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To be or not to be nghĩa là gì năm 2024

Ngay cả khi bạn chưa bao giờ xem một vở kịch của Shakespeare, bạn vẫn biết câu nói nổi tiếng của Hamlet : “Tồn tại hoặc không tồn tại” (To be, or not to be) . Nhưng điều gì khiến bài phát biểu này trở nên nổi tiếng và điều gì đã truyền cảm hứng cho nhà viết kịch nổi tiếng nhất thế giới đưa nó vào tác phẩm này?

Hoàn cảnh xuất hiện lời nói 'To be or not to be'

“Tồn tại hay không tồn tại" là câu thoại mở đầu của một câu thoại trong cảnh tu viện trong tác phẩm “Hamlet, Hoàng tử Đan Mạch” của Shakespeare. Một Hamlet sầu muộn đang suy tính về cái chết và tự sát trong khi chờ đợi người yêu Ophelia.

Anh ta than vãn về những thử thách của cuộc sống nhưng lại nghĩ rằng giải pháp thay thế — cái chết — có thể tồi tệ hơn. Lời nói thể hiện suy nghĩ bối rối của Hamlet khi anh ta cân nhắc việc giết chú Claudius của mình, người đã giết cha của Hamlet và sau đó kết hôn với mẹ anh để trở thành vua. Trong suốt vở kịch, Hamlet đã do dự để giết người chú của mình và trả thù cho cái chết của cha mình.

Cảm hứng câu nói từ cái chết của đứa con trong gia đình Shakespeare

Shakespeare mất con trai của mình, Hamnet, vào tháng 8 năm 1596, khi đứa trẻ mới 11 tuổi. Đáng buồn thay, việc mất con vào thời Shakespeare không phải là hiếm, nhưng đó là con trai duy nhất của Shakespeare, Hamnet hẳn đã có mối quan hệ tốt đẹp với cha mình dù ông ấy làm việc thường xuyên ở London.

Một số người cho rằng bài phát biểu của Hamlet về việc có nên chịu đựng sự tra tấn của cuộc sống hay kết thúc nó có thể cung cấp cái nhìn sâu sắc về suy nghĩ của chính Shakespeare trong thời gian đau buồn của ông. Có lẽ đó là lý do tại sao bài phát biểu được đón nhận rộng rãi - khán giả có thể cảm nhận được cảm xúc thực sự trong lời văn của Shakespeare và có lẽ liên quan đến cảm giác tuyệt vọng bất lực này.

Tại sao mọi người lại thấy đồng cảm khi nghe câu nói này?

Cải cách tôn giáo

Khán giả của Shakespeare hẳn đã trải qua những cuộc cải cách tôn giáo, họ phải chuyển đổi từ Công giáo sang Tin lành hoặc có nguy cơ bị xử tử. Điều này làm dấy lên những nghi ngờ về việc thực hành tôn giáo, và bài phát biểu có thể đã đặt ra câu hỏi về những gì và ai nên tin khi đến thế giới bên kia.

"Theo Công giáo hay không theo Công giáo" trở thành một câu hỏi. Bạn đã được nuôi dưỡng để tin vào một đức tin, và rồi đột nhiên bạn được nói rằng nếu bạn tiếp tục tin vào nó, bạn có thể bị giết. Bị buộc phải thay đổi hệ thống niềm tin của bạn chắc chắn có thể gây ra bất ổn và bất an trong nội tâm.

Vì đức tin vẫn tiếp tục là một chủ đề gây tranh cãi cho đến ngày nay, nên nó vẫn là một lăng kính thích hợp để hiểu bài phát biểu.

Câu hỏi chung của loài người

Bản chất triết học của câu nói cũng khiến nó trở nên hấp dẫn: Không ai trong chúng ta biết điều gì xảy ra sau cuộc sống này và có nỗi sợ hãi về điều chưa biết, nhưng tất cả chúng ta đôi khi cũng nhận thức được sự vô ích của cuộc sống và những bất công của nó. Đôi khi, giống như Hamlet, chúng ta tự hỏi mục đích sống, mục đích mình hiện hữu trong cuộc sống này là gì.

