Kambili and Ophelia In novel and the play Purple Hibiscus and Hamlet, Adichie and Shakespeare both depict similar characters that are put in identical situations. In the beginning of Purple Hibiscus, Kambili is in an environment that is similar to Ophelia’s—one that is repressive and strict. In both the palace and Enugu, both girls are under male dominated influence, which is the cause of their subordinate personality. Although Kambili and Ophelia seem identical by their personalities and the situations they are it, there is one prominent difference. Ophelia ends up taking her own life whereas Kambili seems to have improved as a character. The main reasons for this is that when Kambili moved to Nsukka with Aunty Ifeoma and her cousins, she was exposed to a completely different environment in which she is introduced to freedom and forced to mature. In Nsukka, Kambili has an abundance of female support, a long with fraternal support and an encouraging lover. Whereas Ophelia lacks a substantial amount of these factors during the majority of her life. Through the relationships with their respective support systems, the difference in outcomes between Kambili and Ophelia reveals the effect of the environment and surroundings on their characters and how guidance is vital to ones coming of age. The amount of female support Kambili receives in Nsukka from Aunty Ifeoma and Amaka ultimately help her gain confidence and show her the meaning of what it feels like to be free from male dominance. Aunty Ifeoma illustrates that she is not afraid to speak her mind in any situation especially when you have done no wrong. When Papa abused Kambili after she dove after the ripped painting of Papa-Nnukwu, Aunty Ifeoma immediately spoke and sai... ... middle of paper ... ...is will be the last time Ophelia ever hears from Laertes until the end of the play, when he comes back after the death of his father. The absence of Laertes caused his bond with Ophelia to weaken, because he was simply never there for her when she needed it most. After Ophelia kills herself, Laertes still doesn’t seem to appreciate his sister. He jumps into her grave saying “Till I have caught her once more in mine arms” (5.1 197), implying the literal meaning that this is the last time he will ever be able to hold her. Ophelia has finally been freed after died, and by saying “caught” her once more in his arms, Laertes is insinuating that he has to get one last hold of his sister before he has to let her go, just like Jaja did to Kambili, however this time to heaven. Yet it is disrespectable to Ophelia that she can’t even be placed in her grave peacefully.
Aunty Ifeoma, wanting her niece and nephew, to experience something outside of her brother’s structured home, convinces Father, using religious reasons, to let Kambili and Jaja visit her home. Shocked by the schedules given to Kambili and Jaja to follow during the stay, Aunty Ifeoma takes them away and integrates them into her family, making them do shifts for chores. At a time when her cousin’s friends come over, Kambili “wanted to talk with them, to laugh with them so much...but my (her) lips held stubbornly together… and did not want to stutter, so I (she) started to cough and then ran out and into the toilet” (Adichie 141). Kambili, unfamiliar to the house full of light-hearted arguments and constant laughter, finds herself trapped inside her own emotions, incapable of expressing them. Just like any other hero enters a new place with different values, Aunty Ifeoma’s home had a set of completely different values, and Kambili initially has a hard time adapting to this
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.
At the beginning of the play, Laertes spoke to his sweet, loving sister Ophelia about his departure of Denmark to go to England and also his concerns of she and Hamlet’s relationship. He warned her of what he thought Hamlet's true intentions were.
Before Laertes left for France, he gave Ophelia advice on her relationship with hamlet. Laertes tried to warn Ophelia on Hamlet’s real feelings and his true intentions towards her, and tells her to be a little wary of Hamlet and his affections. Hamlet’s feelings towards Ophelia seem to die after she rejects him. Not only his feelings, but his own appearance seems to decay after the rejection. He is described as being “Pale as his shirt, his knees knocking each other” (line 82). To make matters worse, Ophelia dies. Both Hamlet and Laertes are so shocked and distressed over her death, that they both decide to jump into her grave and begin to fight each other. Even though both Hamlet and Laertes hated each other, they both loved Ophelia deeply. Hamlet was obviously very infatuated with Ophelia, as too it hard at her death. Laertes on the other hand seemed to have more of a brotherly connection and bond with her, as was evident when he tried to advise her against
He allows his true feelings and emotions to pour out at her grave for the last time before she is buried and gone forever: “I loved Ophelia. Forty thousand brothers / Could not with all their quantity of love / Make up my sum,” (V.i.285-87). Regardless to the amount of love Ophelia’s brother had for her, Hamlet claims that he loves her more than Laertes ever could. Similar to the symbolism in his letters, he expresses his abundant love for Ophelia and how she is the girl he truly cares about. The prince comes straight out with his feelings and does not act insane during the funeral, he is simply being honest straight from his heart. Now that she is gone, Hamlet cannot protect her and has no reason to hid his true emotions towards
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.
