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In Hamlet by William Shakespeare Hamlet becomes overcome with rage when Ophelia betrays him with her dishonesty about her father, Polonius. Before Hamlet’s anger intensifies, he greets Ophelia with a subtle kindness and compassion, answering her gentle questions heartedly. The tables turn when Ophelia brings to him the letters composed of sweet words that he gave to her as a gift of his love. This is not only a betrayal of the love Hamlet gave to her, but she stands against Hamlet and with her father since she allows him to control her actions. The dialogue between the two lovers brings to question whether Hamlet truly cares for Ophelia or not, and her responses to his disassociation of her provide evidence of her spiraling down into madness. …show more content…
The interactions between Hamlet and Ophelia are key to discovering the true intentions of what they were trying to portray, a hidden message in their words to one another. For example, at their greeting, Hamlet responds to Ophelia’s polite question with “I humbly thank you, well, well, well” (91). His reply to Ophelia is formal and aloof, slightly unusual since they know each other quite well when they’re alone. Perhaps this is a hint that Hamlet is keenly watching for any sight of possible spies since it has been previously teased that Hamlet is aware the King is keeping a particularly close eye on him. As their conversation continues, the focus shifts to the topic of the love letters, a disclosed secret between them now brought out into the open. Hamlet is slightly taken aback by Ophelia having come to him to return those precious gifts and this causes him to react to her in an antagonizing manner. “No, not I, / I never gave you aught” The blatant act of denial of the handwritten letters might be Hamlet acting out of spite, or a possible deeper conclusion that he means his current mad self never gave her those love letters (94-95). The repetition of the word “I” emphasizes another indication that it is mad Hamlet standing before Ophelia, not the compassionate prince she knew before. Since mad things are repeated over and over with no recognition of it being madness (94-95). Degenaar 2 The tone shifts from a calming one to that of a heartbreaking one which Ophelia expresses through the emotional pain that was inflicted upon her by Hamlet’s cruel accusations.
She uses contrasting diction while describing the love letters to Hamlet, “Rich gifts wax poor when givers prove unkind” (100). Ophelia creates imagery of how her relationship with Hamlet was before her father Polonius ordered her to end it and before Hamlet began his mad act upon Denmark. There is an undertone of sadness in her words toward Hamlet, calling him out for being deceitful about his promised love to her. Every kind word and every gift he has given to her has now faded away and lost its sweetness because Hamlet has proved himself to be unkind by denying their love in the first place. Hamlet refers to the emotional feeling of love or the act of lovemaking in “I did love you once” which if this is his way of expressing to Ophelia that he loves her then the following line “I lov’d you not” appears to be a bad reaction to her words. (114-118). On the contrary, if this is Hamlet claiming he made love to her, then that following line of denying the emotional love seems excessively harsh toward Ophelia’s fragileness that is starting to crack open. Ophelia’s retort to Hamlet’s unkind words “I was the more deceiv’d” makes the reader think that she really did believe the prince when he said he loved her (119). However, she remains silent as to whether or not she loved him back because she knows her father and the king are listening in. Hamlet’s mad acting toward her misleads her and Ophelia’s betrayal of him regarding her participation in helping set him up, are major contributions to the theme of deceit in
Hamlet. The pacing of the dialogue between the reactive prince and the distraught noblewoman begins to intensify when Hamlet catches on that Ophelia is participating in a set up by Claudius and Polonius. Hamlet seems to lose control of his emotional state, saying words to Ophelia that he most possibly would not have said if he had been of a rational mind. For example, he angrily tells her “Get thee to a nunn’ry: why wouldst thou be a / breeder of sinners” and he continues to repeatedly tell her to get herself to a nunnery, breaking his train of thought to tell Ophelia what to do (120-121). This pun could suggest Hamlet’s source of anger by how he accuses the world of being a sinful place. This hatefulness was brought forth by Gertrude's actions, since he had Degenaar 3 seen her as a good person before she married Claudius, he is now angry and acts disgusted toward her. The continuing dialogue shows that Hamlet is switching his focus of anger from Ophelia to the world. His mind is full of scattered thoughts and realizations. He says with an mad tone “with more offences at my beck / than I have thoughts to put them in, imagination to / give them shape, or time to act them in. What should / such fellows as I do crawling between earth and / heaven” and this implies that he is feeling a sort of self-loathing toward himself now (124-128). First he was angry at Ophelia for her betrayal, then he becomes mad at the world for sinning, and now he is directing his anger at himself. He appears to be upset that he has contemplated possibles sins he will commit in the future, an example of how he is starting to lose his scholarly wits. Repetition is important, especially on Hamlet’s side of the scene. Repetition for Hamlet can be conclusive evidence of the mad act he is performing. He says “Go thy ways to a nunn’ry” and uses the word “nunn’ry” five times throughout his conversation with Ophelia (129). The previous repetitions of the word appears to be apart of mad Hamlet’s character, but with this specific line he seems to be genuinely furious at Ophelia. Building up his rage through cursing Ophelia and the world, Hamlet has lost a bit of control of his emotions and is taking his anger out on Ophelia because she stands directly before him, an easy target. Another example of repetition is Ophelia shouting “O, help him, you sweet heavens” and “Heavenly powers, restore him”, which are the two times she calls upon the heavens to help- not herself- but Hamlet (133-140). This is not the only time, however, that references of heaven and God are brought into their conversation. Hamlet also repeats the power of the heavens in “God hath given you one face, and you make yourselves / another” but he does this in almost an accusatory tone toward Ophelia (142-143). The dramatic irony is that Ophelia calls upon the heavens to help Hamlet, while on the other side Hamlet uses God’s name in a degrading way to curse and accuse Ophelia. Whether or not Hamlet truly cared for Ophelia, it is evident in their conversation that he is too overcome with rage for everything that he allows his own self to emotionally damage the poor Ophelia. In conclusion, Hamlet’s mad acting becomes genuine when he feels the stings of Ophelia’s unintentional betrayal. Though he harshly lashes out at Ophelia, there are hints in his speeches that he cares deeply for 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.
