In the play Hamlet, written by William Shakespeare, Ophelia, the daughter of
Her story becomes zero because she is denied her desires which include language sexuality and thought. The unfolding of most vents in the life of Ophelia is a clear indicator of her innocence. Considering her belief that a man cannot do anything harmful to her .
During the play: Ophelia is caught between her father's will and Hamlet, and Hamlet throws a fit and declares he doesn't love her. Additionally, she is driven mad by the death of Polonius. She is quickly thrown out of her world of innocence as she experiences heartbreak and goes insane, leading her to commit suicide.
Ophelia is a victim of the male dominated society she is surrounded by. In this quote, Laertes talks about how she needs to watch out after Hamlet and how she should not believe in his words. He also talks to her about her virginity and how she should not give it up to him.
Poor Ophelia, she lost her lover, her father, her mind, and, posthumously, her brother. Ophelia is the only truly innocent victim in Hamlet.
She has followed her father and brother's power unconsciously since her childhood. Also, Ophelia can never feel her love; her love, as her life, has been forbidden by the males. Power of patriarchy steals her pure love from her like her life and victimizes her for the sake of canons of society.
Victim of fate
At the beginning of “Hamlet” by William Shakespeare, the young prince Hamlet is clearly the victim of a tragic fate. He has recently lost his father and must now watch as his mother remarries after only a few weeks - to his uncle.
Hamlet is cruel to Ophelia because he has transferred his anger at Gertrude's marriage to Claudius onto Ophelia. In fact, Hamlet's words suggest that he transfers his rage and disgust for his mother onto all women.
Perhaps the most descriptive sexualization of Ophelia is when Gertrude describes her dead body as “mermaid-like” (4.7. 201) with “her clothes spread wide” (4.7. 200).
Her character in the play represents femininity and fragility. She also seems to serves as a way for Hamlet to express the aggression, which he feels toward his mother. Ophelia is an important character in Hamlet because she shows the audience a frail heart.
For the Elizabethans, Hamlet was the prototype of melancholy male madness, associated with intellectual and imaginative genius; but Ophelia's affliction was erotomania, or love-madness.
Ophelia's final words are addressed to either Hamlet, or her father, or even herself and her lost innocence: “And will a not come again? / No, no, he is dead, / Go to thy death-bed, / He never will come again. / … / God a mercy on his soul. And of all Christian souls. God buy you.” Next, she drowns herself.
By this point, Ophelia would be well aware of her pregnancy, and well aware that she would soon begin to show outward signs of it.
Three situations in the play that show Ophelia is an innocent, virtuous, and loyal person are: 1) When Laertes warns Ophelia to stay away from Hamlet because he does not have good intentions and she agrees, 2) When Polonius denies Ophelia access to Hamlet's letters, 3) When Claudius and Polonius use Ophelia to spy on ...
Ophelia later learns Mechtild is not only Gertrude's twin sister but also Claudius' former lover. He ruined her by accusing her of witchcraft when she miscarried their son. She escaped persecution by faking her own death with a special poison.
Claudius uses Rosencrantz, Guildenstern, Polonius, and Polonius's daughter Ophelia to spy on the young prince. This caused Hamlet to lose his trust in his lover, Ophelia, and pretends to be insane to throw the spies off his plan to murder his uncle and the new king.
Ophelia's mixed emotions are a symptom included in the informative article issued by World Health Organization titled “Schizophrenia” issued in 2018 which states: “Disturbances of emotions: marked apathy or disconnect between reported emotion”, as Ophelia evidently shows since Ophelia is torn from the love she has for ...
Ophelia's drowning is the consummate representation of an eternal retreat into the feminine, trading an individual voice for eternal silence in union with feminine essence. In turn, her death expresses the danger of reducing an individual to his or her gender and disregarding the voice of the marginalized.
In her madness, Ophelia sings snatches of songs, most of which sound like popular songs of Shakespeare's day. Her choice of songs seems to reveal two obsessions. The first is with the death of fathers and old men, which isn't surprising, because her father has just died.
By the way he acted around Ophelia when he was alone with her, he showed that his feelings for her were true. Hamlet's actions throughout the play show that he was really in love with Ophelia. The audience can see that Hamlet really did love Ophelia when he told her, “I did love you” (Shakespeare III 125).
It is Ophelia's betrayal that perhaps breaks Hamlet the most, she is often considered to be the purest and most innocent of the characters within the text, and her disloyalty to Hamlet does only arise out of higher loyalty to her father.
ii.). Hamlet's most mad-seeming outburst, against Ophelia, may be explained by the fact that Claudius and Polonius are spying on the conversation: if Hamlet suspects that he's being spied on, he may be acting more deranged than he really is for the benefit of his listeners.
As Laertes's mock-daughter, Ophelia is objectified as a play-thing for Laertes to act out his future patriarchal duties. For Polonius, objectifying his daughter as a pawn for his political pursuits is just another casualty in his bid to improve his social station.
King Claudius is a fictional character and the main antagonist of William Shakespeare's tragedy Hamlet. He is the brother to King Hamlet, second husband to Gertrude and uncle and later stepfather to Prince Hamlet.
He tells her that the only way she will be able to protect herself from her female nature – the fickleness and betrayal that he attributes to women – would be to lock herself away in a nunnery where she will not have any contact with men and therefore be unable to betray them.