Hamlet Decisive Quotes

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.

Hamlet's Cat's Soliloquy "To go outside, and there perchance to stay Or to remain within: that is the question: Whether 'tis better for a cat to suffer The cuffs and buffets of inclement weather That Nature rains on those who roam abroad, Or take a nap upon a scrap of carpet, And so by dozing melt the solid hours That clog the clock's bright gears with sullen time And stall the dinner bell. To sit, to stare Outdoors, and by a stare to seem to state A wish to venture forth without delay, Then when the portal's opened up, to stand As if transfixed by doubt. To prowl; to sleep; To choose not knowing when we may once more Our readmittance gain: aye, there's the hairball; For if a paw were shaped to turn a knob, Or work a lock or slip a window-catch, And going out and coming in were made As simple as the breaking of a bowl, What cat would bear the houselhold's petty plagues, The cook's well-practiced kicks, the butler's broom, The infant's careless pokes, the tickled ears, The trampled tail, and all the daily shocks That fur is heir to, when, of his own will, He might his exodus or entrance make With a mere mitten? Who would spaniels fear, Or strays trespassing from a neighbor's yard, But that the dread of our unheeded cries And scraches at a barricaded door No claw can open up, dispels our nerve And makes us rather bear our humans' faults Than run away to unguessed miseries? Thus caution doth make house cats of us all; And thus the bristling hair of resolution Is softened up with the pale brush of thought, And since our choices hinge on weighty things, We pause upon the threshold of decision.

The art of fiction has not changed much since prehistoric times. The formula for telling a powerful story has remained the same: create a strong character, a person of great strengths, capable of deep emotions and decisive action. Give him a weakness. Set him in conflict with another powerful character -- or perhaps with nature. Let his exterior conflict be the mirror of the protagonist's own interior conflict, the clash of his desires, his own strength against his own weakness. And there you have a story. Whether it's Abraham offering his only son to God, or Paris bringing ruin to Troy over a woman, or Hamlet and Claudius playing their deadly game, Faust seeking the world's knowledge and power -- the stories that stand out in the minds of the reader are those whose characters are unforgettable. To show other worlds, to describe possible future societies and the problems lurking ahead, is not enough. The writer of science fiction must show how these worlds and these futures affect human beings. And something much more important: he must show how human beings can and do literally create these future worlds. For our future is largely in our own hands. It doesn't come blindly rolling out of the heavens; it is the joint product of the actions of billions of human beings. This is a point that's easily forgotten in the rush of headlines and the hectic badgering of everyday life. But it's a point that science fiction makes constantly: the future belongs to us -- whatever it is. We make it, our actions shape tomorrow. We have the brains and guts to build paradise (or at least try). Tragedy is when we fail, and the greatest crime of all is when we fail even to try. Thus science fiction stands as a bridge between science and art, between the engineers of technology and the poets of humanity.

God chooses when we should enter this world and when we should leave it. He does not make half-decisions and leave souls lingering in crisis. He is decisive. He is no Hamlet, if you wish to speak in Shakespearean terms. Those would be the actions of a cruel and merciless Lord, not the loving one we read of in the Bible.” “You don’t think God can be cruel and merciless?” I asked, trying not to laugh and provoke him even further. “Is your reading of the Bible so superficial that you do not recognize barbarity on every page?” “Miss Caine!” “Think not that I am unfamiliar with the testaments, Reverend. And it seems to me that the God of whom you speak has a great gift for brutality and malice. He is something of a specialist in the subject.

Dear Mother, . . . We have been putting in our time here at very hard drilling, and are supposed to have learned in six weeks what the ordinary recruit, in times of peace, takes all his two years at. We rise at 5, and work stops in the afternoon at 5. A twelve hours day at one sou a day. I hope to earn higher wages than this in time to come, but I never expect to work harder. The early rising hour is splendid for it gives one the chance to see the most beautiful part of these beautiful autumn days in the South. We march up to a lovely open field on the end of the ridge behind the barracks, walking right into the rising sun. From this panorama, spread about on three sides is incomparably fine—yellow cornfields, vineyards, harvest-fields where the workers and their teams can be seen moving about in tiny figures—poplars, little hamlets and church-towers, and far away to the south the blue line of the Pyrenees, the high peaks capped with snow. It makes one in love with life, it is all so peaceful and beautiful. But Nature to me is not only hills and blue skies and flowers, but the Universe, the totality of things, reality as it most obviously presents itself to us; and in this universe strife and sternness play as big a part as love and tenderness, and cannot be shirked by one whose will it is to rule his life in accordance with the cosmic forces he sees in play about him. I hope you see the thing as I do, and think that I have done well, being without responsibilities and with no one to suffer materially by my decision, in taking upon my shoulders, too, the burden that so much of humanity is suffering under, and, rather than stand ingloriously aside when the opportunity was given me, doing my share for the side that I think right. . . .

