Reference no: EM133288357

Question: In the year 1600, William Shakespeare composed what is considered the greatest tragedy of all time, Hamlet, the tragedy of the Prince of Denmark. His work has redefined what tragedy should be. Critics have evaluated it word for word for almost four hundred years, with each generation appreciating Hamlet in its own way. While Hamlet imitates Aristotle's definition of a tragedy, one question still remains. Did Shakespeare aim to have the reader of Hamlet feel greater sympathy for Hamlet, or for Ophelia, Hamlet's lover? "Both characters tug at the heartstrings throughout the play, but it is clear that 'the tragedy of the Prince of Denmark' is a misrepresentation of Shakespeare's true intention."

To capture our sympathy, Ophelia goes through a transformation unlike any other character in Hamlet. She is abandoned by everyone she holds dear; her father Polonius, her brother Laertes, and Hamlet, her lover. And yet Ophelia becomes tangled in a web of madness when her loyalty is torn between Polonius and Hamlet. Most horrible of all is Ophelia's suicide- death. "The emotion it evokes, coupled with the above points shows that Shakespeare's intention was to make Ophelia, a minor character in terms of the number of lines assigned to her, into a memorable character evoking the most sympathy."

To fully see Ophelia's metamorphosis, one must compare her at the beginning and at the conclusion of Hamlet. Appearing first in Act 1, Scene 3, Ophelia seems to be a spirited young girl. She is very trusting and innocent. Most important however, Ophelia is naive to the way things are. Laertes attempts to 'educate' her about love, but his advice falls on deaf ears because Ophelia does not truly 'understand' until she becomes mad. Starting in act 4, scene 5, line 42, Ophelia states: "Lord, we know what we are, but know not what we may be". It seems clear that Ophelia, in her madness, knows what others "may be." She has become enlightened in her insanity. Unfortunately, because of her suicide, Ophelia is never given the chance to know what she herself might have been. Clearly though, Ophelia does change greatly from act 1 to act 4. She transforms from a simple and innocent young girl into a mad, unsettled and knowing woman. What brings on these changes in Ophelia? One significant cause is the aforementioned attempted 'education' by Ophelia's brother, Laertes.

When Laertes gives his brotherly advice to Ophelia, in act 1, scene 3, he speaks of more than just Hamlet's love for Ophelia. Laertes warns Ophelia that Hamlet is toying with her affection in lines:

"... Perhaps he loves you now,

And now no soil nor cautel doth besmirch

The virtue of his will, but you must fear,

His greatness weighed, his will is not his own,

Or he himself is subject to his birth."

According to Laertes, Hamlet could not possibly love Ophelia because his is a prince and Ophelia a mere maid. Hamlet is bound by his regency to love and marry a princess of equal rank and stature. Laertes preaches the importance of Ophelia's chastity in lines 30-33:

"If with too credent ear you list his songs,

Or lose your heart, or your chaste treasure open

To his unmustered importunity. Fear it, Ophelia, fear it, my dear sister."

As mentioned above, Laertes does not solely speak of Hamlet in these lines. "He paints an ugly picture of love in the world. As well as urging Ophelia to guard her virginity, he plants the idea that love is unworthy and that a lover is not to be trusted." Virginity is something to be strongly guarded in a world where all else is false. Poor young innocent Ophelia undeniably took his advice without knowing the insincerity in his statements. Laertes is heading for France and will, no doubt, meet a few 'ladies.' No one urges Laertes to guard his virginity. "When Polonius dishes out his own brand of advice for Laertes, there is no single point dealing with the unkind world of love. This is one example of the hypocrisy and double standard between the sexes which continues to this day."

In contrast to Laertes, Polonius is much crueler to Ophelia. He extends no tenderness toward his daughter. In the infamous third scene of act one, Polonius forces Ophelia to confess the nature of her relationship with Hamlet. Lines 98-101 particularly shows this: "Polonius: What is between you? Give me up the truth. Ophelia: He hath, my lord, of late made many tenders of his affection to me.