Ophelia believes that her brother is too concerned about her sexuality. The play portrays the intellection that Laertes was a little bit closer to his sister than the average brother. Also, Laertes’s reaction to Ophelia death was the reaction of a husband losing a wife. While at the funeral, Laertes jumped into Ophelia’s grave to hold her. Although a loving and caring mood was being set, it was not the type brother/sister that was being displayed.
Hamlet and Laertes share a different but deep love and concern for Ophelia. Laertes advises her to retain from seeing and being involved with Hamlet because of his social status. He didn’t want her to get her heart broken by Hamlet, since he believed that his marriage would be arranged to someone of his social status, and that he would only use and hurt Ophelia. Hamlet on the other hand, was madly in love with Ophelia but it languishes after she rejects him. Ophelia’s death caused distress in both Hamlet and Laertes and it also made Laertes more hostile towards Hamlet.
In the play,”Hamlet, Act 3 scene 1” the target audiences between both plays were to a wide variety of people. Back when Hamlet was first written, it was made to be viewed by a wide variety of audiences. Typically during the renaissance era, plays were made more common to the lower part of society; this being why Hamlet was written. Although both plays are to the same audience, the first one is more distinct into who it wants viewed. It had elegance, and was more formal and professional. You could see in the audience people were wearing suits a formal attire. As to the second one, it was smaller scale, and the audience had people in shorts and sweats.
"Laertes is a mirror to Hamlet. Shakespeare has made them similar in many aspects to provide a greater base for comparison when avenging their respective fathers' deaths" (Nardo, 90). Both Hamlet and Laertes love Ophelia in different ways. Hamlet wishes Ophelia to become his wife, Laertes loves Ophelia as a sister. Hamlet is a scholar at Wittenberg; Laertes is also a scholar at France. Both were brought up under this royal family of Denmark. And both are admired for their swordsmenship. But most important of all, both of them loved and respected their fathers greatly, and showed great devotion when plotting to avenge their fathers' deaths.
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.
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.
“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 perfection of Hamlet’s character has been called in question - perhaps by those who do not understand it. The character of Hamlet stands by itself. It is not a character marked by strength of will or even of passion, but by refinement of thought and sentiment. Hamlet is as little of the hero as a man can be. He is a young and princely novice, full of high enthusiasm and quick sensibility - the sport of circumstances, questioning with fortune and refining on his own feelings, and forced from his natural disposition by the strangeness of his situation.
Firstly, the castle of Elsinore is notable for its evocation of place where it initially begins to shape Ophelia’s character and create Ophelia’s imagination beyond her life of limitations. It is undisputable the love Ophelia and Hamlet once shared in their past relations. This is clearly evident when Hamlet jumps out from hiding at the graveyard and expresses his feelings for Ophelia proclaiming his love. “I lov’d Ophelia: forty thousand brothers could not, with all their quantity of love, make up my sum. What wilt thou do for her?” (5.2. 270-72) Although Polonius, Ophelia’s father, instructs her to never see Hamlet again and to never trust his promises, she continues to honour Hamlet’s love and defend him to her father; “My Lord, he hath importun’d me with love in honourable fashion” (1.3. 110-11). Since, Ophelia is dependent on her father, and the men in her life; she now finds herself alone after his sudden death, which causes her grief and unhappiness (4.5.11-13). Ophelia’s distracted behaviour gives the impression that some great unhappiness has befallen her (Ibid). Claudius suggests it is a result from her father’s death; “Conceit upon her father” (4.5. 43). Ophelia’s abrupt behaviour shows the nature of her mind and her songs suggest tragic irony, since it is paradoxical to the Ophelia that is introduced at the beginning of the play; a sweet and innocent young girl, who obeyed her father and brother (1.3.90-98).