“Something is rotten in the state of Denmark,” Hamlet said, looking off into the distance as if deep in thought.
Ophelia waved a hand in front of Hamlet’s face, her bracelets clacking together. “I think you mean the state of Arizona, actually. We don’t live in Denmark.”
“Yeah,” Horatio interjected, “and what’s rotten is your gym socks. Seriously, do you ever wash these things?”
Hamlet seemed to immediately deflate, looking over at his best friend, (secret) crush, and confidant with a dejected face.
“I’m just saying! If I ever pass out, you need smelling salts, and those are all you’ve got, just leave me.”
“I can’t wash them, it’s bad luck!” Hamlet turned his attention to Ophelia, “Come on, tell him.”
Ophelia shook her head and waved her hands in front of her, letting out a laugh. “I am having absolutely no part in this.”
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He put his hands on his hips, before crossing them over his chest when Hamlet didn’t seem to falter at all in his determination.
“Well, if you really want my opinion,” Ophelia sighed, shoving her hands in her dress’ pockets, “I do think you could at least spritz the things with some perfume.”
Horatio let out a triumphant laugh, unfolding his arms to point at Hamlet in the traditional, accusing ‘I told you so’ manner. Ophelia shrugged, keeping her hands in her pockets and consequently pulling the skirt of her dress away from her thighs while doing so, when she saw Hamlet’s wounded expression.
Hamlet immediately began to stomp off to go sulk until one of the two apologized to him, before realizing he had nowhere to go and stomping back. Horatio stifled a laugh.
“Seriously though,” Horatio forced out through short giggles, “where on Earth did you get Denmark from? Just because you’re Danish doesn’t mean we’re in Denmark!”
Hamlet scoffed, “You guys are Danish too, so,
Though the reader realizes Hamlet's extreme anger and brooding throughout the entire play, he has no actual confrontation with another character until the aforementioned lines in Act III Scene I. One may notice the Prince's biting tone aimed at Claudius, Polonius or even Gertrude, but until his "Get the to a nunnery!" speech, no outbursts of pure rage in the presence of others can be found. This harshness in relation to Ophelia may be one of Hamlet's first moments of "action." The Prince seems reluctant to act upon any of his emotions toward anyone, though he often does give off an aura of discontentment and sorrow over his father's death. However, in these specific lines the audience sees Hamlet take an active stance in purging this young lady's once p...
"If you don't mind me asking, where are you from? I know that you aren't from around this area with an accent like that."
Hamlet runs into Ophelia and angrily Hamlet denies having given her anything; he laments the dishonesty of beauty, and claims both to have loved Ophelia once and never to have loved her at all. Then Hamlet spits out nasty comments including, “Get thee to a nunnery. Why wouldst thou be a breeder of sinners?” (Shakespeare 3. 1. 131-132). He criticizes women for making men behave like monsters and for contributing to the world’s dishonesty by painting their faces to appear more beautiful than they are. This illustrates Hamlet shifting from sane to insane. During Hamlets talk between him and his mother he hears a noise behind the arras. Hamlet storms into the room and asks his mother why she has sent for him. She says that he has offended his stepfather. Hamlet accosts her with an almost violent intensity and declares his intention to make her fully aware of the profundity of her sin. Fearing for her life, Gertrude cries out. From behind the arras, Polonius calls out for help. Hamlet, realizing that someone is behind the arras and suspecting that it might be Claudius, cries, “How now, a rat? Dead for a ducat, dead” (Shakespeare 3. 4. 29). He draws his sword and stabs it through the tapestry, killing the unseen Polonius. This begins the starts his complete transformation from sanity to insanity. . Therefore, while Hamlet argues with his mother in her room after the dumb show he makes insulting
Hamlet's first words are rhetorically complicated, and also challenging and puzzling. Does he pretend to be flippant or boorish in order to keep his thoughts to himself, or to contain his pain? Or does he express rational criticism in savagely sarcastic comments spoken only to himself? Or is the energy of his mind such that he thinks and speaks with instinctive ambiguity? Words are restless within his mind, changing meaning, sh...
The scene then cuts to Hamlet walking into the theatre and Gertrude asking him to sit by her. Hamlet says no because he would rather sit next to Ophelia who is more attractive. Hamlet then jumps over a row of seats to get next to Ophelia and asks if he can lit on her lap. She says no and then he says no and Hamlet says “my head upon your lap” and Ophelia says that he can. I feel that this sequence shows a lot about Hamlet. First off, wh...
While Hamlet may still be feeling depressed Hamlet moves into the stage of denial and isolation. Hamlet feels the effects of denial and isolation mostly due to his love, Ophelia. Both Hamlet’s grief and his task constrain him from realizing this love, but Ophelia’s own behavior clearly intensifies his frustration and anguish. By keeping the worldly and disbelieving advice of her brother and father as “watchmen” to her “heart” (I.iii.46), she denies the heart’s affection not only in Hamlet, but in herself; and both denials add immeasurably to Hamlet’s sense of loneliness and loss—and anger. Her rejection of him echoes his mother’s inconstancy and denies him the possibility even of imagining the experience of loving an...
As Prince of Denmark, Hamlet had to live up to the expectations set upon him by his mother, uncle, and the society around him. According to CliffsNotes, Hamlet is “the consummate iconoclast, in self-imposed exile from Elsinore Society, while, at the same time, he is the adulated champion of Denmark — the people 's hero" (Hamlet). Because of these demands Hamlet is constantly moody, directs terse comments towards others, and often entertains thoughts of suicide. He feels he is not free to make his own choices about whom he should marry, as he must keep his interests within the state. Consequently, it puts a strain on Hamlet and Ophelia 's relationship, never allowing it to fully
Hamlet commences off the verbalization with darkness and despair. Hamlet is contemplating life or death.
After the death of Old Hamlet and Gertrude’s remarriage to Claudius, Hamlet feels extremely angry and bitter. “How weary, stale, flat, and unprofitable / Seem to me all the uses of this world!” (1.2.133-134). Due to the death of his father, he is already in a state of despair and the lack of sympathy that his mother has towards his sorrow does not aid him in recovering from this stage of grief. “Good Hamlet, cast thy knighted colour off, / And let thine eye look like a friend on Denmark” (1.2.68-69). Hamlet is struggling to accept the fashion in which Gertrude is responding to the death of Old Hamlet; she seems quite content with her new life with Claudius, which is a difficult concept for him to accept as after the d...
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
rank and gross in nature”. (42) This soliloquy presents the audience a glimpse into Hamlet’s psyche, he is obviously
She loves hamlet, so when he treats her badly within the same scene she retreats back to the side of her family. This primarily happens when Ophelia says “At home my lord” upon Hamlets inquiry as to where her father is (3.1.132). This choice affects her, through the idea that Hamlet is bad for her, which due to her love for him she is torn between loving him and obeying her family’s guidance. Her hostility to Hamlet, “you are naught you are naught” becomes evident the next scene she is around him and he shows his poor behavior (3.2.152). Ophelia now believes that Hamlet no longer loves her, and comes to the idea that her father and brother were right in warning her of Hamlets evil intentions. This is where she begins to lean more on their guidance mentally, as she does not know how to go about behaving around
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.
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.
Rottenness in Denmark is also seen in the ghost of King Hamlet. Just the sign of