Hành động hay không hành động - bản chất do dự của Hamlet khiến cho mọi việc tồi tệ, dẫn tới nhiều cái chết bao gồm cả nhân vật chính cũng là một cách hiểu của To be, or not to be. Rốt cục, do dự không hành động, dù đó là trả thù và giết người, nhưng nó cũng đem lại kết quả không tốt. Nhưng nếu Hamlet hành động quyết đoán ngay từ đầu thì mọi việc sẽ như thế nào?

"To be, or not to be" is a speech given by Prince Hamlet in the so-called "nunnery scene" of William Shakespeare's play Hamlet (Act 3, Scene 1). The speech is named for the opening phrase, itself among the most widely known and quoted lines in modern English literature, and has been referenced in many works of theatre, literature and music.

In the speech, Hamlet contemplates death and suicide, weighing the pain and unfairness of life against the alternative, which might be worse. It is not clear that Hamlet is thinking of his own situation since the speech is entirely in an abstract, somewhat academic register that accords with Hamlet's status as a (recent) student at Wittenberg University. Furthermore, Hamlet is not alone as he speaks because Ophelia is on stage waiting for him to see her, and Claudius and Polonius have concealed themselves to hear him. Even so, Hamlet seems to consider himself alone and there is no definite indication that the others hear him before he addresses Ophelia, so the speech is almost universally regarded as a sincere soliloquy.

Text[edit]

This version preserves most of the First Folio text with updated spelling, punctuation, and five common emendations introduced from the Second ("Good") Quarto (italicised).

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 wished. To die, to sleep, To sleep, perchance to Dream; aye, 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, The Oppressor's wrong, the proud man's Contumely, [F: poore] The pangs of despised Love, the Law’s delay, [F: dispriz’d] 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, [F: these Fardels] To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered 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 does 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 pitch and moment, [F: pith] With this regard their Currents turn awry, [F: away] And lose the name of Action. Soft you now, The fair Ophelia? Nymph, in thy Orisons Be all my sins remember'd.

First Quarto (1603)[edit]

The First Quarto is a short early text of Hamlet. Though it was published in 1603, it was lost or not known until a copy was discovered in 1823. It contains a number of unique characteristics and oddities. When it was discovered, it was thought to be an earlier version than the Second Quarto, but is now considered by scholars to be derivative, or pirated and imperfectly remembered. In the version below, the spelling is updated, along with minor alterations of scansion, capitalization and punctuation.

To be, or not to be, Ay there's the point, To Die, to sleep, is that all? Aye all: No, to sleep, to dream, aye marry there it goes, For in that dream of death, when we awake, And borne before an everlasting Judge, From whence no passenger ever returned, The undiscovered country, at whose sight The happy smile, and the accursed damn'd. But for this, the joyful hope of this, Who'd bear the scorns and flattery of the world, Scorned by the right rich, the rich cursed of the poor? The widow being oppressed, the orphan wrong'd, The taste of hunger, or a tyrants reign, And thousand more calamities besides, To grunt and sweat under this weary life, When that he may his full Quietus make, With a bare bodkin, who would this endure, But for a hope of something after death? Which puzzles the brain, and doth confound the sense, Which makes us rather bear those evils we have, Than fly to others that we know not of. Aye that, O this conscience makes cowards of us all, Lady in thy orizons, be all my sins remembered.

Second Quarto (1604)[edit]

The text of the Second Quarto (Q2) is considered the earliest version of the play. In Q2 the whole nunnery scene including "To be" takes place later in the play than in Q1 where it occurs directly after Claudius and Polonius have planned it. The inclusion of "Soft you now", suggests that Hamlet has not (or is feigning having not) seen Ophelia thus far during his speech.

To be, or not to be, that is the question, Whether 'tis nobler in the mind to suffer The slings and arrows of outragious 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 too; tis a consumation Devoutly to be wish'd to die to sleep, To sleep, perhance to dream, ay, there's the rub, For in that sleep of death what dreams may come When we haue shuffled off this mortal coil Muſt giue vs pauſe, there's the reſpect That makes calamitie of ſo long life: For who would beare the whips and ſcorns of time, Th'oppreſſors wrong, the proude mans contumly, The pangs of deſpiz'd loue, the lawes delay, The inſolence of office, and the ſpurnes That patient merrit of the'vnworthy takes, When he himſelfe might his quietas make With a bare bodkin; who would fardels beare, To grunt and ſweat vnder a wearie life, But that the dread of ſomething after death, The vndiſcouer'd country, from whose borne No trauiler returnes, puzzels the will, And makes vs rather beare thoſe ills we haue, Then flie to others we know not of. Thus conſcience dooes make cowards, And thus the natiue hiew of reſolution Is ſickled ore with the pale caſt of thought, And enterpriſes of great pitch and moment, With this regard theyr currents turne awry, And loose the name of action. Soft you now, The faire Ophelia, Nimph in thy orizons Be all my ſinnes remembred.