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...
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
Living in an environment of deception and hostility, the reader can easily identify with Hamlet's anger. Most all compassionate audiences will be sympathetic to his plight. However, the origins of Hamlet's vehement actions toward his once beloved Ophelia can be debated from several different points of view. Whatever his reasoning may be, it is probably correct to assume that he regrets deeply every harsh world spoken toward Ophelia. He only realizes again what a beautiful and kind person she was- after her death.
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...
By not speaking anything, Hamlet at once strengthens his image as a madman, as well as shrouding his real intentions towards those around him. Just following this passage comes a place in the text where we can see how the character of Ophelia has been manipulated by Polonius. After his "hint" that he might be doing this out of frustrated love, Ophelia says that that is what she truly does fear. (87) Her feelings of pity and concern are shaped by her father in order to fit his case of madness against Hamlet.
Ophelia in the fourth act of Hamlet is demonstrably insane, but the direct cause of her slipped sanity is something that remains debatable, Shakespeare uses the character Ophelia to demonstrate how women during this time were unable to break away from social norms. While it is evident that Ophelia is grieving over the death of her father, Polonius, as Horatio says of her “She speaks much of her father, says she hears / There’s tricks in the world, and hems, and beats her heart” (4.5.4-5), as lines from one of her many “songs” points towards grieving over an aged relative, “His beard as white as snow / All flaxen was his poll” with flaxen indicating a white or grayed head of hair (4.5.190-191).
Upon learning that Ophelia has allied herself with Polonius and Claudius, he loses his head and has an incredibly dramatic episode. He is initially honest and open with Ophelia, but his mood quickly changes when he learns they are being spied on. He questioned Ophelia’s motives by asking whether she was honest and fair. He breaks her heart upon the realization she is not on his side. He tells her that he once loved her, then their conversation spirals into nothing more than Hamlet hurling insults at his former love before storming out.
Hamlet, Ophelia’s lover, accidentally kills her father and “confesses” he never loved her, Hamlet toys with Ophelia's emotions intentionally and unintentionally to solidify his madness. Even though she was the who initiated the “breakup”, her sorrows of the relationship are much more public than Hamlets. Hamlet’s madness scares Ophelia away which he used as a defense mechanism to not be hurt anymore. His madness looks as though he had been "loosed out of hell to speak of horrors" (2.1.83-84) and she "truly [did] fear it"(2.1. 86). His insanity and rudeness suffocated any love she had for him. She admits that their "their perfume [has been] lost" (3.1. 99). This helped Hamlet solidify his insanity by cutting ties with the ones he loves, and having them tell others he is mad. This comes with the cost of discontinuing his relationships: especially with Ophelia. Both have hinted around in the text of an intimate affair. This makes the emotions and breakup even more difficult for both of them. Their relationship was a love, not an innocent crush or courtship. Poor Ophelia initially thought she caused Hamlet's madness due to the abrupt ending of their affair. But because of her naivety, she lacks to see his other internal struggles. Ophelia’s trust in Hamlet left her heartbroken. Hamlet’s agenda of or getting justice for his father occupied his mind more than Ophelia did. Which left her feeling
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...
Two of Ophelia’s difficulties arise from her father and brother. They believe that Hamlet is using her to take her virginity and throw it away because Ophelia will never be his wife. Her heart believes that Hamlet loves her although he promises he never has (“Hamlet” 1). Hamlet: “Ay, truly, for the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness. This was sometime a paradox, but not the time gives it proof. I did love you once.” Ophelia: “Indeed, my lord, you made me believe so.” Hamlet: “You should not have believed me, for virtue cannot so inoculate our old stock ...
The audience first meets Ophelia when Hamlet expresses his madness, and takes it out on her. He is at the start of his spiralling craze, and Ophelia approaches him to speak about their love. She tries to return a token of his love, when he lashes out and claims he does not love her. Ophelia is attacked and impaled by Hamlet’s cruel words, but is unable to argue, as Hamlet does not respect her. Hamlet then detaches from both her heart, and her presence. Shortly after the emotional interaction, Ophelia seeks consolidation in the arms of Laertes, her brother, and Polonius, her father. Later on, in the midst of an argument with Gertrude, Hamlet unintentionally stabs Polonius. Following the death of Polonius, Ophelia begins her descent into insanity. Shortly after she receives notice of her father, she learns that not
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.
Hamlet’s soliloquy and attitude towards Ophelia during the scene solidify his downfall and reveal his realiza...
interest of Hamlet, but is driven crazy by Hamlet’s sudden disregard of Ophelia and her feelings.