Feminine Representation in Shakespeare's Hamlet
Abstract: This essay employs Feminist Criticism, New Historicism, and Marxist Criticism, to analyze the portrayal of Queen Gertrude and Ophelia.
Because Shakespeare's Hamlet centers on the internal struggle of the Prince of Denmark, the reader focuses primarily on his words and actions. An often overlooked or under appreciated aspect of the play is the portrayal of the female characters, particularly Queen Gertrude and Ophelia. There are two scenes in particular that provide insight into this topic. In Act I Scene III, Ophelia receives advice from her father, Polonius, and her brother, Laertes. Similarly, Gertrude is confronted and advised by Hamlet in Act III Scene IV. The three most useful and engaging methods of interpreting these scenes include Feminist Criticism, which views literature from the perspective of women; New Historicism, which observes literature in terms of history and culture; and Marxist Criticism, which examines literature within the parameters of social structure and class hierarchy. These schools of criticism provide a unique understanding of the scenes; each one provides a different focus, offering maximum insight from the text.
In both highlighted passages, the theme of feminine representation is explored. In Act I Scene III, both Laertes and Polonius counsel Ophelia on her relationship with Prince Hamlet. They warn her of the implications of her actions and the consequences of even the hint of impropriety. Both men advise her to "keep you in the rear of your affection, out of the shot and danger of desire" (1.3.33-34). For her own reputation and that of her family, she must not become (or stay) involved with the pr...
... middle of paper ...
...ction and Hamlet." Wofford. 283-293.
---. "Feminist Criticism and Hamlet." Wofford. 208-215.
---. "Psychoanalytic Criticism and Hamlet." Wofford. 241-251.
Nevo, Ruth. "Acts III and IV: Problems of Text and Staging." Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. Rpt. from Tragic Form in Shakespeare. N.p.: Princeton University Press, 1972.
Pennington, Michael. "Ophelia: Madness Her Only Safe Haven." Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. of "Hamlet": A User's Guide. New York: Limelight Editions, 1996.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint of Shakespeare's Women. N.p.: n.p., 1981.
Shakespeare, William. Hamlet. Ed. T. J. B. Spencer. New York: Penguin, 1996.
Gabriel García Márquez, 1982 Nobel Laureate, is well known for using el realismo magical, magical realism, in his novels and short stories. In García Márquez’s cuento “Un Señor Muy Viejo con Alas Enormes,” García Márquez tactfully conflates fairytale and folklore with el realismo magical. García Márquez couples his mastery of magical realism with satire to construct a comprehensive narrative that unites the supernatural with the mundane. García Márquez’s not only criticizes the Catholic Church and the fickleness of human nature, but he also subliminally relates his themes—suffering is impartial, religion is faulty by practice, and filial piety—through the third-person omniscient narration of “Un Señor Muy Viejo con Alas Enormes.” In addition to García Márquez’s narrative style, the author employs the use of literary devices such as irony, anthropomorphism, and a melancholic tone to condense his narrative into a common plane. García Márquez’s narrative style and techniques combine to create a linear plot that connects holy with homely.
In the novel, Pedro Páramo, by Juan Rulfo, settings serve the purpose of being much more than merely locations. Various settings are utilized to represent symbols throughout the novel in order for Rulfo to develop the plot of the novel. Comala is a location that clearly acts as a symbol in Rulfo’s writing; however, to truly recognize the symbolism in the novel and to acknowledge the presence of key themes such as those of purgatory, religion, and oppression, it is necessary to analyze less conspicuous settings, particularly, the home of doña Eduviges, the church, and the Media Luna.
Pennington, Michael. "Ophelia: Madness Her Only Safe Haven." Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. of "Hamlet": A User's Guide. New York: Limelight Editions, 1996.
Hamlet is one of the most controversial characters from all of the Shakespeare’s play. His character is strong and complicated, but his jealousy is what conduces him to hate women. He sees them as weak, frail, and untrustworthy. He treats Ophelia, the women he loves, unfair and with cruelty. Similarly, he blames his mother for marrying her dead husband’s brother, who is now the King of Denmark. Hamlet’s treatment for women stems from his mother’s impulsive marriage to his uncle who he hates and Ophelia choosing her father’s advice over him.