Polonius: Affection? Pooh! You speak like a green girl."

With these few lines Polonius attempts to dismantle Ophelia's feeling for Hamlet. He does not give an ounce of consideration for the thoughts or feelings of the 'green girl.' And Polonius even goes beyond this cold-hearted treatment, using Ophelia as merely an information source, rather than a daughter. Take, for example, the situation in act 3, scene 1. Claudius and Polonius set up a meeting between Hamlet and Ophelia to try to find the true cause of Hamlet's madness. Not only does Polonius initiate his daughter into the art of spying but also forces her to lie to Hamlet. In the final line of Hamlet's "Get thee to a nunnery" speech, Hamlet asks "Where is your father?" and Ophelia responds "At home, my lord." . This, of course, is a lie, one instigated by an uncaring father. Polonius would never have put Ophelia into the horrible situation of lying to the person she held most dear, if he truly cared for her.

It's truly ironic that the person who treats Ophelia the worst is the person she loves most: Hamlet. He verbally abuses and deserts her believing that she has gone against him. Hamlet considers herself as a spy, a double agent, the pawn of her father. "This theory explains many of the odd actions he commits against her." In act 3, scene 2, Hamlet confronts Ophelia in front of the entire household. In doing so he places his head on her lap, which was considered unacceptable behavior for an unmarried couple in the Middle Ages. She is undoubtedly embarrassed beyond belief and very uncomfortable. With Hamlet asking "Lady, shall I lie in your lap?" , he forces her into a difficult situation. "If she declines, he may no longer favor her, or actively reject her. If she accepts, she would have to face the ridicule of the members of the court." Further on in scene 2 Hamlet speaks the famous lines: "Hamlet: That's a fair thought to lie between a maid's legs. Ophelia: What is, my lord? Hamlet: Nothing."

In act 3, scene 3, Hamlet is tempted to kill Claudius while Claudius is praying, but he passes up this opportunity for revenge. In scene 4, which immediately follows the action of scene 3, Hamlet storms his mother's room, and in the following fight, stabs and kills Polonius through a tapestry, knowing full well it is not the king, but Ophelia's father, Polonius.

Beside character action against Ophelia which draws out our sympathy, Shakespeare put fate against Ophelia as well. For example, Ophelia has no true friends. Even Hamlet has Horatio. Only Ophelia is truly alone. While Hamlet fakes his madness, Ophelia's is all too real. "Shakespeare's stage direction includes her entering with "her hair down," a sign of grieving or madness." She creates slanderous poems against Hamlet, and goes around giving 'flowers' which are really rocks and twigs. Ultimately, Ophelia commits suicide. "This is a most unfortunate step because suicide meant eternal damnation." In act 5, scene 1, Ophelia's burial occurs. During this, Laertes speaks to the Priest:

"Laertes: What ceremony else?

Doc: Her obsequies have been as far enlarged

As we have warranty. Her death was doubtful,

And but that great command o'ersways the order,

She should in ground unsanctified been lodged

Til the last trumpet. For charitable prayers,

Shards, flints, and pebbles, should be thrown on Her. Yet here she is allowed her virgin crants, Her maiden strewments, and the bringing home of bell and burial.

Laertes: Must there no more be done?

Doc: No more be done."

The right that Ophelia should be buried on sacred ground is argued. "Why does Shakespeare do this to a character such as Ophelia; the answer may be found, or not found. Then what was Shakespeare's inspiration for Ophelia? Before his marriage to Anne Hathaway in the year 1582, an unfortunate event occurred in Shakespeare's life. "His girlfriend at the time fell into a river and drowned. Ophelia's character could represent a lost love of Shakespeare's, one for which he intended us to feel great sympathy." Such a connection would explain why Ophelia, although not the central character, is still a figure of great tragedy.