Ophelia

ACT 3 SCENE 2

MADNESS, MORTALITY & RELIGION

MADNESS & LIES

OPHELIA

What is, my lord?

HAMLET

Nothing.

OPHELIA

You are merry, my lord.

HAMLET

Who, I?

OPHELIA

Ay, my lord.

HAMLET

O God, your only jig-maker. What should a man do

but be merry? for, look you, how cheerfully my

mother looks, and my father died within these two hours.

OPHELIA

Nay, 'tis twice two months, my lord.

HAMLET

Lady, shall I lie in your lap?

Lying down at OPHELIA's feet

OPHELIA

No, my lord.

HAMLET

I mean, my head upon your lap?

OPHELIA

Ay, my lord.

HAMLET

Do you think I meant country matters?

OPHELIA

I think nothing, my lord.

HAMLET

That's a fair thought to lie between maids' legs.

MADNESS

Ophelia is not offered a proper burial service due to the fact that the cause of her death was doubtful. The priest would not honour her if she had committed suicide. It is a grey area of doubt whether or not she took her own life. This would change the prospective we have on her because if she had not committed suicide, it changes the perception that she was truly mad. We see the impact that Ophelia has had on Hamlet as he comes out of hiding in mourning of her.

We do not see much religion involved in this play, but we do see it emerge in this scene as the priest is denying honour to Ophelia.

In this passage, Polonius and Claudius have brought in Ophelia to set a trap in order to see if Hamlet truly is mad, and why. This is a big turning point for Ophelia, as she is now not only agreeing to obey her father, but help him catch Hamlet ‘in the act’. She could be doing this because she loves hamlet and wants to make sure he is alright, but at this point we truly see Ophelia stepping up to aid in her father and the kings plan. Madness is the underlying reason why this is all occurring. This plan that involves lies and deceit towards hamlet is all made in order to test the sanity of Hamlet himself.

Madness is a key theme within Hamlet. We see the idea of madness in both Hamlet and Ophelia. It is unknown whether Hamlet is truly mad at different parts of the play, but as readers we have different assumptions. In the beginning, Ophelia was in love with Hamlet, and didn’t want to believe that he was anything less than the good man she thought he was. Doubt in this theory began to seep into her when both her father and brother warned her about the consequences. Even after the warnings, we still see an effort made by Ophelia to keep there love alive. This is the point though, that we see Ophelia truly begin to doubt who Hamlet really is. His ‘madness’ turns Ophelia against him, and gives her right into the arms of her father who was waiting for the opportunity to turn her against Hamlet.

SEX & GENDER ROLES

As a women, Ophelia has a very limited social role making her powerless and expected to listen to how her male family members think she should act. This is scene in Act 3 Scene 1 where we see Ophelia’s bother, Laertes trying to convince her why she should not be with Hamlet romantically. He uses words like ‘fear’ and ‘safety’ which give a sense of urgency and danger to what he is claiming. Throughout the play, there is a constant criticism to women, calling them frail and constantly betraying men. This passage shows the gender roles that are portrayed throughout the play. Ophelia’s response to Laertes is unexpected as throughout the play we see her as a powerless character but in this scene she stands up to her brother, acknowledging his point but claiming he is a hypocrite. This is contrast to how she is portrayed in the rest of the play.

Laertes tells Ophelia that she needs to guard her ‘chaste treasure’ meaning she needs to hold her virginity. He doesn’t say this to look out for his sisters moral standards and emotions, but because her virginity is valuable and will determine who she will marry in the future. This again brings in the question of gender roles and what Ophelia, herself stands for.

ACT 1 SCENE 3

ACT 4 SCENE 7

ACT 5 SCENE 1

LORD POLONIUS

Ay, springes to catch woodcocks. I do know,

When the blood burns, how prodigal the soul

Lends the tongue vows: these blazes, daughter,

Giving more light than heat, extinct in both,

Even in their promise, as it is a-making,

You must not take for fire. From this time

Be somewhat scanter of your maiden presence;

Set your entreatments at a higher rate

Than a command to parley. For Lord Hamlet,

Believe so much in him, that he is young

And with a larger tether may he walk

Than may be given you: in few, Ophelia,

Do not believe his vows; for they are brokers,

Not of that dye which their investments show,

But mere implorators of unholy suits,

Breathing like sanctified and pious bawds,

The better to beguile. This is for all:

I would not, in plain terms, from this time forth,

Have you so slander any moment leisure,

As to give words or talk with the Lord Hamlet.

Look to't, I charge you: come your ways.

