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Interpretation of ophelia in hamlet
Analyzing ophelia in hamlet
Analyzing ophelia in hamlet
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For this written task, I have chosen to write a diary based on Ophelia’s perspective of the events. A diary is a form of autobiographical writing kept to record activities and reflections. It allows for further insight on the writer’s thoughts and feelings, given that it provides a sense of frankness dissimilar to those of other writing forms. We know that Ophelia is torn between two conflicting extremities. Polonius and Laertes believe that Hamlet would use her, that he would take her virginity and throw it away because she could never be his wife. Her heart has convinced her that Hamlet loved her, though he swears he never did. To her father and brother, Ophelia is the eternal virgin, the vessel of morality whose purpose is to
be a dutiful wife and steadfast mother. To Hamlet, she is a sexual object, a corrupt and deceitful lover. With no mother to guide her, she has no way of deciphering the contradictory expectations. Just like Hamlet, the medieval precept that the father's word is unquestionable governs Ophelia. But her Renaissance sense of romantic love also rules her. How can she be obedient to her father and true to her love? When she lies to Hamlet and tells him that Polonius is home when he is concealed in the room eavesdropping, Ophelia proves she cannot live in both worlds. She has chosen one, and her choice seals her fate. The dilemma also forces her into madness. She has no way to reconcile the contradictory selves her men demand that she be and still retain an equilibrium. Ophelia's desperation literally drives her crazy, and she has no means with which to heal herself. Hence, for these due reasons, I believe that the construction of a diary was more than necessary to obtain and express Ophelia’s point of view against a strongly opinionated content.
Throughout her book Mary Pipher, a clinical psychologist, describes the behaviors and relationships of adolescent teen girls. She explores the issues that most of her patients have in common: parents and divorce, depression, weight, drugs, alcohol, violence, and sex. Pipher provides examples of girls who had suffered from each category, and ends with a generalization that connects each situation to a deeper meaning. Although parents and daughters are somewhat to blame in each occasion, Pipher holds the corrupt modern culture of western society accountable. She believes that the idealized image of girls that the media puts out is the root of most adolescent insecurities. In Reviving Ophelia, Pipher draws attention to the increasing need for female teen awareness and incorporates the methods she suggests to the struggling families.
In this book therapist Mary Pipher writes about her experiences at work with adolescent girls. It is intended to make the reader aware of the perils of being a teenager in today's sexualized and media-saturated culture. She talks about how this new and more hostile environment affects adolescent girls' emotional growth and development, and how hard it is to stay true to yourself while trying to fit in with peers. For the most part this book is Dr. Pipher's attempt to reach out to adolescents, as well as their parents and teachers, and tell them that this "problem without a name" is not a death sentence but rather a journey to adulthood, and tells adults how to help these impressionable young girls through what might be the most trying period of their lives.
Joan Didion in her essay, “On Keeping a Notebook”, stresses that keeping a notebook is not like keeping a journal. Didion supports her claim by describing entries that are in her notebook. The author’s purpose is to enlighten the reader as to what a notebook is. The author writes in a nostalgic tone for those who are reading the essay, so that they can relate to her. She uses rhetorical appeals; such as flashback, pathos, and imagery to name a few. By using these devices she helps capture the reader’s attention.
The activity of understanding Alice Williamson's diary begins prior to reading the first word. The reader begins to identify part of the reading experience based upon their feelings on diaries themselves in the moments of suspension between knowledge of type of text and the reading of the first entry.
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
As the play opened, Hamlet and Ophelia appeared as lovers experiencing a time of turbulence. Hamlet had just returned home from his schooling in Saxony to find that his mother had quickly remarried her dead husband's brother, and this gravely upset him. Hamlet was sincerely devoted to the idea of bloodline loyalty and sought revenge upon learning that Claudius had killed his father. Ophelia, though it seems her relationship with Hamlet is in either the developmental stage or the finalizing stage, became the prime choice as a lure for Hamlet. Laertes inadvertently opened Ophelia up to this role when he spoke with Ophelia about Hamlet before leaving for France. He allowed Polonius to find out about Hamlet's courtship of Ophelia, which led to Polonius' misguided attempts at taking care of Ophelia and obeying the king's command to find the root of Hamlet's problems. Ophelia, placed in the middle against her wishes, obeyed her father and brother's commands with little disagreement. The only time she argued was when Laertes advised her against making decisions incompatible with the expectations of Elizabethan women. Ophelia tells him, in her boldest lines of the play:
Leaving her only with the response saying “I shall obey, my lord”(1.3.145 ). Why Ophelia is unable to say more than a few simple words is made clear by societal expectations of the time. During this time daughters were the property of their fathers and were obligated to do their bidding. Campbell says “if she refuses Polonius, she risks social ostracism and grave insult to the man who capriciously controls her future” (58). Ophelia fears the backlash of disobeying her father, believing there is no other choice than doing what he has asked her to do. Even though a woman's virtue is a sacred and a very personal choice, her father leaves Ophelia with one option: to do what he says. “The issue of Ophelia’s chastity concerns Polonius as a parent and a politician—a virginal Ophelia has a better chance of attaining Hamlet’s hand in marriage” (Floyd-Wilson 401). This relationship Ophelia has between her father is very one-sided and unhealthy. It is formal and proper with very few emotions attached to each other. However, because Polonius is the only parental figure Ophelia has and loves him, his death was extremely difficult for her. Her father, hasn’t left her like Laertes and hasn’t rejected her like Hamlet. Making his unexpected death the final straw to her losing her sanity. Without someone to guide her, she is lost. She is unable to blindly follow a man but is to racked with emotion to think clearly.
