Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Father and sons relationship in hamlet
Elements of tragedy in hamlet
Deception and manipulation in hamlet
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Father and sons relationship in hamlet
The Tragedy of Ophelia in Hamlet
Sweet and innocent, faithful and obedient, Ophelia is the truly tragic figure in William Shakespeare's Hamlet. "Her nature invites us to pity her misfortune caused not by any of her own self-initiated deeds or strategies"(Lidz 138). Laertes tells us convincingly how young and vulnerable Ophelia is, (act I. iii.10) likening her budding womanhood's destruction from Hamlet to a process as "the canker galls the infants of the spring,/ Too oft before their buttons be disclosed, /And in the morn and liquid dew of youth / Contagious blastments are most imminent". "He advises her to stay away and she lovingly banters back, typically like a young teen, reminding him to act as he advises" (Campbell 104). We then learn more of how pure and innocent she is as her father counsels her (Act I.iii.90). Telling her that she is a "green girl" and to think of herself as "a baby" in this matter, he insists that she must stop seeing him.
Ophelia trusts the advise given and her obedience is very evident in this matter as she avoids contact with Hamlet until she is told by her father, with the King and Queens approval, to meet up with him by 'accident' in the lobby. Deceit not being in her nature, believing that her father, the king and queen are right and true; that Hamlet is mad; and probably curious to know if Hamlet is "mad in love" with her the young, obedient, powerless Ophelia does her part to search out the truth. But tragically this one forced step outside of her true character begins her downfall. In a precarious predicament, loyalty to her father compelled Ophelia to lie to Hamlet when he asked about her father?s location at that moment saying he was at home instead of behind a tapestry right the...
... middle of paper ...
...ven though the initial fall to the water was an accident tragically she is denied a decent burial and is buried as a sinner.
Poor Ophelia lost everything. She lost her lover and the social position and security that would have come when she became Hamlet's wife. She lost her father and an honorable burial and her trust and respect for her Queen and King. Finally, she lost her life. The innocent destroyed with the deceitful. Perhaps Shakespeare used Ophelia's innocence to provide an even greater contrast to the deceit of the characters that engulfed her.
Works Cited
Campbell, Lily. Shakespeare's Tragic Heroes, Slaves of Passion. New York: Barnes and Noble, 1952.
Lidz, Theodore. Hamlet's Enemy: Madness and Myth in Hamlet. Vision Press, 1975.
MacKenzie, Agnes Mure. The Women in Shakespeare's Plays. London: William Heinemann Ltd., 1924.
Morrie was a sociology professor. He was very close to his student, Mitch Albom, and during the end of his life, as Morrie battles ALS. Mitch meets with him every Tuesday to discuss a large number of life’s topics. On the first
Mitch spends every Tuesday with Morrie not knowing when it might be his dear sociology professor’s last. One line of Morrie’s: “People walk around with a meaningless life…This is because they are doing things wrong” (53) pretty much encapsulates the life lessons from Morrie, Mitch describes in his novel, Tuesdays With Morrie. Morrie Schwartz, a beloved sociology professor at Brandeis University, was diagnosed with Amyotrophic Lateral Sclerosis (ALS), which most people would take as a death sentence. Morrie viewed it differently; he saw it more as an opportunity. This is because he does not follow the so-called “rules” of society. These rules come from the sociological concept of symbolic interaction, the theory that states that an individual’s
Albom, Mitch. Tuesdays With Morrie: An Old Man, A Young Man, And Life's Greatest Lesson. New York: Doubleday, 1997. Print.
As the play opened, Hamlet and Ophelia appeared as lovers experiencing a time of turbulence. Hamlet had just returned home from his schooling in Saxony to find that his mother had quickly remarried her dead husband's brother, and this gravely upset him. Hamlet was sincerely devoted to the idea of bloodline loyalty and sought revenge upon learning that Claudius had killed his father. Ophelia, though it seems her relationship with Hamlet is in either the developmental stage or the finalizing stage, became the prime choice as a lure for Hamlet. Laertes inadvertently opened Ophelia up to this role when he spoke with Ophelia about Hamlet before leaving for France. He allowed Polonius to find out about Hamlet's courtship of Ophelia, which led to Polonius' misguided attempts at taking care of Ophelia and obeying the king's command to find the root of Hamlet's problems. Ophelia, placed in the middle against her wishes, obeyed her father and brother's commands with little disagreement. The only time she argued was when Laertes advised her against making decisions incompatible with the expectations of Elizabethan women. Ophelia tells him, in her boldest lines of the play:
And before long, he had his first single out on Del-Fi. The song, "Come On, Let's Go," became a minor hit. Keane also encouraged the young singer to shorten his last name to "Valens" to make it more radio friendly. Valens had even greater success with his second single, which featured "La Bamba" and "Donna." "Donna," an ode to his high school girlfriend Donna Ludwig, became a popular ballad, eventually climbing as high as the number two spot on the pop charts. While not as big a hit, "La Bamba" was a revolutionary song that fused elements of a traditional Mexican folk tune with rock and roll. Valens was not a native Spanish speaker and had to be coached on the all-Spanish-language song. Riding the success of his latest single, Valens entertained a national audience on American Bandstand that December. He also appeared on Alan Freed's Christmas Show around that time. In January 1959, Valens went on the road with the Winter Dance Party tour. The tour featured such acts as Buddy Holly, Dion and the Belmonts, and J.P. "The Big Bopper" Richardson. Over three weeks, these performers were set to play 24 concerts in the
The story of Hamlet, written by William Shakespeare, is considered to be a perplexing play as the many subplots twist, turn, and unfold. The relationship between Hamlet and Ophelia is conceivably the most widely discussed topic as countless theories are developed throughout the story. It is a tragedy, of many sorts, that Hamlet and Ophelia are not able to display their love for each other,
Imagine a historian, author of an award-winning dissertation and several books. He is an experienced lecturer and respected scholar; he is at the forefront of his field. His research methodology sets the bar for other academicians. He is so highly esteemed, in fact, that an article he has prepared is to be presented to and discussed by the United States’ oldest and largest society of professional historians. These are precisely the circumstances in which Ulrich B. Phillips wrote his 1928 essay, “The Central Theme of Southern History.” In this treatise he set forth a thesis which on its face is not revolutionary: that the cause behind which the South stood unified was not slavery, as such, but white supremacy. Over the course of fourteen elegantly written pages, Phillips advances his thesis with evidence from a variety of primary sources gleaned from his years of research. All of his reasoning and experience add weight to his distillation of Southern history into this one fairly simple idea, an idea so deceptively simple that it invites further study.
