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Hamlet through a gender lens
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The Maidenhood of Ophelia in Hamlet by William Shakespeare
In William Shakespeare's Hamlet, the character of Ophelia is masqueraded as a demure, innocent, adolescent girl. However, the behavior disguised by this façade is much more interesting than we are led to believe. Throughout Hamlet, Ophelia is the target of numerous sexual innuendoes and later the confessor of her own sexual experience. When these occurrences become apparent, Ophelia no longer holds the virginal qualities we were once led to believe she possessed.
Ophelia is first portrayed as an innocent, or as her father, Polonius, describes, "a green girl" (1.3.101). The concern lies not with Ophelia's behavior, but with Hamlet's lustful desires for her--she is told to see him no more. Polonius then confronts Gertrude and Claudius, Hamlet's mother and uncle/father, with Hamlet's attempts to seduce his daughter. As evidence, he has confiscated a love letter written to Ophelia by Hamlet. Claudius challenges Polonius's accusations by asking, "But how hath she received his love?" (2.2.127-28). This response is the first implication of the possible absence of Ophelia's chastity.
The strongest suggestions toward Ophelia are made by Hamlet, himself. These seem to be the most significant of any, because if anyone were to know of her purity, or lack of, it would most likely be Hamlet. He questions Ophelia's honesty and her fairness. He tells her that "the power of beauty will sooner transform honesty from what it is to a bawd..." (3.1.111-12). A bawd is a reference to a brothel-keeper. Hamlet declares that he loved Ophelia once. He warns her that she should not have believed him, because virtue is not something that can be replaced and they are now tainted. He informs her that he never loved her. Perhaps the harshest line with a reference to Ophelia's state of virginity is when Hamlet announces, "Get thee to a nunnery -- why wouldst thou be a breeder of sinners?" (3.1.119-20). He clearly states that Ophelia is a sinner and any offspring would be sinners. Hamlet tells her she should "marry a fool" (3.1.134), and that instead of being honest, she pretends her immorality comes from innocence, rather than experience. These declarations promptly dissolve the façade surrounding Ophelia, leaving no questions concerning her maidenhead.
Hamlet continues with the insults, becoming more crude with each. He asks Ophelia if he should lie his head in her lap. When she declines, he remarks, "That's a fair thought to lie between maids' legs" (3.
“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.
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
She believes Hamlet loves her “Young men will do ‘t, if they come to ‘t; By Cock, they are to blame… Before you tumbled me, you promised me to wed.”(4.5.?) Polonius thinks she is naïve in thinking Hamlet loves her “… Unsifted in such perilous circumstance” Hamlet does love her though, “I loved Ophelia. Forty thousand brothers could not with all their quantity of love make up my sum…” (5.1.284-286) but does not show this until after her death. She has no choice but to betray Hamlet and his love, and she is also naïve in thinking what her father wants her to do is in her best interest when really he is using her relationship to find out Hamlet’s
Both Polonius and Ophelia try, unsuccessfully, to manipulate Hamlet into a place of inferiority. In the first scene of Act II, Polonius and Ophelia discuss the meaning of Hamlet's odd behavior. Though the two characters agree his actions arise out of the torment of spurned love, they arrive at that point through very different means. At the beginning of the dialogue, Ophelia says that she has been "affrighted" by Hamlet in her bed chamber. (II,i 75)
In The Tragedy of Hamlet, Shakespeare developed the story of prince Hamlet, and the murder of his father by the king's brother, Claudius. Hamlet reacted to this event with an internal battle that harmed everyone around him. Ophelia was the character most greatly impacted by Hamlet's feigned and real madness - she first lost her father, her sanity, and then her life. Ophelia, obedient, weak-willed, and no feminist role model, deserves the most pity of any character in the play.
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...
Ophelia, in William Shakespeare’s Hamlet, represents a self-confident and aware female character. She analyzes the world around her and recognizes the multitude of male figures attempting to control her life. Her actions display not only this awareness, but also maturity in her non-confrontational discussions. Though she is demeaned by Laertes, Polonius, and Hamlet, Ophelia exhibits intelligence and independence and ultimately resorts to suicide in order to free herself from the power of the men around her.
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...
In William Shakespeare’s Hamlet, Ophelia is the most static character in the play. Instead of changing through the course of the play, she remains suffering in the misfortunes perpetrated upon her. She falls into insanity and dies a tragic death. Ophelia has issues surviving without a male influence, and her downfall is when all the men in her life abandon her. Hamlet’s Ophelia, is a tragic, insane character that cannot exist on her own.
Throughout Hamlet, Shakespeare makes it evident that Ophelia is very unstable. She continuously changes her mind about the way she feels. Laertes and Polonius command her to do things that she does not agree with, but she does them with no argument. Afraid to stand up for herself, she stands back and watches everyone else control her life. In Shakespeare's Hamlet, Ophelia is treated as a marionette with her strings in the hands of the people around her; however, Kenneth Branagh portrays her as independent and innocent, ignoring Shakespeare's representation of her as feeble-minded through complete male dominance in her thoughts and actions, her indecisiveness, and digression into madness.
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
The Western world in Shakespeare’s time was male dominated, and men only had regards for women when it was connected to their bodies. The sexual objectification of women was normal in that society and women were seen as the property of their husbands. In Shakespeare’s time the word “nothing” had double meanings, one of which referred to the female genitals. Ophelia represents the object of Hamlet’s male desires and in Act three he says to her:
One of Shakespeare's most well known and extensively reviewed works is Hamlet. Hamlet tells the story of a young prince who attempts to avenge his father’s murder. This story features a variety of characters, one of the most well known being Ophelia. The love interest of Hamlet and daughter of Polonius. She is a young innocent woman who is driven to madness. This character has been examined and written about multiple times. Three of these pieces include Cameron Hunt comparing Ophelia to the biblical character, Kaara Peterson’s analysis of depiction of Ophelia in artworks, and Gulsen Sayin Teker and her study of various depictions of Ophelia in film adaptations of Hamlet. The articles