Soliloquy, a theatrical convention of long standing, is frequently encountered in Shakespeare's plays. It is often considered a speech by a solitary character on stage, in which he reveals his true feelings. Upon careful examination, Shakespearean soliloquies are of many types, with different degrees of complexity in form and carrying various dramatic implications. In terms of the interrelationship between the soliloquist and his known or unknown addressees, the soliloquy may be divided into four basic types: Plain Soliloquy, Attended Soliloquy, Soliloquy with Props, and Dialogical Soliloquy. This paper attempts to re-view each type and, drawing on selected examples, show how the addressee-often unduly neglected in previous studies-figures in the theatrical effect of a piece of soliloquy.