Throughout these meetings with the professor, Mitch realizes that he has been living life the wrong way. The more Mitch meets with Morrie, the less of an obligation
We are hearing from the narrator at this time and I don?t think they are very skeptical at all. The way the story is told gives Oroonoko much bravery and compassion.
The story of Hamlet is a morbid tale of tragedy, commitment, and manipulation; this is especially evident within the character of Ophelia. Throughout the play, Ophelia is torn between obeying and following the different commitments that she has to men in her life. She is constantly torn between the choice of obeying the decisions and wishes of her family or that of Hamlet. She is a constant subject of manipulation and brain washing from both her father and brother. Ophelia is not only subject to the torture of others using her for their intentions but she is also susceptible to abuse from Hamlet. Both her father and her brother believe that Hamlet is using her to achieve his own personal goals.
The reader is left guessing on Hamlet’s true feelings for Ophelia through his various insults, sexual innuendos, and admitted desire. Hamlet’s claim, “God hath given you one face, and you / Make yourselves another.” (3.1.155-156) is laced with irony and hypocrisy given Hamlet’s own deception regarding true feelings. This proclamation comes at the end of a lengthy tirade against Ophelia and womankind in general for their conniving deceit leading men astray. The fact that Hamlet cannot see this duplicity in his very own actions shows the double standard he holds for females. Ophelia’s immediate reaction is one of shock and defense due to the aggressive nature of Hamlet’s attack. She calls out “O, woe is me!” (3.1.174) in distress to the ferocity of Hamlet and is unable to form a particularly coherent response akin to the ones seen against Laertes and Polonius. She does show her intelligence and rebellion from this assumption of power by Hamlet in her songs while Hamlet is gone. While many attribute her madness to the death of her father, a large portion of her instability should be attributed to Hamlet and his earlier actions. In her first introduction as insane she sings, “And I a maid at your window, / To be your Valentine. / Then up he rose and donned his clothes / And dropped the chamber door, / Let in the maid, that out a maid / Never departed more.” (4.5.55-60). Due to her references to sexuality and deceit the
“Pretty Ophelia,” as Claudius calls her, is the most innocent victim of Hamlet’s revenge in Shakespeare’s play Hamlet. Hamlet has fallen in love with Ophelia after the death of his father. Ophelia “sucked the honey of his music vows” and returned Hamlet’s affection. But when her father had challenged Hamlet’s true intentions, Ophelia could only say: “I do not know, my lord, what I should think.” Ophelia was used to relying on her father’s directions and she was also brought up to be obedient. This allowed her to only accept her father’s views that Hamlet’s attention towards her was only to take advantage of her and to obey her father’s orders not to permit Hamlet to see her again.
The first topic that Morrie talked about was death. Morrie’s idea on death is that to accept death and you can die at any time and to focus on life more than work. “If you accept that you can die at any time- then you might not be as ambitious as you are.” (Albom 83). What Morrie is trying to say is that Mitch focuses too much on work and needs to focus
Ophelia loves Hamlet; her emotions drive her to perform her actions. Some would say that Ophelia’s emotions could have actually been what ended her young
Two of Ophelia’s difficulties arise from her father and brother. They believe that Hamlet is using her to take her virginity and throw it away because Ophelia will never be his wife. Her heart believes that Hamlet loves her although he promises he never has (“Hamlet” 1). Hamlet: “Ay, truly, for the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness. This was sometime a paradox, but not the time gives it proof. I did love you once.” Ophelia: “Indeed, my lord, you made me believe so.” Hamlet: “You should not have believed me, for virtue cannot so inoculate our old stock ...