When reading the text, one can comprehend that Ophelia is caught in the middle between two opposite sides. Her family (father and brother) believe that Hamlet is a womanizer rather then the philosopher that he is. They also believe that he will use her in order to achieve his own purposes, and that he would take her precious virginity only to discard it because he would never be her husband. But, Ophelia's heart mesmerized by Hamlets cunning linguistics is set on the fact that Hamlet truly loves her or loved her, even though he swears he never did. In the eye of her father and brother, she will always be a pure, wholesome girl, an eternal virgin in a sense, (due to a parents nature to always see their offspring as a child) they want her to ascend into her stereotypical role in life as a vessel of morality whose sole purpose of existence is to be a obedient wife and a committed mother. However, to Hamlet she is simply an object used to satisfy and fulfill his sexual needs. He also seems to hold her at a distant which suggests that he may...
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.
The reader is left guessing on Hamlet’s true feelings for Ophelia through his various insults, sexual innuendos, and admitted desire. Hamlet’s claim, “God hath given you one face, and you / Make yourselves another.” (3.1.155-156) is laced with irony and hypocrisy given Hamlet’s own deception regarding true feelings. This proclamation comes at the end of a lengthy tirade against Ophelia and womankind in general for their conniving deceit leading men astray. The fact that Hamlet cannot see this duplicity in his very own actions shows the double standard he holds for females. Ophelia’s immediate reaction is one of shock and defense due to the aggressive nature of Hamlet’s attack. She calls out “O, woe is me!” (3.1.174) in distress to the ferocity of Hamlet and is unable to form a particularly coherent response akin to the ones seen against Laertes and Polonius. She does show her intelligence and rebellion from this assumption of power by Hamlet in her songs while Hamlet is gone. While many attribute her madness to the death of her father, a large portion of her instability should be attributed to Hamlet and his earlier actions. In her first introduction as insane she sings, “And I a maid at your window, / To be your Valentine. / Then up he rose and donned his clothes / And dropped the chamber door, / Let in the maid, that out a maid / Never departed more.” (4.5.55-60). Due to her references to sexuality and deceit 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 ...
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.
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.
Another significant female character is Ophelia, Hamlet's love. Hamlet's quest for revenge interferes with his relationship with Ophelia. There is much evidence to show that Hamlet loved her a great deal, but his pretense of madness drove her to her death. Ophelia drowned not knowing what was happening to her. This can be deduced by the fact that she flowed down the river singing and happy when in truth she was heartbroken. Ophelia was very much afraid when she saw Hamlet "with his doublet all unbraced; No hat upon his head; his stockings foul'd, Ungarter'd, and down-gyved to his ancle" (Act #. Scene #. Line #). She described him as being "loosed out of hell" (Act #. Scene #. Line #). In addition to that he scared her when he left the room with his eyes still fixed on her. She is especially hurt when Hamlet tells her that he no longer loves her and that he is opposed to marriage. He advises her to go to a nunnery and avoid marriage if she can.
It is evident that Hamlet defines Ophelia by her sexuality. Hamlet does not value her as the woman she is. Instead, Hamlet views her as a mere object. Hamlet makes various sexual innuendos towards Ophelia. For example, this is apparent in 2.3, when Hamlet is speaking to Ophelia. Hamlet says, “It would cost you a groaning to take off mine edge” (3.2.250). Hamlet is making this regard to her in public and Ophelia lets him continue. Ophelia because of her gender continues to let Hamlet exploit and oppress her. Ophelia embodies a mutual assessment of femininity. Author Pragati Das writes, “Ophelia, it would seem, wholly at the mercy of the male figures throughout her life, is certainly a victim character” (Das 38). Ophelia does not have any alternative thoughts; she only responds with a simple sentence, “Still better and worse” (3.2.251). Ophelia is not standing up for herself, instead of she “…expresses acquiescence, uncertainty, and obeisance; she utters half lines” (Fischer 2). The power of Hamlet is manipulating Ophelia and it this shown through from her dull reaction of such crudities. Hamlet sums his vulgar and suggestive speech with, “For, oh, for, oh, the hobby-horse is forgot” (3.2.23–24). After Hamlet’s pressures of sexual suggestions, Ophelia is found to be under the absolute dominance of Hamlet’s demands, and as a result, her sanity diminishes. Ophelia’s song reflects on Hamlet, her father, and life