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Hamlet tragedy and ophelia
Characteristics on Hamlet
Hamlet's behaviour
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In classic works of literature, all characters have certain flaws, and Shakespeare’s tragedies’ characters in particular have faults that ultimately lead to their ruination. In Hamlet, Ophelia’s flaws eventually kill her.
In the beginning of the play, it is clear through her thoughts and actions that that Ophelia is an obedient person. But upon closer inspection, the audience can see that she is not merely an obedient, but completely dependent and weak character. In fact, her needy nature is unmistakable from the beginning. OPH: “I do not know, my lord, what I should think.” POL: “Marry, I will teach you. Think yourself a baby…” (Act I, Scene III, lines 105-106) Her cruel clashings with Hamlet, which go against her feelings for him, demonstrate her absolute obedience to her father. For example, from the start Ophelia told her father that she is fond of Hamlet: “My lord, he hath importuned me with love / In honorable fashion.” (Act I, Scene IV, lines 111-112) In relating this to Polonius, she implies that Hamlet is a decent and honorable man, and that she does have feelings for him. Ophelia’s later actions sacrifice these personal feelings by order of her father, proving her total submission to his authority. Ophelia specifically agrees with her father not to see Hamlet again: “I shall obey, my lord…” (Act I, Scene IV, line 136) This shows that Polonius has complete control over his daughter, with her desire to please her father as the direct cause. Ophelia has an innate desi...
Ophelia is a character in Hamlet that is chronically faithful to everyone else but herself. Ophelia is deeply in love with Hamlet, and she is certain that he loves her as well. This is clear from the assertions she makes in Hamlet’s defense: “My lord, he hath importuned me with love in honest fashion. And hath given countenance to his speech, my lord, with almost all the holy vows of heaven” (1795). Ophelia’s downfall emerges when she doubts her own feelings and beliefs about Hamlet, upon instruction and advice from her brother and father. Ophelia, a confident and intelligent woman, begins to rely on others to tell her what to think and how to act. “I do not know, my lord, what I should think” (1795). Upon Polonius request, and going against her own hearts desires, she starts to avoid Hamlet. “No, my good lord, but, as you did command, I did repel his letters and denied his access to me” (1806). By doing what her father advises and wishes Ophelia is no longer capable of making decisions for herself. The loss of Hamlet’s love and the death of her father leave her with confusion and doubts about her future. “Well, Go...
Often overlooked in Shakespeare’s famous play Hamlet, Shawna Maki analyzes Ophelia’s restricting role as a woman in a patriarchal society and how it essentially leads to her death being the true tragedy of the play. Maki supports this argument by stating, “Whereas Hamlet has the power and potential to change his fate, Ophelia does not and her death is tragic because the only escape she sees from her oppression is madness and death.”. The comparison between Hamlet and Ophelia is a common parallel because both characters are inevitably labeled as tragic deaths due to the quick deterioration of their state of mind.
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
During Hamlet, Polonius and Laertes use Ophelia for their own self-gain not taking her feelings in consideration. In the article “Jephthah's Daughter's Daughter: Ophelia,” Cameron Hunt reveals that Polonius disregards Ophelia’s wants for his ...
In The Tragedy of Hamlet, Shakespeare developed the story of prince Hamlet, and the murder of his father by the king's brother, Claudius. Hamlet reacted to this event with an internal battle that harmed everyone around him. Ophelia was the character most greatly impacted by Hamlet's feigned and real madness - she first lost her father, her sanity, and then her life. Ophelia, obedient, weak-willed, and no feminist role model, deserves the most pity of any character in the play.
From the beginning of Hamlet Ophelia was a pure, genuine, happy person and had found her true love. Ophelia’s brother warns her to stay away from Hamlet because he is just going to hurt her and that he is never going to really love her, she is to be obedient and follow what they say,
The character of Ophelia is an excellent element of drama used to develop interpretations of Shakespeare’s text. At the beginning of the play, she is happy and in love with Hamlet, who first notices her beauty and then falls in love with her. The development of Ophelia’s madness and the many factors that contributed to her suicide are significant parts of the plot. “Her madness was attributed to the extremity of her emotions, which in such a frail person led to melancholy and eventual breakdown” (Teker, par. 3). The character of Ophelia in Zieffirelli’s version is the personification of a young innocent girl. “Her innocence is mixed with intelligence, keen perception, and erotic awareness” (Teker, par. 13). This Ophelia is a victim of a distrustful lover and an authoritative father. She is an obedient daughter, who is controlled by her father Polonius, an advisor to King Claudius. Therefore, she believed she had to do everything her father told her to, which caused her to stifle her love and hurt Hamlet, the man she loved (Hamlet). In Branagh’s version, Ophelia is more emotionally mature and physically stronger. The reasons for her madness are outcomes “of her frustrated romance with [Hamlet] as well as her status as a pawn of all the men in her life” (William Shakespeare’s Hamlet; Teker, par. 17). The experiences she encountered with Hamlet result in great anguish to her. Specifically, he did not marry her when he had promised to do so. On St. Valentine’s Day, she alludes to this by singing a song about a maid whose lover also did not marry her as he promised (Shakespeare 4.5.24-64). She was constantly conflicted by what her father wanted, what Hamlet wanted, and what she wanted.
