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Gender patriarchy in hamlet
Ophelia's death significance
The role of women in hamlet
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Before her death Ophelia gives a final speech signifying her defeat and “In her final speech, where she hands out flowers to the people in the court, Ophelia shows that she finally understands the people around her… this scene shows that Ophelia is too aware to be truly mad” (Maki 8). Each flower she hands out is comparable to the person she is handing it to. A justification of one of the flowers she hands out is “Th’ expectancy and rose of the fair state, The glass of fashion and the mould of form, Th’ observed of all observers, quite, quite down!” (Shakespeare Act 3 Scene 1 Lines 153-155) .“I would give you some violets, but they withered away when my father died. They say he made good end” (Shakespeare Act 4 Scene 5 Lines 182-184). “And I, of ladies most deject and wretched, That sucked the honey of his music vows, Now see that noble and most sovereign reason” (Shakespeare Act 3 Scene 1 Lines 155-158). …show more content…
“Ophelia reveals a deeper understanding of world issues than an aristocratic virgin should ever admit, rejecting the [essential] female codes her father dictated to her and blurring the demarcations between innocence and subversion” (Maki 7). “Gertrude’s witnessing of Ophelia’s death may show that she understands what Ophelia has gone through and knows the realities of their patriarchal society… she knows that there is no other escape; she is free in madness, but still has no autonomy or power” (Maki
The title of her book comes from the story of Ophelia, from Shakespeare's Hamlet, shows the destructive forces that affect young women. Ophelia was happy and free when she was young, but she loses herself in adolescence. When she falls in love with Hamlet she pushes aside her own wants and needs, and wishes only to please him and gain his approval. For the rest of her brief life she struggles to please others, mostly her father a...
In Ophelia’s last scene, she walks around singing bizarre songs and handing out flowers. This scene is essentially Ophelia’s last cry for help as she is pregnant and alone without parents. In addition, her brother, Laertes, would disapprove as he warned her about Hamlet and Hamlet is responsible for killing their father. Furthermore, she sings: “Quoth she “Before you tumbled me,/You promised me to wed./So would I ha’ done, by yonder sun,/An thou hadst not come to my bed” (Shakespeare 4.5.106). Ophelia sings about
He calls her a “breeder of sinners” (3.1.132) and suggests that she “get thee to a nunnery” he says these out of anger at her, that she would betray him for her father. (3.1.131) Ophelia becomes heartbroken at this, both by the pressure of her family wanting her to break up with Hamlet, always constantly doing what they want and never making decisions for herself, and her relationship with Hamlet, “And I, of ladies most deject and wretched, that sucked the honey of his music vows” (3.1.13) She is saying here that she was susceptible to his words and deceit. Hamlet becomes so consumed by grief and the desire for revenge that he kills Ophelia’s father Polonius, and this is when Ophelia takes a turn for the worse and goes insane. She gives away flowers to her loved ones, “There’s fennel for you, and columbines. There’s rue for you, wear your rue with a difference… I would give you some violets, but they withered all when my father died.”(4.5.205) I believe this is her way of saying goodbye, giving flowers to her loved ones, and showing them representations of how she feels and what they mean to
Culturally, women have been expected to be soft spoken, gentle, delicate flowers. They should not question a man's opinion or go against their will. Ophelia, in William Shakespeare’s Hamlet, is an example of a young naive girl who faces the dangers that come from only following what others want, and not thinking for herself. The men in this play use her for their own benefit and she suffers the repercussions, which leads her to madness and “accidental” death.
Even the old saying "Sow fennel, sow sorrow" (Eriksson), backs up this fortune telling. To the audience, although Ophelia is not expressing the same message, it is seen that the King will die soon just like the flower that is for him. Ophelia, by telling King Claudius about the fennel, is simply openly confessing of her upcoming suicide, without getting caught. She speaks so openly that the true words she speaks of are being overlooked. The other flower that Ophelia gifts to Claudius is columbine.
Elaine Showalter begins her essay, Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism, by criticizing analyses of Shakespeare's Hamlet that have virtually ignored the character of Ophelia in the past. The feminist critic argues that Ophelia is an important character in her own right, not just a foil to Hamlet. Further, she says that Ophelia's story is important to tell from a feminist perspective because it allows Ophelia to upstage Hamlet, and that this re-telling can be done by tracing the iconography of Ophelia in visual art, theater, movies, and even psychiatric theory.