Men have authority over women because God has made the one superior to the other, and because they spend their wealth to maintain them. Good women are obedient. They guard their unseen parts because God has guarded them. As for those from whom you fear disobedience, admonish them and send them to beds apart and beat them. Then if they obey you, take no further action against them. God is high, supreme. (Women)
In The Canterbury Tales, written by Geoffrey Chaucer, the stereotypes and roles in society are reexamined and made new through the characters in the book. Chaucer discusses different stereotypes and separates his characters from the social norm by giving them highly ironic and/or unusual characteristics. Specifically, in the stories of The Wife of Bath and The Miller’s Tale, Chaucer examines stereotypes of women and men and attempts to define their basic wants and needs.
And yet he had a thumb of gold, begad." The Miller is a loud, annoyin...
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare's Women. N.p.: n.p., 1981.
Hamlet's relationship and actions towards Ophelia are not exempt from his dual personalities. In private, he is deeply devoted to her; but in public, he humiliates and belittles her...
Today Maloryís collection has become "the basis of most modern tellings of the Arthurian story. " Because it occurs just past the age of chivalry, the 15th century, Maloryís work has the opportunity to evaluate the "elegance and leisure of the antecedents in chivalric literature." (Tara Knapp) It was written in English and consists of eight intertwining tales of King Arthur and his different knights, and is packed with "compassion for human faults and nostalgia for the bygone days of chivalry." (Encarta) Each tale flows from one to the other which allows better understanding for the reader. However some of that understanding is lost because it seems to be a tale told in a series of flashbacks which would allow for Maloryís memory loss at times. Despite this loss, the story has cohesion because of its compilation from many different fragments of different stories.
When writing Hamlet, Shakespeare created a complex play that relies on the roles of two important women to aid the progression of the plot. Although Queen Gertrude and Ophelia rarely speak, they function as a way for the men become informed about Hamlet’s mental state and motives for madness. Each woman made choices that greatly impacted the story plot and the lives of the characters. Ophelia’s suicide causes Laertes’s to desire revenge on Hamlet, and Gertrude’s infidelity and purposeful ignorance intensifies Hamlet’s urge for revenge.
...e motivated to change their attitudes, or even to change some aspects of society itself. "The Crocodile Spirit" captures the atmosphere when all South Africans were first allowed to vote, after the Apartheid Era, Mhlophe writes " many...were united in spirit, and carried away on a huge wave of triumph." This is inspirational writing, with the hpoe that others will also grasp the joy when certain things in society are changed, and are motivated to do their part in these changes.
For many years in the past women played a small role socially, economically, and politically. As a result of this many works in literature were reflective of this diminutive role of women. In Elizabethan theatres small boys dressed and played the roles of women. In contrast to this trend, in Shakespeare's Hamlet the women in the play are driving factors for the actions of many other characters. Both Gertrude, Hamlet's mother, and Ophelia, Hamlet's love, affected many of the decisions and actions done by Hamlet.
Michael Almereyda’s movie adaptation of Shakespeare’s Hamlet brings about a new perspective through its performance. The movie adaptation, Hamlet (2000), retells the original play in a modernized setting, bringing out various different elements of characters, which highlights a new reading of these characters as individuals, and a newfangled reading of the play as well. Throughout the movie, Ophelia and Gertrude, the woman-leads, are advanced in a progressive manner compared to the original play. In particular, Gertrude from Hamlet (2000) is noticeably altered from Hamlet, the play. This new interpretation of Gertrude and the play created by the movie adaptation advances the position of Gertrude as a woman, as well as motifs of incest, misogyny,
Grimm, Kevin T. “Knightly Love and the Narrative Structure of Malory’s Tale Seven.” Arthurian Interpretations, vol. 3, no. 2, 1989, pp. 76–95. JSTOR, JSTOR, www.jstor.org/stable/27868661.