the previous king’s death. The garlands of flowers, the stability of the monarchy, is “clambering” to stay intact, and the choice of “envious” in describing the branch that breaks, making Ophelia fall to her muddy death, reflects Claudius’s emotions towards his brother (198). Ophelia’s clothes support her, compared to the abilities of a mermaid in water, “like a creature native and indued/unto that element” (201-203). The mermaid simile shows how Claudius manages to pretend all is well with the nation for a while. However, these same garments that are keeping him up for the time being will defeat him because he is not meant to stay in power. Ophelia is described as a poor wretch. The piteous feeling can extend to Claudius - perhaps the reader can feel some sympathy towards him as well. He only wanted to achieve his goal, however dastardly it was. Overall, the portrayal of corruption of through Ophelia shows how having Claudius as the king hurts the all of Denmark, since the fate of the king is the fate of all the people, as Rosencrantz says in Act III, Scene
the previous king’s death. The garlands of flowers, the stability of the monarchy, is “clambering” to stay intact, and the choice of “envious” in describing the branch that breaks, making Ophelia fall to her muddy death, reflects Claudius’s emotions towards his brother (198). Ophelia’s clothes support her, compared to the abilities of a mermaid in water, “like a creature native and indued/unto that element” (201-203). The mermaid simile shows how Claudius manages to pretend all is well with the nation for a while. However, these same garments that are keeping him up for the time being will defeat him because he is not meant to stay in power. Ophelia is described as a poor wretch. The piteous feeling can extend to Claudius - perhaps the reader can feel some sympathy towards him as well. He only wanted to achieve his goal, however dastardly it was. Overall, the portrayal of corruption of through Ophelia shows how having Claudius as the king hurts the all of Denmark, since the fate of the king is the fate of all the people, as Rosencrantz says in Act III, Scene