There is no more bizarre aspect of the misreading of Hamlet’s character than the assumption that his relations with Ophelia were innocent and that Ophelia was a correct and timid virgin of exquisite sensibilities. . . . She was not a chaste young woman. That is shown by her tolerance of Hamlet’s obscene conversations, which cannot be explained as consistent with the custom of the time. If that were the reason for it, all the men and women in Shakespeare’s plays, Romeo and Juliet, Beatrice and Benedict, Miranda and Ferdinand, Antony and Cleopatra, would have talked obscenely together, which is not the case (107).
Leaving her only with the response saying “I shall obey, my lord”(1.3.145 ). Why Ophelia is unable to say more than a few simple words is made clear by societal expectations of the time. During this time daughters were the property of their fathers and were obligated to do their bidding. Campbell says “if she refuses Polonius, she risks social ostracism and grave insult to the man who capriciously controls her future” (58). Ophelia fears the backlash of disobeying her father, believing there is no other choice than doing what he has asked her to do. Even though a woman's virtue is a sacred and a very personal choice, her father leaves Ophelia with one option: to do what he says. “The issue of Ophelia’s chastity concerns Polonius as a parent and a politician—a virginal Ophelia has a better chance of attaining Hamlet’s hand in marriage” (Floyd-Wilson 401). This relationship Ophelia has between her father is very one-sided and unhealthy. It is formal and proper with very few emotions attached to each other. However, because Polonius is the only parental figure Ophelia has and loves him, his death was extremely difficult for her. Her father, hasn’t left her like Laertes and hasn’t rejected her like Hamlet. Making his unexpected death the final straw to her losing her sanity. Without someone to guide her, she is lost. She is unable to blindly follow a man but is to racked with emotion to think clearly.
When reading the text, one can comprehend that Ophelia is caught in the middle between two opposite sides. Her family (father and brother) believe that Hamlet is a womanizer rather then the philosopher that he is. They also believe that he will use her in order to achieve his own purposes, and that he would take her precious virginity only to discard it because he would never be her husband. But, Ophelia's heart mesmerized by Hamlets cunning linguistics is set on the fact that Hamlet truly loves her or loved her, even though he swears he never did. In the eye of her father and brother, she will always be a pure, wholesome girl, an eternal virgin in a sense, (due to a parents nature to always see their offspring as a child) they want her to ascend into her stereotypical role in life as a vessel of morality whose sole purpose of existence is to be a obedient wife and a committed mother. However, to Hamlet she is simply an object used to satisfy and fulfill his sexual needs. He also seems to hold her at a distant which suggests that he may...
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
The Tragedy of Hamlet, Prince of Denmark, written by William Shakespeare, is considered to be one of his most perplexing plays. The tragedy follows the story of Prince Hamlet as he undergoes states of insanity, depression, and eventual death. Theories regarding Hamlet’s relationship with Ophelia are developed through subplots and leave the reader questioning as to whether Hamlet truly loved her. Arguments can be made that Hamlet and Ophelia love one another, but there are many obstacles that prevent them from rightly being together. The couple face a series of cascading problems, including the high expectations set forth by their friends and family. As the story develops, these problems cause major setbacks that become impossible to
We first meet Ophelia when she is talking with her brother Laertes, who attempting to educate her about the ways of the world. He warns her not to get too close to Hamlet, for Hamlet is "subject to his birth," (1.3, 18) he cannot choose who he loves. His caring advice for his sister, though, is lined with undertones of accusation. He warns her that even "the chariest maid is prodigal enough,"(1.3, 36) implying that even though she may seem modest, but her intentions could very well be the opposite. He attacks her virginal nature, heaving the burden of other, more crass, women upon this frail beauty. She, though a member of the more seemingly dim and weak sex, replies very wittily to this, "Do not, as some ungracious pastors do...reck not his own rede." (1.3, 47-51), advising, and possibly implying, the same things to her dear brother, showing their mutual respect for each other.
Hamlet puts on an antic disposition in the beginning act in order to prove Claudius’ guilt and avenge his father’s death, but as an audience we finally see how this “madness” affects other characters in later scenes. Most importantly one can see how this contrast not only affects, but also ends Ophelia’s life. Ophelia’s heart, that she believed was filled with love, is soon ripped into pieces when Hamlet acts mad and says, “I loved you not” (3.1.118). Later in the play, Ophelia finds out that not only has her father been murdered, but he was also killed by her own love, Hamlet. After this scene, Ophelia is lost and confused in emotions causing her to take action in the way she believes will benefit her best. This action includes taking her own life because she can no longer bear the pain of all the tragedies. As the queen describes this death she says, “Till that her garments, heavy with their drink,/ Pull’d the poor wretch from her melodious lay/ To muddy death” (2.7.181). These ironic moments again prove that the contrast in actuality and make-believe are crucial to the tragic ending of the play. In these moments, we feel pity and sorrow for Ophelia because we wonder if she had known the truth, would this have happened? Her desire to satisfy her own needs in this moment allow this tragedy to occur though; therefore, at the same time we wonder if the truth would have made a
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:
It is widely believed that “Living life without honor is a tragedy bigger than death itself” and this holds true for Hamlet’s Ophelia. Ophelia’s death symbolizes a life spent passively tolerating Hamlet’s manipulations and the restrictions imposed by those around her, while struggling to maintain the last shred of her dignity. Ophelia’s apathetic reaction to her drowning suggests that she never had control of her own life, as she was expected to comply with the expectations of others. Allowing the water to consume her without a fight alludes to Hamlet’s treatment of Ophelia as merely a device in his personal agenda. Her apparent suicide denotes a desire to take control of her life for once. Ophelia’s death is, arguably, an honorable one, characterized by her willingness to let go of her submissive, earth-bound self and leave the world no longer a victim.
Living in an environment of deception and hostility, the reader can easily identify with Hamlet's anger. Most all compassionate audiences will be sympathetic to his plight. However, the origins of Hamlet's vehement actions toward his once beloved Ophelia can be debated from several different points of view. Whatever his reasoning may be, it is probably correct to assume that he regrets deeply every harsh world spoken toward Ophelia. He only realizes again what a beautiful and kind person she was- after her death.