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How women are portrayed in Shakespeare plays
How women are portrayed in Shakespeare plays
Portrayal of women in Shakespeare's work
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I aimed to write a short story that explored the characterisation of Ophelia in Hamlet through the character, Esther, in my story, Esther. Both Ophelia and Esther are young women who struggle to deal with the conflict between what is expected of them and what they want in life. In both cases, the expectations come from their father. The consequence of these expectations is the theme that is explored in Esther and Hamlet.
In Esther, I sought to explore the expectations placed on Ophelia using a different social context. The social context of Hamlet is a fifteenth century European Kingdom. Ophelia’s father, Polonius, is manipulative and rejects Ophelia’s relationship with Hamlet. He values his reputation and his family’s reputation above his
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Scott Fitzgerald. Like Polonius, Mr. Bass is controlling, in this case rejecting Esther’s desire to perform in the theatre. This is shown through Mr. Bass’ comment to Esther, You are not conducting yourself in the way that Bass women must. In both cases, Esther and Ophelia are torn between the rejection of their father and something or someone that they love.
I extracted dialogue directed to Ophelia from Hamlet, and rewrote it to reflect 1920s America in Esther, mirroring the characterisation of Ophelia. For example, Polonius tells Ophelia that ‘it is common for the younger sort to lack discretion’ (Act II Sc I, li 127). Similarly, Mr. Bass tells Esther You lack discretion, young child.
I used evocative language to create sympathy towards Esther. Terms such as malevolence and resentment were used to convey how damaging Mr. Bass’ actions have been on his family. By contrast, nouns including delicacy, passion and contentment convey the positive emotions associated with Esther’s love for her mother and for performing. This use of language encourages readers to feel sympathy for Esther and her situation, as readers do towards Ophelia in
“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.
There are many topics deeply hidden in the works of William Shakespeare. One of his greatest pieces of works is the story of Hamlet, Prince of Denmark. Not only are the words of Shakespeare meaningful, but there are also many follow up pieces of literature that contain important interpretations of the events in this play. These works about Hamlet are extremely beneficial to the reader. I have found four of these works and will use them as sources throughout this essay. The first source is “The Case of Hamlet’s Conscience,” by Catherine Belsey, and it focuses on the topic of Hamlet’s revenge in the play. The second source is “’Never Doubt I Love’: Misreading Hamlet,” by Imtiaz Habib, and it explains a lot of information about Hamlet’s “love” for Ophelia. The third source is “Shakespeare’s Hamlet, III.i.56—88,” by Horst Breuer, and it talks in depth about the issue of suicide in Hamlet. The fourth and final source is “Shakespeare’s Hamlet 1.2.35-38,” by Kathryn Walls, and it describes the significance of the role the Ghost plays throughout Hamlet. There are many different confusing parts in Hamlet and the best way to fully understand the play is to understand all of these parts. By understanding every miniscule detail in the play, it creates a different outlook on the play for the reader. In this essay, I will explain these confusing topics, as well as explain why the sources are helpful and what insight they can bring. At the end is this essay, the reader will have a complete understanding and appreciation of the play Hamlet, Prince of Denmark.
Hamlet shows much anger and disrespect to the women in his life. Ophelia’s believing her father’s words breaks Hamlets heart, being the reason for his treatment towards not just her but his mother. Ophelia
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
Oakes, Elizabeth. "Polonius, the Man behind the Arras: A Jungian Study." New Essays on Hamlet. Ed. Mark Thornton Burnett and John Manning. NY: AMS Press, 1994. 103-112.
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.
Culturally, women have been expected to be soft spoken, gentle, delicate flowers. They should not question a man's opinion or go against their will. Ophelia, in William Shakespeare’s Hamlet, is an example of a young naive girl who faces the dangers that come from only following what others want, and not thinking for herself. The men in this play use her for their own benefit and she suffers the repercussions, which leads her to madness and “accidental” death.
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.
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 ...
Ophelia is conditioned to obey Polonius and Laertes’ commands, thinly veiled as guidance for her “own good.” She is never trusted to have a mind of her own, often having her intelligence openly insulted, causing her to be dependent on the men in her life. These men exercise authority over her, patronize, and degrade her, lowering her self-esteem to a non-existent level, and leaving her a...
Ophelia, in William Shakespeare’s Hamlet, represents a self-confident and aware female character. She analyzes the world around her and recognizes the multitude of male figures attempting to control her life. Her actions display not only this awareness, but also maturity in her non-confrontational discussions. Though she is demeaned by Laertes, Polonius, and Hamlet, Ophelia exhibits intelligence and independence and ultimately resorts to suicide in order to free herself from the power of the men around her.
Melancholy, grief, and madness pervade Shakespeare's great tragedy, Hamlet. The emotional maladies presented within Hamlet, not only allow the audience to sympathize with prince Hamlet, but also with the tragic lady Ophelia as well. It is Ophelia who suffers at her lover's discretion because of decisions she was obligated to make on behalf of her weak societal position.
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...
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).
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.