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Hamlet theme of madness
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The inclusion of the term ‘madness’ or phrase ‘gone mad’ play a pertinent role in the play Hamlet by William Shakespeare. Not only does the title Character, Hamlet, show signs of ‘madness’ but his love, Ophelia ‘goes mad’. Although from the plot of the play we can pick up what is meant by mad, but what truly is madness? Merriam Webster dictionary lists two definitions for this term: A state of severe mental illness and or behavior or thinking that is very foolish or dangerous. By the standards of these definitions we can conclude that Ophelia, the lover of Hamlet, daughter of Polonius, sister to Laertes has in fact gone mad, but the question remains as to why. Ophelia has gone mad because her body cannot process all of the grief and stress she has been subjected to, during the events of the play.
As far as we know, up until the recent events, Ophelia has had a comfortable life. Her father counsel to King Claudius has landed the family in a high part of society, shielded from the effects of poverty. She is beautiful, rich, and has the boy, well only for a little while. During the time of the passing of King Hamlet, Polonius has forbidden his daughter Ophelia to see her one and only lover, the man she believed she was going to marry, she sings, “Quoth she, “Before you tumbled me, You promised me to wed.” He answers, So would I ha' done, by yonder sun, An thou hadst not come to my bed.”(Shakespeare IV.V) She has given herself completely to Hamlet, but on orders from her father she must sever all ties. This has her grieving, grieving over love lost, true love lost. She is still in love with Hamlet, but must obey her father despite her grief; this is putting a tremendous amount of stress on poor Ophelia. She is torn between family, ...
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...mark and its people should have helped her instead of letting the poor girl suffer. She suffered through this mental illness alone until her untimely death, which is still unclear whether it was suicide, accidental, or murder, but based on what that girl has had to endure; it would not be unlikely, that she simply could not bear it anymore. She had to put an end to the madness.
So what is the real cause of Ophelia’s madness? It is the lack of empathy and care that all the characters in the play felt toward the poor insane girl. She was not insane until she couldn’t handle it anymore. This madness could have been stopped, maybe days before, but no one bothered to ask the simple questions to a teenage girl, ‘Ophelia, is everything ok? Is there anything you need to talk about?‘ Maybe next time these people will think twice before letting one of their own go insane.
Ophelia is portrayed as a sensitive, fragile woman. Easily overpowered and controlled by her brother and father, Ophelia is destined to be weak. Ophelia’s brother, Laertes, warns and pushes Ophelia to stay away from Hamlet and is further supported by their father Polonius. “Polonius enters and adds his warning to those of Laertes. He orders Ophelia not to spend time with Hamlet or even talk to him. Ophelia promises to obey” (“Hamlet” 95). Ophelia’s obedience to her father’s directions prove the side she
Ophelia’s obedience towards her untrusting father is indescribable ( I; iii; 101-103. "Affection? Pooh! You speak like a green girl, unsifted in such perilous circumstance. Do you believe his tenders, as you call them"?). Why a grown woman would listen to her father and not help the man of her dreams in his time of need is disheartening. A man’s girlfriend should be there for him when a family member passes away, no matter what. If she had been with him on the plan to kill Claudius and knew about his fathers ghost who told Hamlet that Claudius was the one that murdered him, than neither one of them would have went crazy.
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:
Ophelia in the fourth act of Hamlet is demonstrably insane, but the direct cause of her slipped sanity is something that remains debatable, Shakespeare uses the character Ophelia to demonstrate how women during this time were unable to break away from social norms. While it is evident that Ophelia is grieving over the death of her father, Polonius, as Horatio says of her “She speaks much of her father, says she hears / There’s tricks in the world, and hems, and beats her heart” (4.5.4-5), as lines from one of her many “songs” points towards grieving over an aged relative, “His beard as white as snow / All flaxen was his poll” with flaxen indicating a white or grayed head of hair (4.5.190-191).