First Folio (1623)[edit]

Mr. William Shakespeares Comedies, Histories, & Tragedies, published by Isaac Jaggard and Ed Blount in 1623 and better known as the "First Folio", includes an edition of Hamlet largely similar to the Second Quarto. The differences in "To be" are mostly typographic, with increased punctuation and capitalization.

To be, or not to be, that is the Question: Whether ’tis Nobler in the mind to suffer The Slings and Arrows of outragious Fortune, Or to take Armes against a Sea of troubles, And by opposing end them: to dye, to sleep No more; and by a sleep, to say we end The Heart-ake, and the thouſand Naturall ſhockes That Flesh is heyre too? 'Tis a consummation Deuoutly to be wiſh'd. To dye to sleepe, To sleep, perchance to Dream; I, there's the rub, For in that sleep of death, what dreams may come, When we haue ſhufflel’d off this mortall coile, Muſt giue us pause. There's the respect That makes Calamity of ſo long life: For who would beare the Whips and Scornes of time, The Oppreſſors wrong, the poore mans Contumely, The pangs of diſpriz’d Loue, the Lawes delay, The inſolence of Office, and the Spurnes That patient merit of the unworthy takes, When he himſelfe might his Quietus make With a bare Bodkin? Who would theſe Fardles beare To grunt and ſweat vnder a weary life, But that the dread of ſomething after death, The vndiſcouered Countrey, from whoſe Borne No Traueller returnes, Puzels the will, And makes vs rather beare those illes we haue, Then flye to others that we know not of. Thus Conſcience does make Cowards of vs all, And thus the Natiue hew of Resolution Is ſicklied o’re, with the pale caſt of Thought, And enterprizes of great pith and moment, With this regard their Currants turne away, And looſe the name of Action. Soft you now, The faire Ophelia? Nimph, in thy Orizons Be all my ſinnes remembred.

Cultural impact[edit]

"To be, or not to be" is one of the most widely known and quoted lines in modern English, and the speech has been referenced in numerous works of theatre, literature and music. The two most iconic moments in the play ― the Act III, scene 1 "To be or not to be" speech and the Act V, scene 1 image of Hamlet contemplating the skull of Yorick – may be linked when the play is remembered, but the two moments occur in different acts of the play.

A plot point of the 1942 film comedy To Be or Not to Be involves the first line of the monologue. In the 1957 comedy film A King in New York, Charlie Chaplin recites the monologue in the shoes of the ambiguous King Shahdov.[citation needed]

Hamlet's line is the basis of the title of Kurt Vonnegut's 1962 short story "2 B R 0 2 B" (the zero is pronounced "nought"). The narrative takes place in a dystopian future in which the United States government, through scientific advancement, has achieved a "cure" for both aging and overpopulation. The alphabetical/numerical reformulation of Shakespeare's lines serves in the story as the phone number for the Federal Bureau of Termination's assisted suicide request line.[citation needed]

In 1963 at a debate in Oxford, Black liberation leader Malcolm X quoted the first few lines of the speech to make a point about "extremism in defense of liberty."

Last Action Hero (1993) has Jack Slater parody the phrase before blowing up a building behind him just by smoking a cigar. His version has him say "To be, or not to be? Not to be."

