In Hamlet, Shakespeare portrays Ophelia as an innocent and pure young woman who is easily controlled by her father Polonius and lover Hamlet, before writing her into a downwards spiral of madness. Despite this, Ophelia is one of Shakespeare’s most well-known female characters since Hamlet was published. Showalter describes the varied interpretation of her character has been debated by critics through the ages, by men and women, through several different artistic movements that affect Ophelia’s portrayal on stage. Feminist criticism and discussion of Ophelia has been popular with writers, and Elaine Showalter discusses her portrayal in the face of feminist criticism in her essay “Representing Ophelia: Women, Madness, and the Responsibilities
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There is much debate over the nature of their relationship—whether it is sexual, innocent, one-sided or reciprocated by Hamlet. However, it is for certain that Ophelia loves Hamlet, and Hamlet spends the majority of the play denying his love for her as his madness grows on him, with a few brief exceptions. Ophelia, as an innocent and submissive character in a strict patriarchal society, can do little but accept Hamlet’s actions in the precarious situations that Hamlet puts her in. Ultimately, her interactions with Hamlet’s growing madness reflects back on her. Though the argument can be made that it is Hamlet’s rejections that are the main cause of her madness, this can be disproved because Ophelia displays the same traits Hamlet does in his madness—namely, vulgarity and suicidal ideation. She has likely overheard Hamlet’s
“To be or not to be” speech, which is a contributing factor to Ophelia’s suicide. Her madness begins after Hamlet begins to dismiss her with sexual comments, firstly, when Hamlet tells Ophelia to “Get thee to a nunnery” (3.1.122), and again when Hamlet riles her up by asking her, “Lady, shall I lie in your lap?” (3.2.105) and when Ophelia declines, Hamlet answering, “Do you think I meant country matters?” (3.2.107). When Ophelia’s madness is fully on display, she sings vulgar songs, emulating Hamlet’s words in a more feminine
There is much debate over the nature of their relationship—whether it is sexual, innocent, one-sided or reciprocated by Hamlet. However, it is for certain that Ophelia loves Hamlet, and Hamlet spends the majority of the play denying his love for her as his madness grows on him, with a few brief exceptions. Ophelia, as an innocent and submissive character in a strict patriarchal society, can do little but accept Hamlet’s actions in the precarious situations that Hamlet puts her in. Ultimately, her interactions with Hamlet’s growing madness reflects back on her. Though the argument can be made that it is Hamlet’s rejections that are the main cause of her madness, this can be disproved because Ophelia displays the same traits Hamlet does in his madness—namely, vulgarity and suicidal ideation. She has likely overheard Hamlet’s
“To be or not to be” speech, which is a contributing factor to Ophelia’s suicide. Her madness begins after Hamlet begins to dismiss her with sexual comments, firstly, when Hamlet tells Ophelia to “Get thee to a nunnery” (3.1.122), and again when Hamlet riles her up by asking her, “Lady, shall I lie in your lap?” (3.2.105) and when Ophelia declines, Hamlet answering, “Do you think I meant country matters?” (3.2.107). When Ophelia’s madness is fully on display, she sings vulgar songs, emulating Hamlet’s words in a more feminine