In the play Hamlet, Ophelia’s downfall is dependent on love. Being one of the two women in the play, Ophelia lives in a very male dominated society. When the ties are broken between her relationships with the significant men in her life, it breaks Ophelia to
Ophelia is a perfect example of how the poison of revenge of the kingdom of Elsinore does not only affect the person committing these acts, and as the victim, but the innocent bystanders as well. Originally Ophelia had nothing to do with King Hamlet’s unjust death, but her relationship and involvement with Hamlet, her father, and Claudius and Gertrude is enough to make her a lunatic and at last her deplorable death. Shakespeare shows Ophelia’s heartbreaking downfall in her speeches after her father’s passing “There’s/ rue for you, and here’s some for me.../Oh, you must wear your rue with a difference.—There’s a daisy. I would/ give you some violets, but they withered all when/ my father died. They say he made a good end” (Hamlet: IV.v.51). It is clear that the corruption in the kingdom causes Ophelia to become insane. She cannot cope with or overcome her father’s unfortunate death because it was committed by her love, Hamlet. As Ophelia becomes insane due to her father’s death, she is also affected by Hamlet’s treatment of her. Ophelia wants to trust Hamlet and does not understand his antic disposition, but still tries to be loyal to him. However, the way Hamlet treats Ophelias contributes to her insanity and is arguably the most recognizable cause of her misfortune “Get thee to a nunnery,/...Or, if thou wilt needs marry,/ marry a fool,
In the Shakespearean era, certain pressures can cause one to become enclosed in expectation, making conformation the only viable alternative. “Then weigh what loss your honour may sustain, / If with too credent ear you list his songs, / Or lose your heart, or your chaste treasure open / To his unmastered importunity” (1.3.32-35). Laertes reminds Ophelia that as a woman she must be careful around men, certainly Hamlet, and sustain her chastity in order to appear favourable to the public. As a woman of her time, Ophelia is expected to be obedient, submissive, and spiritless. In order to be approved by society, she is required to remain untarnished until her father finds an appropriate suitor to give her away to. She is literally viewed as an article in her father's possession. Ophelia later challenges her brother's notion by saying, “Do not, as some ungracious pastors do, / Show me the steep and thorny way to heaven” (1.3.50-51). In her view, she holds the same set of expectations for her brother rather than accepting that she must blindly follow his (or anyone else's) guidelines simply because she is a woman. Even though Ophelia verbally expresses her disdain towards these formalities, it is inevitable that the pressure placed on her by society will prove too much to bear. Subconsciously, Ophelia has the desire (instilled in her throughout her upbringing) to find a husband and start a family while she is still at an ideal age. Despite all of the warnings she receives, Ophelia falls prey to Hamlet's words, giving up the entirety of herself to him: "I a maid at your window, / To be your Valentine. / Then up he rose, and donned his clothes, / And dupped the chamber-door, / Let in the maid, that out a maid / Never departed more" (4.5.50-55). Ophelia suggests that she innocently allows herself to be intimate with Hamlet. Prior to this, Ophelia believes that Hamlet is that one
In Shakespeare's Hamlet, people create facades of madness to manipulate others. This is shown by Ophelia being framed as helpless at the expense of her family, and her acting mad in an effort to gain information and justice for her father's murder. Here, madness is defined as a "severe and dangerous state of mind which leads the individual to break rules and societal norms" (Shafer 49). Ophelia's madness becomes apparent in the scenes following her father's tragic death. She begins walking aimlessly through the halls of the palace while singing parts of songs that, at first listen, have no relation to each other nor the conversations surrounding her.
It is impossible to get around Hamlet's murder of Polonius being a trigger for Ophelia's decent into madness. However, upon closer examination it is not this trigger alone that is the cause for her madness and it is surely not only this that leads to her eventual suicide. Ophelia is expected to be a perfect lady, which in part meant following the orders of the men in her life. In addition to that pressure and cruelty is the added cruelty of how often those men change their minds about her and what she should do. Adding to that the repeated abandonment and the murder of her father by her lover, it is no wonder she went into a madness that ended in her death.
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...
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...
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 ...
Despite Ophelia’s weak will, the male characters respond dramatically to her actions, proving that women indeed have a large impact in Hamlet. Her obedience is actually her downfall, because it allows the male characters to control and use her in their schemes. Ophelia’s betrayal ends up putting Hamlet over the edge, motivating him in his quest for revenge. Ophelia is one of the two women in the play. As the daughter of Polonius, she only speaks in the company of several men, or directly to her brother or father. Since we never see her interactions with women, she suppresses her own thoughts in order to please her superiors. Yet however weak and dependent her character is on the surface, Ophelia is a cornerstone to the play’s progression. One way that her manipulation is key to Hamlet’s plot is when Polonius orders her “in plain terms, from this time forth/ Have you so slander any moment leisure/As to give words or talk with the Lord Hamlet,” (1.3.131-133). She complies with his wishes, agreeing to return any tokens of Hamlet’s love to him, verify t...
In the discussion of Ophelia's character, her madness is almost always at the center of controversy. Showalter recognizes and explains many interpretations of her madness. Ophelia's madness is, by some, attributed to "a predictable outcome of erotomania" (225). This term "erotomania" was what the Elizabethans referred to as "female love-melancholy." Yet another interpretation is that of the "Romantic Ophelia," in which she is referred to as "a young girl passionately and visibly driven to picturesque madness" (228). Later, it is explained what is meant by this definition when Showalter writes about how people viewed Ophelia as a woman who "felt" too much and somehow allowed these feelings to overcome her. This type of action would drive a person to madness, just as Ophelia is driven into her madness. This conclusion would seem to suggest that her madness stemmed from some sort of erotic passion between herself and Hamlet. This is the type of interpretation that is given to the audience in many movie versioesult of erotomania. Elaine Showalter creates an argument that is predominantly based on the idea that Ophelia's madness is one that comes from her "female love-melancholy."
More specifically the depiction of the character in the films of Kozintsev, Zeffirelli, and Branagh. Before the era of film most stage productions of Hamlet depicted Ophelia in a similar manner. She was portrayed as stereotypically weak and feminine, and her madness was contributed to her weak will and mind. This depiction was not challenged until the mid 1960’s when she was shown to have more depth in Kozintsev’s 1964 version of Hamlet. She is shown feeling a range of emotions from love, to sadness, and to anger. Ophelia was portrayed even differently in the 1990 version of Hamlet directed by Zeffirelli where Ophelia is shown to be a woman who is very young, but also very mature. The author believes that Zeffirelli is trying to convey the notion that Ophelia went mad because she was living in a male dominated world,and it wasn’t due to the fact she was weak minded. The last portrayal she examens is the one in the 1996 version of Hamlet directed by and starring Kenneth Branagh. In this more recent version Ophelia is more mature and both emotionally and physically stronger. The author states that this version of Ophelia is less “pretty” and more realistic, especially when she is going mad. Once again her madness is associated with her treatment and not her frail mind. The author concludes the article by saying that Ophelia’s growth comes from the feminist criticism in the mid twentieth century and her madness stems from her oppression in the