Star Trek's sixth film, The Undiscovered Country (1991) was named for the line from this speech, albeit the Klingon interpretation in which the title refers to the future and not death. References are made to Shakespeare during the film including Klingon translations of his works and the use of the phrase "taH pagh, taHbe' ", roughly meaning "whether to continue, or not to continue [existence]."[citation needed]

What Dreams May Come, the 1978 novel by Richard Matheson and its 1998 film adaptation derive their name from a line from this speech.[citation needed]

The 1997 film adaptation of George of the Jungle also parodies this line; when George sees a paraglider dangling off the San Francisco–Oakland Bay Bridge and notices a rope on the bridge's ledge, he quotes to the audience "To swing, or not to swing"? After deciding "swing", George grabs the rope and swings, saving the paraglider.[citation needed]

The New Zealand television series Outrageous Fortune takes its title from the words of the third line of the speech.[citation needed]

A shorter Hindi version of "To be, or not to be" was recited by Shahid Kapoor in the 2014 Bollywood film Haider.[citation needed]

Stargate Atlantis, the Season 4 Episode 10 named "This Mortal Coil" (2008) after the speech, as well as Season 4 Episode 11 named "Be All My Sins Remember'd" (2008). These episodes involved learning about and fighting the artificial intelligence species Replicator.[citation needed]

The virtuoso soliloquy in Carl Michael Bellman's Fredman's Epistles, "Ack du min moder", was described by the poet and literary historian Oscar Levertin as "the to-be-or-not-to-be of Swedish literature".

The Japanese band P-Model's song 2D or Not 2D, off their self-titled album, directly references the line.[citation needed]

References[edit]

Perseus Project. "Perseus:image:1998.04.0773 Image:1998.04.0773". Tufts University. Accessed 24 August 2013.
Shakespeare, William. Jenkins, Harold, editor. Hamlet. Arden Shakespeare (1982). ISBN 978-1903436677 P. 18 - 20.
Shakespeare, William. The Tragicall Historie of Hamlet Prince of Denmarke. As it hath beene diuerse times acted by his Highnesse seruants in the Cittie of London : as also in the two Vniuersities of Cambridge and Oxford, and else-where [The "First Quarto"], pp. 35 ff. Nicholas Ling & J. Trundell (London), 1603. Reprinted as The First Edition of the Tragedy of Hamlet: London, 1603. The Shakespeare Press, 1825.
Shakespeare, William. [The "First Quarto"]. Hosted at The Shakespeare Quartos Archive Archived 2013-12-10 at the Wayback Machine as Hamlet, 1603. Copy 1. Huntington Library, image 17. Accessed 13 December 2013.
Tronch Pérez, Jesús. "Dramaturgy of the Acting Version of the First Quarto of Hamlet". SEDERI VII (1996), p. 219.
Shakespeare, William. The Tragicall Historie of Hamlet, Prince of Denmarke. Newly imprinted and enlarged to almost as much againe as it was, according to the true and perfect Coppie [The "Second Quarto"]. Nicholas Ling, 1604. Hosted at The Shakespeare Quartos Archive Archived 2013-12-10 at the Wayback Machine as Hamlet, 1604. Copy 1. Folger Library, images 27 & 28. Accessed 13 December 2013.
Shakespeare, William. The Tragedie of Hamlet, Prince of Denmarke in Mr. William Shakespeares Comedies, Histories, & Tragedies Published according to the True Originall Copies [The "First Folio"], p. 265. Isaac Jaggard & Ed Blount (London), 1623. Hosted at the Internet Shakespeare Editions as First Folio, p. 773 Archived 2013-12-16 at the Wayback Machine. Brandeis University. Accessed 13 Dec 2013.
Ghose, Indira (2010). "Jesting with Death: Hamlet in the Graveyard" (PDF). Textual Practice. 24 (6). Routledge Publishing: 1003–1018. doi:10.1080/0950236X.2010.521668. ISSN 0950-236X. S2CID 145808185 – via Taylor & Francis.
Vonnegut, Kurt. "2 B R 0 2 B". gutenberg.org. The Project Gutenberg. Retrieved 29 April 2017.
Colman, Dan (30 August 2009). "Watch Malcolm X Debate at Oxford, Quoting Lines from Shakespeare's Hamlet (1964)". Open Culture. Retrieved 3 December 2017.
Last Action Hero – Hamlet Parody Scene (1/10) | Movieclips, retrieved 2024-01-14 Britten Austin, Paul (1967). The Life and Songs of Carl Michael Bellman: Genius of the Swedish Rococo. Allhem, Malmö American-Scandinavian Foundation, New York. ISBN 978-3932759000 p. 61