This final chapter offers a typology of the early modern soliloquy, by means of a systematic empirical survey and analysis of the history of soliloquies. The research presented here shows that there have been three distinct kinds of soliloquy in theatrical history: (1) speeches knowingly addressed by the character to playgoers; (2) self-addressed speeches (unaware of the presence of playgoers, the character talks to himself); and (3) interior monologues (the words spoken by the actor represent the unspoken thoughts of the character). The chapter presents plentiful evidence demonstrating that from around 1590 until 1642, soliloquies by characters engaged in the action in English drama represented self-addressed speeches (type 2) as a matter of convention. A surprisingly complex set of subsidiary conventions arose that governed soliloquies, asides, and eavesdropping. These conventions became extremely familiar to regular playgoers; they came into operation in every important play of the period. On the basis of this typology of conventions, the chapter concludes by showing that Hamlet’s ‘To be, or not to be’ speech was a feigned soliloquy, not a genuine one.