“To be or not to be, that is the question” is one of the most famous speeches in the world. Its technical name is “soliloquy”. The soliloquy is a very important unit of the drama. Playwrights use or used this device to achieve many goals and convey many messages in the story-telling. The soliloquy as a unit of the drama is multifunctional.
This paper gives a small idea about the structure and function of this unit of the drama. In the next step, different definitions of the term “soliloquy” from different points of views of different playwrights and analysts are mentioned.
Afterwards, the paper gives a distinction of the term from other kinds of these speeches, especially the “Monologue” and the “Aside”. In the third section, it mentions some structural functions of it, and shows how it is used, why and what this device can do on the stage on the character and audience level.
Table of Contents
1. Introduction
2. Definitions
2.1. The soliloquy
2.2. The monologue
2.3. The Aside
3. The functions of the soliloquy
3.1. The soliloquy as Means of exposition
3.1.1. The initial exposition
3.1.2. Identification
3.1.3. Characterization
3.1.4. Narration
3.2. The soliloquy as accompaniment of the action
3.2.1. Miscellaneous Business
3.2.2. Entrance, Link, and Exit speeches
3.2.3. The Link
3.2.4. The Exit soliloquy
4. The Conclusion
Research Objectives and Topics
This paper examines the structural roles and diverse functions of the soliloquy within dramatic works, specifically focusing on how playwrights utilize this device for expository purposes and as an accompaniment to stage action, including a detailed look at examples from Shakespeare's Hamlet.
- Definitions and distinctions of the soliloquy, monologue, and aside.
- The soliloquy as a tool for initial exposition and character identification.
- Characterization through inner-debate and psychological revelation.
- Structural applications including narration and stage business.
- The relationship between physical solitude and psychological intent on stage.
Excerpt from the Book
3.1.2. Identification:
This type of soliloquy deals with the identity of the character. He/she speaks with the Self and analyses their identity, as it is the case with the villain Edmund of ‘Lear’ who proclaims himself as ‘the bastard Edmund’. This type of soliloquy is not restricted to identifying the soliloquizer him/herself, however it can also acquaint the audience of the next action in the drama, that a certain event is coming next or even the coming of a new character on the stage using a term such as ‘here he comes’ where at least the name of this actor is mentioned and not necessarily identified on the character dimention.Skiffington uses another term for this kind of soliloquies, namely the homiletic self-exposure (personae identifying themselves as representatives of evil), which is a type of the hyponym Homily. The homiletic self-exposure according to Skiffington is not restricted only to identification but expands to other categories of soliloquies, which serve in the plot exposition such as ‘villainy’ and “ intention soliloquy”.These, to some extent, are very similar to that of identification.
The sixth soliloquy of Hamlet reveals the intention of Hamlet to kill Claudius in another time (delay) so that Claudius will not go to Heaven.
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 revenger. That would be scanned:
A villain kills my father, and for that
I, his sole son, do this same villain send
To Heaven…( Hamlet, III.iii.73-96)
Summary of Chapters
1. Introduction: The introduction outlines the central importance of the soliloquy as a multifunctional dramatic device and defines the paper's scope in exploring its structure and function.
2. Definitions: This chapter navigates the scholarly controversy surrounding the definition of the soliloquy by contrasting it with the monologue and the aside.
3. The functions of the soliloquy: This section details how the soliloquy acts as a primary tool for exposition, character development, and narrative progression, while also serving as a practical accompaniment to stage business.
4. The Conclusion: The conclusion synthesizes the findings, reiterating that while definitions remain fluid, the soliloquy remains an indispensable, multifunctional unit of drama.
Keywords
Soliloquy, Monologue, Aside, Shakespeare, Hamlet, Dramatic structure, Exposition, Characterization, Narration, Stage business, Psychological solitude, Theater, Playwrights, Performance, Literary analysis
Frequently Asked Questions
What is the fundamental focus of this academic work?
The study provides an analysis of the soliloquy as a dramatic tool, examining its structure and the varied functions it performs within a play.
What are the central thematic fields covered?
The work explores dramatic theory, the practical stage application of speeches, and the psychological dimensions of character expression.
What is the primary research goal?
The aim is to provide insight into how playwrights use soliloquies to achieve narrative goals, convey information to the audience, and deepen character portrayal.
Which scientific methods are employed?
The author uses a qualitative, comparative approach, analyzing definitions from various critics and playwrights and applying these schemas to specific examples within Shakespeare's dramas.
What core topics are addressed in the main body?
The main body evaluates the soliloquy's role in exposition (identification, characterization, narration) and as accompaniment for actions such as entrances, exits, and miscellaneous stage business.
Which keywords characterize this work?
Essential terms include soliloquy, monologue, aside, exposition, dramatic structure, and performance analysis.
How does the author distinguish between a soliloquy and an aside?
The author notes that while both involve a character being alone with their thoughts, an 'aside' speaker remains aware of the presence of other characters on stage, whereas a soliloquizer implies isolation.
How does the paper categorize the role of soliloquies in Hamlet's revenge plot?
It classifies specific instances, such as Hamlet's prayer scene, as tools for demonstrating intention, internal debate, and the complex psychological state of the protagonist.
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- Mahmoud El Qamch (Autor:in), 2007, The soliloquies in Shakespeare. Structure and function, München, GRIN Verlag, https://www.grin.com/document/1248001
