Could someone check my grammar and see whether I proved well enough that Shakespeare characterized Ophelia as a victimized woman?
Women are ambiguous because they are often too complex for the minds of men. In William Shakespeare's Hamlet, Prince of Denmark we see how a woman who plays many roles is difficult to label. Shakespeare characterizes Ophelia, a character who throughout most of the play seems to have little substance or depth, as a victimized woman – a woman mistreated, a woman scorned, and a woman ultimately shamed by the men in her life. Shakespeare achieves this through her dialogues with others and her behavior throughout the play.
The mistreated woman that Ophelia becomes can be best interpreted if one were to look at her familial situation. Shakespeare introduces her to the audience along with her brother Laertes who is set on giving her advice that shouldn't come from an older brother in normal circumstances:
Then weigh what loss your honour may sustain,
If with too credent ear you list his songs,
Or lose your heart, or your chaste treasure open
To his unmaster'd importunity. (1.3.33-36)
Laertes is advising Ophelia not to believe Hamlet's affections – no matter how much sweet talk he uses towards her. But most importantly he emphasizes "chaste treasure" – a metaphor for her virginity – and how she must take care of it. In a normal family, this sort of talk would be a mother's responsibility. However, in the play, Shakespeare does not include nor mention the mother of Laertes and Ophelia. Figuring that Shakespeare purposely did this, we can assume that Ophelia's lack of a mother figure was done to impact her character and only contribute to the eventual characterization of a victimized woman. A woman in those times usually had an older woman to guide her in learning proper comportment in polite society. Here Ophelia has no maternal figure to show her which can very well explain her behavior later on. Now aside from the fact that she didn't have a female figure to look up to, her family talks down to her and treats a like a dummy – their condescending tone and close to vulgar diction demonstrate this best:
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. (1.3.114-118)
Shakespeare has Polonius openly insulting her intelligence by calling her "a baby." Before this she has received a similar chat from her brother who also talks to her in a condescending tone, nevertheless we can see from Ophelia's mocking diction when she answers her brother that she is not in fact as stupid as her brother and father think her to be:
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. (1.3.49-55)
Ophelia is smart enough to realize her brother's hypocrisy in giving her advice that he himself does not follow. Shakespeare giving her dialogue with the words "libertine" and "reckless" in reference to her brother are best in interpreting precisely what type of person Laertes is. To be talked down by someone like Laertes on the subject of chastity should be degrading as it is. Her father's words are no better and if one were to look at Polonius's line "you'll tender me fool," it's evident that he's more concerned for his reputation than Ophelia's benefit. With no mother and both a father and brother who leave much to be desired as paternal figures, Shakespeare has evidently set out to have her play the role of victimized woman. From the beginning, Shakespeare uses the power of dialogue to show the obvious mistreatment of Ophelia through the condescending tone and vulgar diction of her father and brother – a background that sets her up for doom.
As the play progresses, we see that Ophelia is a woman of little strength – and though some may interpret it as being a dutiful daughter – it adds up to simple weakness and another form of degrading Ophelia by her father. Throughout most of the play Shakespeare uses Ophelia as a tool so that other characters may reach their alternative ends. We first see this with Polonius, who does not hesitate to use his daughter for his own needs. When Ophelia describes Hamlet's strange behavior towards her, Polonius immediately interprets this to his convenience.
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. (2.1.113-118)
Polonius interprets his daughter's description as madness from love which is in his convenience because it can very well mean Ophelia marrying into royalty which would consequently bring him up in society as well. Polonius's intentions are seen through the desperate tone in he speaks with. He is quick to follow through and this is seen when he quickly says "I will go seek the king." What Shakespeare does is basically have Polonius's action and dialogue happen almost simultaneously. He does not lose one minute in searching out the king because the quicker he informs him, the quicker his social status rises, but this is simply the beginning of using Ophelia as a tool. Almost right after, Polonius informs the king and queen that he has in his possession letter from Hamlet to Ophelia.
I have a daughter--have while she is mine--
Who, in her duty and obedience, mark,
Hath given me this: now gather, and surmise. (2.2.114-116)
Ophelia has given Polonius her letters from Hamlet – this is weakness of will. What woman in her right mind would give up her love letters to her father so he can read them aloud? Especially letters that say things like "excellent white bosom." Even if in said possibility that Ophelia were playing the part of obedient daughter this only further proves that she is a victimized woman because in obeying her father – her dutiful role is taken advantage of and used for the benefit of others. The possessiveness of Polonius saying that his daughter is his, also shows through his dialogue that he considers his daughter property – something he can do what he wants and thus is able to get the letters from her – he explains it as "he duty and obedience." Polonius does not talk about Ophelia in terms of open trust or affection. The detached diction that Polonius uses to describe his having Ophelia's letter demonstrates the lack of affection Ophelia must suffer through.
But her father is not the only one to abuse her trust so does the king. In his decision to see whether Polonius inferences are true, the king and Polonius agree to use Ophelia as their tool so that they may spy on her conversation with Hamlet. Hamlet too abuses her, not only verbally, but he also uses her as his pawn to distract those watching from any suspicions of what he might be conspiring against the king:
Get thee to a nunnery: why wouldst thou be a
breeder of sinners? ...