OPHELIA

I shall obey, my lord.

LORD POLONIUS

Marry, I'll teach you: think yourself a baby;

That you have ta'en these tenders for true pay,

Which are not sterling. Tender yourself more dearly;

Or--not to crack the wind of the poor phrase,

Running it thus--you'll tender me a fool.

OPHELIA

My lord, he hath importuned me with love

In honourable fashion.

LORD POLONIUS

Ay, fashion you may call it; go to, go to.

OPHELIA

And hath given countenance to his speech, my lord,

With almost all the holy vows of heaven.

SEX, GENDER ROLES & FAMILY

First Priest

Her obsequies have been as far enlarged

As we have warrantise: her death was doubtful;

And, but that great command o'ersways the order,

She should in ground unsanctified have lodged

Till the last trumpet: for charitable prayers,

Shards, flints and pebbles should be thrown on her;

Yet here she is allow'd her virgin crants,

Her maiden strewments and the bringing home

Of bell and burial.

LAERTES

Must there no more be done?

First Priest

No more be done:

We should profane the service of the dead

To sing a requiem and such rest to her

As to peace-parted souls.

LAERTES

Lay her i' the earth:

And from her fair and unpolluted flesh

May violets spring! I tell thee, churlish priest,

A ministering angel shall my sister be,

When thou liest howling.

HAMLET

What, the fair Ophelia!

Ophelia’s father looks at her daughters virginity as something that she needs to preserve in order to protect himself. Ophelia is seen as an object that must be protected in order to be seen as the innocent, sweet woman that she is supposed to be. Polonius has a very cynical view on love and this in turn has an effect on Ophelia.

The idea of gender roles that is seen throughout the play is seen here as well. She is an object that needs to protect her own identity and image in order to present well in the public eye for her father’s reputation. Ophelia in this passage falls right in line with the idea Hamlet has about women being dismissive and ignorant when she agrees with her father, telling him she will obey his demands. At first, she tells her father why she loves hamlet but after he tells her his opinion, she quickly follows his lead.

In this case family is not seen as a group of people that are there for each other and looking out for each others best interests. In this passage we see the true colours of both characters as polonius is telling Ophelia what to do, yet still looking out for his best interest, and Ophelia is politely agreeing, not standing up for herself. This is something that we see throughout the play.

QUEEN GERTRUDE

One woe doth tread upon another's heel,

So fast they follow; your sister's drown'd, Laertes.

LAERTES

Drown'd! O, where?

QUEEN GERTRUDE

There is a willow grows aslant a brook,

That shows his hoar leaves in the glassy stream;

There with fantastic garlands did she come

Of crow-flowers, nettles, daisies, and long purples

That liberal shepherds give a grosser name,

But our cold maids do dead men's fingers call them:

There, on the pendent boughs her coronet weeds

Clambering to hang, an envious sliver broke;

When down her weedy trophies and herself

Fell in the weeping brook. Her clothes spread wide;

And, mermaid-like, awhile they bore her up:

Which time she chanted snatches of old tunes;

As one incapable of her own distress,

Or like a creature native and indued

Unto that element: but long it could not be

Till that her garments, heavy with their drink,

Pull'd the poor wretch from her melodious lay

To muddy death.

Who is Ophelia?

Ophelia is Polonius’s daughter. She is a young woman who Hamlet has been in love with.

She is continuously striving to please and obey her father and even her brother, Laertes. Her father users her in order to spy on Hamlet.

When her father dies, she goes insane, and her madness becomes too much to bare.

In the end, Ophelia dies, the true cause of death is unknown.

ACT 2 SCENE 1

ACT 1 SCENE 3

ACT 4 SCENE 5

OPHELIA

He took me by the wrist and held me hard;

Then goes he to the length of all his arm;

And, with his other hand thus o'er his brow,

He falls to such perusal of my face

As he would draw it. Long stay'd he so;

At last, a little shaking of mine arm

And thrice his head thus waving up and down,

He raised a sigh so piteous and profound

As it did seem to shatter all his bulk

And end his being: that done, he lets me go:

And, with his head over his shoulder turn'd,

He seem'd to find his way without his eyes;

For out o' doors he went without their helps,

And, to the last, bended their light on me.

LORD POLONIUS

Come, go with me: I will go seek the king.

This is the very ecstasy of love,

Whose violent property fordoes itself

And leads the will to desperate undertakings

As oft as any passion under heaven

That does afflict our natures. I am sorry.

What, have you given him any hard words of late?

OPHELIA

O, my lord, my lord, I have been so affrighted!

