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There is no soliloquy in this scene for three primary reasons: the lack of Hamlet's presence in this scene, the focus on Polonius' relationship with his children, and the discussion of Hamlet's madness. Hamlet is not in this scene, so therefore he himself does not give a soliloquy. As the play is told solely from the perspective of Hamlet, it would not make much narrative sense to have another character perform a soliloquy. The lack of a soliloquy from the characters appearing in this scene (Reynaldo, Polonius, and Ophelia) emphasizes the fact that this play is truly "the Hamlet show." It would be very easy to insert a soliliquy for Ophelia dissecting her feelings towards Hamlet and how his strange behavior has affected her. However, this would draw the attention away from Hamlet's struggles with mental illness and his own arc. The real emphasis and focus of this scene is Polonius' love for his children and their relationship, which makes it all the more tragic when he dies. This relationship is best show through dialogue and his interactions with his daughter Ophelia. A soliloquy could not accomplish the goals of the scene. Finally, another goal of the scene is to show how Hamlet's madness affects the characters around him. The easiest way to show that for a playwright is to have the characters discuss Hamlet's madness, which they do through Ophelia's narration of Hamlet's strange behavior and Polonius' reactions to this.

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The purpose of the passage to illustrate how Hamlet is lavishing in his own guilt, but also a desire to expose his uncle. Throughout the passage, it is clear that Hamlet feels that he has failed to properly avenge the death of his father and strip King Claudius of his facade of innocence. The soliloquy shows that Hamlet is being suffocated by his own thoughts, as he takes the time to bash himself with loads of self deprecating criticisms. At the beginning of the soliloquy, Hamlet comments on how it is admirable that “this player here, but in a fiction, in a dream of passion, could force his soul so to his own conceit” (lines 578-580) and express such profound emotions, despite the fact that they are derived from a script. Consequently, Hamlet berates himself for the fact that he “can say nothing—no, not for a king Upon whose property and most dear life A damned defeat was made” (lines 596-598). Hamlet has the desire to avenge the murder of his father, but feels suffocated by the limits of his own conscience and actions. Therefore, as he contemplates the arrival of the talented theater company and the fact that his family will be in the audience of the show, Hamlet feels compelled to use the scenario as an opportunity to break free from his existing state of guilt. At this point, it is clear that Hamlet is gaining confidence and motivation to finally act on the prophecy of the ghost. After remaining idle in his own guilt, especially in the way he criticizes himself, he is driven to finally do something. At the conclusion of the soliloquy, Hamlet concludes that he will “have these players play something like the murder of my father before mine uncle…. the play’s the thing wherein I’ll catch the conscience of the King” (lines 623-634). Hamlet realizes he must act on the information that was provided to him by the ghost, whether or not it had been the devil. As a whole, the soliloquy shows the process of Hamlet transforming his guilt into anger, which will then be used to fuel his revenge.

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Shakespeare uses soliloquies to highlight the greater questions in the universe and to draw the audiences attention towards one main issue. The most notable of which being "To be, or not to be." In Act 5, Scene 1 the scene begins with two grave diggers, digging what Hamlet would soon discover to be Ophelias grave. Hamlet watches as a funeral procession enters the grave yard, and learns that whoever it was that had died had taken their own life. As they lay Ophelias body, Hamlet comes to the realization that it was she who had passed. This leads to hurt, fury and frustration on Hamlets behalf. Gertrude finally declares the Hamlet is insane, a point that has been proven time after time again. The Scene is incredibly dense and was used to round off many of the aspects of the play itself: Hamlets madness, Ophelias place in the universe, the King and Laertes revenge, etc. It is because of all of these open ends the Shakespeare tied that he neglects to include a soliloquy, there are no questions to be asked but rather conclusions to be drawn.

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The final scene of the play, Act 5 Scene 2 does not have a soliloquy. In the first part of the scene is the fated duel that ends in literally everyone's death. This does not have a soliloquy because the dialogue is meant to feel like a volly, like there is so much going on at once and not enough time to think and take a pause. The dynamic shifts from a duel, to a murder, to an uproar about the King's treason, to the double edged sword that proved to be Laertes' death. There is no place for a rambling because Hamlet is so preoccupied with his surroundings.
The latter part of the scene includes Hamlet's final words, long sentiments broken up by Horatio and Osric's comments to their dying friend/acquaintance. This scene does not have a soliloquy to represent the interruption that death is to life. Throughout the whole play, Hamlet is known to speak his mind (at length), yet in this scene he allows himself to converse with Horatio. Much as his poisoning is interrupting his plans and breaking up the timeline he had for himself, Horatio's dialogue interrupts Hamlet and gives him direction in is final moments.

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Shakespeare uses soliloquies to depict the mental state of select characters, to give a center as to how the play is proceeding (usually from the perspective of the main character, in this case being Hamlet). Knowing the inner turmoil of the character creates an attachment for the audience and a way to predict how the play will proceed. When a soliloquy is not used, it is to put the audience in a position of not knowing what is going on. With no reference to what characters are thinking, the audience must rely solely on the actions and repercussions that are seen, having to assume for themselves what is going on in the character's mind.