To be, or not to be" is the opening phrase of a soliloquy uttered by Prince Hamlet in the so-called "nunnery scene" of William Shakespeare's play Hamlet, Act 3, Scene 1. In the speech, Hamlet contemplates death and suicide, bemoaning the pain and unfairness of life but acknowledging that the alternative might be worse. This version preserves most of the First Folio text with updated spelling and five common emendations introduced from the Second ("Good") Quarto (italicized).
Plugged In exists to shine a light on the world of popular entertainment while giving you and your family the essential tools you need to understand, navigate and impact the culture in which we live. We hear similarly vulnerable confessions in "Know," as NF raps that he wants to know what it's like to "be happy. ake up in the morning and feel like it's real when I'm laughin'. Let You Down" deals with not living up to parental expectations, and includes the apology, "I'm sorry that I let you down.
He can't be sure what death has in store; it may be sleep but in perchance to dream he is speculating that it is perhaps an experience worse than life. Death is called the undiscover'd country from which no traveller returns. In saying that Hamlet is acknowledging that, not only does each living person discover death for themselves, as no one can return from it to describe it, but also that suicide is a one-way ticket. If you get the judgment call wrong, there's no way back
Hamlet's soliloquy contains some of the best-known words that Shakespeare ever wrote: 'to be or not to b. Here are some features of Hamlet's speech that you may not have known. There’s more to it, of course, than to be or not to be. Here are some features the speech that you may not have been aware of. First, here is Hamlet’s soliloquy in its entirety. To be, or not to be? That is the question-. Whether ’tis nobler in the mind to suffer.
I know it is coming, and I do not fear it, because I believe there is nothing on the other side of death to fear. Remember Frankenstein's monster doing the soft shoe?) In "To Be or Not To Be," Brooks combines a backstage musical with a wartime romance and comes up with an eclectic comedy that races off into several directions, usually successfully.
It’s not exactly a rousing endorsement for life, and it doesn’t really solve the initial problem that he posed to himself, but at the very least he stops talking about it and the play continues. But let’s consider for a moment the dilemma that Hamlet is actually considering: 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 ask the question, to 'be or not to be', was to open a new sphere of consciousness for himself, his fellow artists and his contemporary and future audience. As I mentioned above, there are few greater thrills than witnessing an artist have his eureka moment and go on to achieve remarkable things. It makes me realise that artists are capable of transcending the limitations of space and time and create something that is timeless.
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|2||Message From The Sands||7:00|
|4||Cycle Of Mine||5:12|
|5||Yes I do||5:09|
|7||La Cinquieme Saison||5:24|
Saxophone – Mich Treinen
- Electronics, Keyboards, Didgeridoo, Voice, Percussion – Phonopticum
NotesPerformed, recorded, mixed, premastered by Phonopticum at Headknock Studio from 1999 to 2004.
Additional recording, mixing, mastering by Chick'n Mo.