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.
She believes Hamlet loves her “Young men will do ‘t, if they come to ‘t; By Cock, they are to blame… Before you tumbled me, you promised me to wed.”(4.5.?) Polonius thinks she is naïve in thinking Hamlet loves her “… Unsifted in such perilous circumstance” Hamlet does love her though, “I loved Ophelia. Forty thousand brothers could not with all their quantity of love make up my sum…” (5.1.284-286) but does not show this until after her death. She has no choice but to betray Hamlet and his love, and she is also naïve in thinking what her father wants her to do is in her best interest when really he is using her relationship to find out Hamlet’s
The way that Polonius acts as a good father towards Ophelia is mostly how he doesn’t want her to get hurt by Hamlet. Ophelia tells Polonius all about what Hamlet has said and given her. She tells her father that Hamlet gives her presents and tells her nice things out of affection.
... every chance he gets, he belittles her, and basically states that she is nothing more of a possession of his, who will act as he wishes. What kind of a father treats their daughter like that? Or any parent for that matter? A child, young or old, is never a possession, but an extension of who the parents are (or were, whatever the case may be). By keeping Ophelia away from Hamlet, or at least demanding she not have anything to do with him, Polonius is keeping his kingdom at peace … and in the dark. Through keeping his daughter from love, he is killing two birds with one stone. He is keeping his daughter from Hamlet and thus away from him, but he is also keeping Hamlet from being happy as well. Again, what kind of a parent would deny their child love?
The causes of Ophelia's decent into madness start long before she is raving and signing rude songs. It is a madness brought of mistreatment; a mistreatment that started with her father. Upon first hearing of Hamlet's affection for her Polonius is very dismissive of it. He even tells her not to waste her time with him as a result "I would not, in plain terms, from this time forth Have you so slander any moment leisure As to give words or talk with the Lord Hamlet." (Shakespeare & Bevington, 2009, pp. P1105 L133-135) This is given as an order, which Ophelia says she will obey. The earlier exchange is quite dismissive of the affection between Ophelia and Hamlet, despite her defending it in terms of Hamlet having shown that love both in words and gifts and the defense of him courting her in an honorable fashion. Polonius is again quick to dismiss his daughter's view of the world saying "Affection? Pooh! you speak like a green ...
In Elizabethan times, Ophelia is restricted as a woman. She is obedient to the commands of the men in her life although she often attempts to do the right thing. Polonius, Laertes, and Hamlet all have a grasp on Ophelia and who she is. She does not have the freedom to change her fate as Hamlet does. Shawna Maki states, “Ophelia’s life is determined by the whims of men who control her” (1). Polonius takes advantage of his relationship with Ophelia by using her to achieve a better relationship with Claudius. Polonius and Laertes teach Ophelia how to behave, therefore, abusing their power in allowing Ophelia to become who she wants to be (Brown 2).
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...
A good place to start when looking at Ophelia’s submissiveness comes during Act 3, Scene 1, where Claudius and Polonius decide to use Ophelia as bait for Hamlet. Ophelia is present during the entire discussion dealing with the questioning of Hamlet’s madness and only speaks once in this whole sequence. “Madam, I wish it may”(3.1.43), is Ophelia’s response to Gertrude’s wish that this plot will clear up Hamlet’s behavior. The reply is short, to the point and filled with respect. What makes this stand out even more is that she properly addresses Gertrude. Even though Gertrude is not a male figure, Ophelia still acknowledges Gertrude’s superiority with the reply by referring to her as Madam. In the following sequences we continue to see Ophelia address her superiors in this proper manner, namely Hamlet. Ophelia speaks eleven times in her exchange with Hamlet and out of those eleven times there are only three instances where she does not respond by addressing Hamlet as “my lord” or “lordship. The additional use of “wish” plants the idea that Ophelia may actually be a bit ...