Soliloquy Basics
The Conventions of a Shakespearean Dramatic Technique
A look at the solilquy, including a definition, with some examples from Shakespeare's plays, and its place in dramatic convention.
Probably the best-known lines in all Western drama begin a soliloquy: To be or not to be. Shakespeare’s work is full of them, from Juliet’s soliloquy on the balcony, Macbeth’s troubled musings – indeed, about half of everything Hamlet says seems to be a soliloquy. But what exactly are they?
A definition
A soliloquy is an extended speech, directed to the audience rather than to other characters, in which the speaker explores their thoughts and feelings. It can deal with big, generalised issues, such as Hamlet’s To be or not to be. (Act 3. Scene i.), in which he considers life, death and suicide; react to events such as O what a rogue and peasant slave am I! (Act 2, Scene ii), when he compares himself with the Player King and berates his own inaction; or ponder future action, as in Now might I do it pat, now he is praying (Act 3, Scene iii).
A soliloquy is not just an extended, emotional speech, however. For example, Portia’s The quality of mercy is not strained in The Merchant of Venice (Act 4, Scene i) is not a soliloquy, as it is delivered to Shylock, attempting to persuade him not to exact the pound of Antonio’s flesh specified in the bond. In technical terms, this is a example of “forensic oratory” – a persuasive speech made in court.
Soliloquies and asides
A soliloquy should also be distinguished from a "dramatic aside”, which is a comment spoken during a passage of dialogue, though not meant to be heard by the other characters. It usually comments on, or contrasts with, the dialogue it accompanies. For example, Shylock’s lengthy aside beginning Yes, to smell pork (Act 1, Scene iii) is obviously directed at Bassanio, though he is not intended to hear it, and is slotted into the dialogue of the scene. It is also part of the time-scheme of the dialogue; there is often a feeling in soliloquy that a character has stepped “outside time” to reflect, whereas Shylock’s comments occupy a brief and specific moment in the dialogue.
Soliloquies on stage
Soliloquies can seem awkward or unrealistic in modern productions, as modern theatre-goers have become used to a relatively illusionist theatre – we are uncomfortable with characters who pretend they cannot hear what someone is saying whilst standing right next to them, or actors who turn to take the audience into their confidence, breaking through the “fourth wall” which separates them from the spectators. However, there were no such problems in Shakespeare’s theatre, which made less attempt to produce an illusion of real life, and played in full daylight on a stage which jutted out into the audience, producing a much closer relationship between audience and actor. Under these conditions, the soliloquy was a flexible and effective dramatic tool for a writer of Shakespeare’s talent.
