Shakespeare’s Soliloquy in Close Contact with Audience - Easier to Deliver Long Asides with Effect

A soliloquy is an actor’s address to the audience, a long aside.  It  is a monologue in which a character reveals inner thoughts, motivations, and feelings. Shakespeare used the technique often, and his soliloquies are poetic and rich in imagery. It was a convention current in Shakespeare’s day, which shake spear also adopted in his plays. Modern taste is against the use of soliloquies and in fact it is now considered an unpardonable defect in a drama. Not so was the case in Elizabethan times whose apron platform helped the actor to come in close contact with his audience and thus made it easier to deliver his long asides with effect. 

Shakespeare accepted this convention suited to his times and his stage and perfected it with great skill and economy in his later play. The effects were different in tragedy and comedy; the functions were also varying.  We find very distinct comic effects in the soliloquies of Benedict and million. Shylock in The Merchant of Venice begins with a soliloquy, strictly relevant to the situation and the development of the play.  In the histories, there is Henry V’s soliloquy on the eve of Agincourt, lovely-reading but not so much dramatically effective, rather raising a smile of the auditor over the said king’s complaint to the public for thru latter’s failure to appreciate the royal efforts and watch for maintaining the peace.  Imago’s soliloquies in Othello are famous or notorious as one would like to call them. They are mostly in the nature of explanations which are generally accepted. Read More Elizabethan Literature 
The greatest soliloquy in Shakespeare and perhaps in the whole of literature is reserved, however, for the prince of Denmark when he utters his “to be or not to be” those are perhaps the most widely –read lines of a drama and have a force and beauty of their own. Read More William Shakespeare Again, we , however, can't resist ourselves from quoting Macbeth where Macbeth meditates on the futility of human endeavors.Read More William Shakespeare Macbeth’s schemes for gaining power are falling apart, and he has just heard that Lady Macbeth is dead:
"Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury, Signifying nothing." 
Soliloquy in Shakespeare has many functions. The speaker of a soliloquy may act as a narrator as Edgar does in King Lear. The soliloquies may again function as a chorus commenting on the action of the play as dose Kent in king leer again. It may expose the real nature of a charter in an early plays, for example when Richard III says, “I am determined to prove a villain”.  Again, in his mature play Hamlet, a play about a man whose mind may be his fatal flaw, we find the glory of complexity. Read More Elizabethan Literature Nowhere is this complexity more apparent than in Hamlet's famous soliloquy in Act III, Scene 1. Since first performed in the early 1600s, the title role in William Shakespeare's Hamlet has remained a favorite of many actors because of the emotional complexity of Hamlet's personality:

" 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 heartache, 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, ay 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,
Th' oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
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,
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
With this regard their currents turn awry
And lose the name of action. Soft you now,
The fair Ophelia.—Nymph, in thy orisons
Be all my sins remembered."