“To be, or not to be”: Has Hamlet’s Famous Line been Misunderstood?

Abstract

Shakespeare’s "To be, or not to be" is perhaps the most famous line in English literature, yet it remains frequently reduced to a mere contemplation of suicide. This paper challenges that traditional interpretation, arguing instead that the soliloquy represents a complex philosophical inquiry into morality, the nature of existence, and the ethics of revenge. By examining the linguistic limitations encountered in translation—specifically within Arabic interpretations—the study demonstrates how translating the ambiguous syntax of the verb "to be" often forces a reductionist reading of "suicide versus life," thereby stripping the text of its inherent subtlety. Furthermore, this article contextualizes the soliloquy within the play’s immediate dramatic action. It argues that Hamlet’s meditation is not the result of paralyzed melancholia, but rather a calculated performance intended for the eavesdropping King Claudius and Polonius. By highlighting Hamlet’s contradictions regarding the afterlife and his simultaneous, active planning of the "mousetrap," this paper posits that the speech serves a dual purpose: it is both a genuine moral interrogation of the validity of private revenge and a strategic deployment of feigned madness designed to mislead his enemies. Ultimately, this analysis suggests that a faithful understanding of the soliloquy requires looking beyond the text to the staging, the ambiguity of language, and the strategic intellect of the protagonist.