LORD POLONIUS

With what, i' the name of God?

OPHELIA

My lord, as I was sewing in my closet,

Lord Hamlet, with his doublet all unbraced;

No hat upon his head; his stockings foul'd,

Ungarter'd, and down-gyved to his ancle;

Pale as his shirt; his knees knocking each other;

And with a look so piteous in purport

As if he had been loosed out of hell

To speak of horrors,--he comes before me.

LORD POLONIUS

Mad for thy love?

OPHELIA

My lord, I do not know;

But truly, I do fear it.

LORD POLONIUS

What said he?

LAERTES

If with too credent ear you list his songs,

Or lose your heart, or your chaste treasure open

To his unmaster’d importunity

Fear it, Ophelia, fear it, my dear sister,

And keep you in the rear of your affection,

Out of the shot and danger of desire.

The chariest maid is prodigal enough,

If she unmask her beauty to the moon:

Virtue itself 'scapes not calumnious strokes:

The canker galls the infants of the spring,

Too oft before their buttons be disclosed,

And in the morn and liquid dew of youth

Contagious blastments are most imminent.

Be wary then; best safety lies in fear:

Youth to itself rebels, though none else near.

OPHELIA

I shall the effect of this good lesson keep,

As watchman to my heart. But, good my brother,

Do not, as some ungracious pastors do,

Show me the steep and thorny way to heaven;

Whiles, like a puff'd and reckless libertine,

Himself the primrose path of dalliance treads,

And recks not his own rede.

SEX & FAMILY

OPHELIA

[Sings]

Larded with sweet flowers

Which bewept to the grave did go

With true-love showers.

KING CLAUDIUS

How do you, pretty lady?

OPHELIA

Well, God 'ild you! They say the owl was a baker's

daughter. Lord, we know what we are, but know not

what we may be. God be at your table!

KING CLAUDIUS

Conceit upon her father.

OPHELIA

Pray you, let's have no words of this; but when they

ask you what it means, say you this:

Sings

To-morrow is Saint Valentine's day,

All in the morning betime,

And I a maid at your window,

To be your Valentine.

Then up he rose, and donn'd his clothes,

And dupp'd the chamber-door;

Let in the maid, that out a maid

Never departed more.

KING CLAUDIUS

Pretty Ophelia!

OPHELIA

Indeed, la, without an oath, I'll make an end on't:

Sings

By Gis and by Saint Charity,

Alack, and fie for shame!

Young men will do't, if they come to't;

By cock, they are to blame.

Quoth she, before you tumbled me,

You promised me to wed.

So would I ha' done, by yonder sun,

An thou hadst not come to my bed.

Ophelia is quite dismissive in this scene, putting on the face of what we assume is the way hamlet views woman. She is respectful yet she seems to be very uninterested in talking to Hamlet. We see the theme of sex brought into the conversation by Hamlet but it is quickly dismissed by Ophelia, as she claims to know nothing, this can most likely be because she is obeying her father and brother wishes to stay pure and innocent, and by denying knowledge of sexually related topics, it keeps both her’s and her families reputation intact, whether or not she agrees with it.

ACT 3 SCENE 1

LORD POLONIUS

Ophelia, walk you here. Gracious, so please you,

We will bestow ourselves.

To OPHELIA

Read on this book;

That show of such an exercise may colour

Your loneliness. We are oft to blame in this,--

'Tis to o much proved--that with devotion's visage

And pious action we do sugar o'er

The devil himself.

DEATH & MADNESS

MADNESS

Ophelia

In this passage, Gertrude announces to Laertes that his sister Ophelia has just died. She drowned in the water, and it is unknown whether she committed suicide or it was an accident. Gertrude tells the story highlighting the fact that she was picking flowers, and she seemed to be unaware of the danger she was in as she lay in the water. Ophelia has now gone from an innocent, naive woman, into a mad, and confused woman who ends her life due to the insanity in her mind. This was all brought on and triggered by by the death of her father and the betrayal of Hamlet. In Hamlets character, we are doubtful at certain stages whether he was truly mad, but in the case of Ophelia, it is clear that she is not acting in her right mind.

At this point in the play, Ophelia has gone mad. Her father has just died, at the hands of Hamlet. She is upset not only for her fathers death, but because she feels betrayed by hamlet. At this point, she begins to sing songs of both death and sexuality which are two things that have been surrounding her thematically. We see the development of her character portrayed here as the madness has altered who she really is. In a sense, Ophelia reverts back to acting like a child because she cannot cope with the reality around her.