow. He became almost Sherlock Holmesian in the way he was trying to discover the truth. He was active. And that, in part, came from the OP. So we’re rediscovering the plays in new lights, not just the words.”

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What other interesting things do you think are currently happening Shakespeare-wise?
“The Sam Wanamaker Playhouse is interesting. There are plans to build a Shakespearean theatre for Shakespeare North. I’m intrigued by the Maxine Peake Hamlet that was up at the Royal Exchange and by the all-female company explorations that have been going on at The Donmar. There’s a lot of younger companies exploring Shakespeare – there’s Smooth Faced Gentlemen, The HandleBards, who go round on bikes. There’s lots of cool, interesting stuff in the underground as well as all the companies running around the country doing open-air Shakespeare. It’s interesting that both the Globe and the RSC have brought in international companies.”

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“The reason we’re having this conversation, the reason there’s a Shakespeare Magazine is that these plays really, really are wonderful. He had a capacity and a knack for exploring the human condition and the way that we think – and why we do the things that we do – in such an amazing way that it’s really hard to get them wrong. And yet we do. There is something that these international companies are tapping into.”

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“Or maybe it’s tapping into something in us. Because we are both in tandem released from the pressure of ‘how are they going to deliver this famous line?’ I think we are being taught a lot by Europe and Eastern Europe about something that we’re missing with Shakespeare, craft and a long rehearsal period, a return to the ensemble. They are not restricted because they’re not bound to our language and they have a playfulness with it that I think we’re losing.”

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You’ve travelled widely, how would you say Shakespeare is perceived around the world?
“Away from the UK everyone loves him! It’s a generalisation but it’s not too far off. I do not meet students who dislike him so much overseas but I do encounter this ownership issue that whilst they have a tremendous passion, heart and love for Shakespeare, there is still this idea that ‘We don’t do it right because we don’t have the right sound or we don’t have English training’.”

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“Americans have embraced OP, though. Because the accent that left London 400 years ago got on the boats and went to the Americas. So when they hear OP they don’t say ‘Oh God, that sounds alien to us’. They hear accent qualities they can relate to and rather than thinking ‘We can’t do Shakespeare because we don’t have that beautiful RP accent. We don’t have any ownership over Shakespeare, even though we love him’, they say ‘Oh my goodness, he actually sounds like us, we can do this’. So it’s no wonder that they’ve embraced it. There is some really, really fascinating work both in the States and across the world. I just wish there was more flow, that more would come over. And, indeed, the other way.”

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We’ve mentioned your father, David Crystal. In You Say Potato the relationship between the two of you bounces of the page. What’s it like work with your dad?
“It’s a pain in the neck and it is the most wonderful, joyous experience that you could possibly wish for! I came up with the idea for Shakespeare’s Words when I was 22. I was lucky to work with a parent at such a young age. We became friends, and we got to know each other so quickly. He certainly wasn’t used to someone telling him he was wrong. There absolutely were disputes. He taught me how to articulate an argument, he taught me how to articulate myself. I am utterly blessed and feel lucky to have both that working and familial friendship with him and my mum. And I’m especially lucky that, considering how much of an expert he is, how experienced he is – and that even though sometimes it does take a little bit of shouting – he is always perceptive and open to new ideas.”

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“You can’t really ask for a better colleague than that. So to be able to take his research on and explore it practically, it’s really wonderful. It’s a celebration of his research and it’s a continuation and an exploration of it that he wouldn’t necessarily be able to do himself. So we are a good partnership in that respect.”

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So, if you had one big Shakespearean aspiration, What would it be?
“To change the education system, fundamentally, from the top down or the bottom up, whichever way is quickest. To refresh Shakespeare production and performance and the perception of it in a similar way that Gielgud, Olivier, Burton or Branagh has done. I would like very much to spend a considerable amount of time training and forming a company – much like the ensemble I’ve been starting to form – in a Globe-like space, and see where that may take us. To have artistic directorship of a place like The Globe or the Wanamaker, building our own space and recreating a similar sort of dynamic, that would be fine.”

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“And coming away from these experiences in 20-25 years time and having someone in their twenties or thirties saying ‘Ben Crystal’s wrong, his ideas had their time and now this is where we need to go with Shakespeare’ would be a dream come true.”

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Find out more about Ben’s approach to Shakespeare at the Passion in Practice website.

This interview originally appeared in Shakespeare Magazine Issue 6. Go here to see the original version.