Throughout the play Hamlet, Ophelia is associated with floral imagery. Her father, Polonius presents her with a violet, she sings songs about flowers when she turns mad, she drowns amid garlands of flowers, and finally, at her burial, Queen Gertrude tosses flowers into her grave. Flowers symbolize her fragile beauty, blossoming sexuality, and a condemned innocence. Flowers are not deeply rooted. They are beautiful living things at the mercy of their surroundings. With no means of self-preservation, a flower's life relies on the natural forces around it. Ophelia's life mirrors this frail existence. She is entirely dependent upon the men in her life to make her choices. With no control over the storm brewing in her own life and no strength to withstand it, her shallow roots are ripped from under her. She loses her mind and takes her own young life.
Ophelia is conditioned to obey Polonius and Laertes’ commands, thinly veiled as guidance for her “own good.” She is never trusted to have a mind of her own, often having her intelligence openly insulted, causing her to be dependent on the men in her life. These men exercise authority over her, patronize, and degrade her, lowering her self-esteem to a non-existent level, and leaving her a...
In William Shakespeare’s Hamlet, women are oversexualized, and are given no role other than to be the item of a man’s desire. The promiscuity of the only two women in the play, Gertrude and Ophelia, detracts from their power and integrity, and allows Hamlet a certain amount of control over them. Gertrude’s sexual lifestyle is often mentioned by her son, Hamlet, and Hamlet uses his knowledge of Gertrude’s sexuality as a means to criticize her. Ophelia’s sexuality initially appears to be controlled by Laertes and Polonius, and Hamlet takes advantage of the naive image that she is required to keep. However, in her later madness, Ophelia taints this image by revealing that her innocence is feigned. By exposing the sexual natures of both Gertrude and Ophelia, Hamlet strips these women of any influence they may have had, and damages their once-honourable names.
Ophelia eventually takes her life in that haunting scene of a young girl, "fell in the weeping brook. Her clothes spread wide...chanted snatched of old lauds...garments heavy with their drink...pulled the poor wretch....to muddy death" (4.7.173-181). At this point she views the world as this awful, crazy place where she can no longer live in. She takes the step that Hamlet cannot. Her suicide marks the lowest point in her life. She has come to the realization that not all men are good, not all people are true, and the world she lives in is not what it seems. It’s not all full of sunshine and rainbows. It's full of greed, anger, sadness, and betrayal.
Gertrude and Ophelia are manipulated and belittled. In their weak will, they end up betraying Hamlet. Observing their manipulation by other people, Hamlet is able to justify and go through with his actions. Despite Ophelia’s weak will, the male characters respond dramatically to her actions, proving that women indeed have a large impact in Hamlet. Her obedience is actually her downfall, because it allows the male characters to control and use her in their schemes.
It is demonstrated that both Gertrude and Ophelia deserve their fate throughout the play. The women deserve their fate because of their inability to be independent and their ability to be easily influenced. It is important to have independence in all of one’s life, and to be capable of making one’s own choices; Otherwise, many terrible events may occur. Numerous historical events have resulted in women earning their independence. It is a vital characteristic to have, which can help people in many ways.
In the play “Hamlet,” Gertrude and Ophelia share similarities and they are also contrasting characters. Gertrude, the mother of Hamlet, is a loving, honorable, protective mother. Ophelia, Hamlet’s love interest, is young, foolish, and underestimated. One of the main stances, to which they both contrast, is their love for Hamlet.
...ering herself” (224). Queen Gertrude’s speech on page 138 symbolizes the improperness of Ophelia’s burial as she strews her grave with flowers, it is a custom that someone in that time would do on the grave of an unmarried girl. It was believed that female madness was natural and a part of feminine nature. Ophelia’s madness “is a product of female nature, perhaps that nature’s purest form” (224). Ophelia’s mental state was affected by everyone around her who used and manipulated her and then it was brought on full force by the murder of her father.
Plants arch over Ophelia’s corpse, literally “aslant” as Shakespeare intended (Act IV, scene VII), as though about to contain her with next Spring 's resurgence of life. The inclusion of pansies around her wrist, themselves signifying love in vain, are mocking, for while Ophelia and Hamlet 's doomed romance is pain enough, the visual way in which the river has engulfed her only further cements the idea of a vain loss, departing from the traditional pathos consistently seen in the depiction of beautiful young women as victims; sympathetically virtuous, pious, and likeable. Though anecdotal, many perhaps would have liked to see Ophelia metamorphose into a mermaid or an angel, something beyond her apparent entropic destiny, yet Millais refuses to gift her any of this......, implying the process of constant decay and germination is more interesting than how we would like to mystify this woman in our heads. Thus, Millais here is incredibly refreshing, bringing to light how boring and pathetic... notions of femininity