Recently, a large company offered to buy one of our portfolio companies. The deal was lucrative and compelling given the portfolio company’s progress to date and revenue level. The founder/CEO (I’ll call him Hamlet—not his real name) thought that selling did not make sense due to the giant market opportunity that he was pursuing, but he still wanted to make sure that he made the best possible choice for investors and employees. Hamlet wanted to reject the offer, but only marginally. To complicate matters, most of the management team and the board thought the opposite. It did not help that the board and the management team were far more experienced than Hamlet. As a result, Hamlet spent many sleepless nights worrying about whether he was right. He realized that it was impossible to know. This did not help him sleep. In the end, Hamlet made the best and most courageous decision he could and did not sell the company. I believe that will prove to be the defining moment of his career.

The Love Song of J. Alfred Prufrock,” whatever else it might be, seems to be an investigation into the possibility of durational being, which Bergson had described as “the form which the succession of our conscious states assumes when our ego lets itself live, when it refrains from separating its present state from its former states.” The succession that Bergson opposes to vitality is the realm in which the morbid Prufrock tries to imagine speaking Andrew Marvell’s line, “Now let us sport us while we may,” but then falls back on his indecision, his failure to pose his overwhelming question, and his inability to sing his love. Prufrock’s problems are shown to be symptoms of the form of time in which desire for youth runs defiantly against the remorselessness of aging, snapping the present in two. The “silent seas” that might bring relief from currents and countercurrents of time turn out to be like the troubling one that figures in Hamlet’s overwhelming question: “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.” Prufrock understands but is unable to admit the ontological force of the question: the “whips and scorns of time” that threaten to reverse all his “decisions and revisions” make him wish to be merely “a pair of ragged claws / Scuttling across the floors of silent seas.” That synecdochic figure is as much an anachronous peripeteia for Prufrock as it is for Polonius when Hamlet taunts him: “you yourself, sir, should be as old as I am if, like a crab, you could go backwards.

To espresso or to latte, that is the question,” he muttered, his free will evaporating rapidly. I had asked Hamlet for something he couldn’t easily supply: a decision. “Whether ’tis tastier on the palate to choose white mocha over plain,” he continued in a rapid garble, “or to take a cup to go. Or a mug to stay, or extra cream, or have nothing, and by opposing the endless choice, end one’s heartache—” “Cousin Eddie!” I said sharply. “Cut it out!” “To froth, to sprinkle, perchance to drink, and in that—” “He’ll have a mocha with extra cream, please.” Hamlet stopped abruptly once the burden of decision was taken from him.

Time is the dominant factor in gambling. Risk and time are opposite sides of the same coin, for if there were no tomorrow there would be no risk. Time transforms risk, and the nature of risk is shaped by the time horizon: the future is the playing field. Time matters most when decisions are irreversible. And yet many irreversible decisions must be made on the basis of incomplete information. Irreversibility dominates decisions ranging all the way from taking the subway instead of a taxi, to building an automobile factory in Brazil, to changing jobs, to declaring war. If we buy a stock today, we can always sell it tomorrow. But what do we do after the croupier at the roulette table cries, “No more bets!” or after a poker bet is doubled? There is no going back. Should we refrain from acting in the hope that the passage of time will make luck or the probabilities turn in our favor? Hamlet complained that too much hesitation in the face of uncertain outcomes is bad because “the native hue of resolution is sicklied o’er with the pale cast of thought . . . and enterprises of great pith and moment . . . lose the name of action.” Yet once we act, we forfeit the option of waiting until new information comes along. As a result, not-acting has value.

How does one “take up arms against a sea of troubles”? The decisive word here is “faith.” Trust in Providence. Virtue prevails in the end not because the good always win and evil always loses. Virtue prevails because Truth is eternal. Think of that champion of the Republic, Marcus Cicero, whose severed head and hands were displayed by Marcus Antonius to terrorize the party of freedom. Yet think how, 18 centuries later, John Adams carried Cicero’s words with him, every step of the way, through the American Revolution. The eloquence of virtue, after 18 centuries, was not used up. It was not defeated. It was and is and is to come. Such was the final triumph of Hamlet the Dane — who found the truth and lived by it.

To espresso or to latte, that is the question,” he muttered, his free will evaporating rapidly. I had asked Hamlet for something he couldn’t easily supply: a decision. “Whether ’tis tastier on the palate to choose white mocha over plain,

When you are in command, there is always the next decision to be made. You don't have time to pace back and forth like Hamlet, zigzagging one way and the other. You do your best and live with the consequences. A commander has to compartmentalize his emotions and remain focused on the mission. You must decide, act, and move on.

Hamlet had started to tremble, a look of pain and hopelessness on his face as he stared wild-eyed at the huge choice laid out in front of him. “To espresso or to latte, that is the question,” he muttered, his free will evaporating rapidly. I had asked Hamlet for something he couldn’t easily supply: a decision. “Whether ’tis tastier on the palate to choose white mocha over plain,” he continued in a rapid garble, “or to take a cup to go. Or a mug to stay, or extra cream, or have nothing, and by opposing the endless choice, end one’s heartache—” “Cousin Eddie!” I said sharply. “Cut it out!” “To froth, to sprinkle, perchance to drink, and in that—