What should such fellows as I do crawling
between earth and heaven? We are arrant knaves,
all; believe none of us. Go thy ways to a nunnery. (3.1.131-132, 138-140)
Shakespeare uses the pun of going to a "nunnery" as a double-message of either going to a convent or a prostitution house. Basically, what Hamlet implies is that Ophelia is prostituting herself to her family and ironically enough, she is also "prostituting herself" to him since he uses her as a distraction for others. In further irony, Hamlet is also warning Ophelia not to trust men because they are all "knaves" – an allusion to the satire form of knaves and fools. Ophelia, however, is too naïve and too gullible towards others to understand that she really is being used or the pun Shakespeare has Hamlet use. What is really impacting about all this is that those who Ophelia has closest to her do her most harm. All in all those who she loves most humiliate her and degrade her the most. Hamlet is especially guilty of this. Here, Hamlet is openly rude making indecent conversation to Ophelia:
OPHELIA
You are keen, my lord, you are keen.
HAMLET
It would cost you a groaning to take off my edge.
OPHELIA
Still better, and worse. (3.2.272-275)
Shakespeare has Hamlet make a lot of sexual innuendos towards Ophelia through lewd diction which, for any lady in that time period, should have been beyond humiliating, yet Ophelia quietly allows him to go on, even when she is well aware of what he's implying from her response, "still better, and worse." The fact that Hamlet is doing this all in public – the King's court – makes his words even more insulting and humiliating. Ophelia is ultimately trapped by all the pressures that are surrounding her – Hamlet's rejection of her and her obligation to her family. She is a victim of her circumstances and those around her take advantage of it. What can be seen so far from Ophelia is that she is more naïve than she is stupid – with no one of her side it's impossible for her to be able to move out of the overwhelming bubble she is in. Shakespeare shows this through her answers in dialogue such as in her reaction towards Hamlet's vulgarities. She is meek in responses and does not stand up for herself – her position as someone who's used to being abused is what makes her meek and it's reflected in her speech as well.
Now, rejected by her lover and used by her family – Shakespeare characterizes Ophelia as both a woman scorned and humiliated by the way those close to her talk to her and use her. However, she does not burst on a vengeful rampage but instead bottles all in making her into a figure of a defeated woman and finally a victimized woman. The cherry on top of the Sundae is her father's death – a plot device which Shakespeare uses as a catalyst to finally drive Ophelia over the edge into insanity. Strangely enough, it is during Ophelia's lunacy that the audience finally gets to see the lucidity of her character. Shakespeare's use of poetic yet truthful diction to make up Ophelia's songs are what show her issues clearly – while it's evident that she's pained by her father's death, we learn something more.
Quoth she "Before you tumbled me,
You promised me to wed."
He answers:
"So would I ha' done, by yonder sun,
An thou hadst not come to my bed." (4.5.67-71)
Ophelia's song reflects a mistake she made – she lost her virginity to Hamlet. With her father dead, her brother away, and her virginity lost, Ophelia really does not have a future left as a woman. She is a pitiful character in the end – her insanity is only a product of the victimization she goes through from all ends. It is finally with her suicide that thing for Ophelia change. While she is, in fact, dead – it is only after her death, that anyone says anything good about her, which shows something very painful about Ophelia. Not once throughout the play does someone say anything affectionate or demonstrate at all that she is loved. Right before she does commit suicide the queen is also guilty of not wanting to speak to Ophelia, yet after learning of her death, Shakespeare gives her poetic diction when revealing her suicide.
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 lauds; (4.7.199-202)
While the queen maybe speaking nicely of Ophelia – using the metaphor of a mermaid – out of respect for the dead, it is disturbing to know that only when dead was Ophelia praised. Finally, the one who hurt her the most is the one who admits to having cared.
I loved Ophelia: forty thousand brothers
Could not, with all their quantity of love,
Make up my sum. What wilt thou do for her? (5.1.285-287)
The hyperbole Shakespeare has Hamlet use emphasizes the hypocrisy of his words now and his former action when humiliating her. The fact that his humiliations have been in public just like his words of affection at her burial make it more difficult to no if he's being honest or whether he is saying this out of the heat of the moment.
She was in fact a victimized woman who was used for every one's convenience but her own and not given much thought upon until her death. With no one to guide her she gave her virginity away to the first man who promised affection and with constant condescending treatment, Ophelia stands a defeated woman until her insanity finally pours out all her grief leading up to her inevitable suicide.
A mere innocent bystander, Ophelia's degradation, insanity and untimely death are all products of the people around her. She's without a mother figure and left with an ambitious father who puts himself before his daughter. Finally, she is wronged by the one whom she swore loved her. To top everything off, Ophelia is used as a means for everyone to get a little of what they want – ultimately prostituting herself to her family and Hamlet. Becoming pathetic and pitiful in the end, Ophelia is best characterized as a victimized woman, who was defeated by those around her, making insanity and death her only escape.
Women are ambiguous because they are often too complex for the minds of men. In William Shakespeare's Hamlet, Prince of Denmark we see how a woman who plays many roles is difficult to label. Shakespeare characterizes Ophelia, a character who throughout most of the play seems to have little substance or depth, as a victimized woman – a woman mistreated, a woman scorned, and a woman ultimately shamed by the men in her life. Shakespeare achieves this through her dialogues with others and her behavior throughout the play.
The mistreated woman that Ophelia becomes can be best interpreted if one were to look at her familial situation. Shakespeare introduces her to the audience along with her brother Laertes who is set on giving her advice that shouldn't come from an older brother in normal circumstances:
Then weigh what loss your honour may sustain,
If with too credent ear you list his songs,
Or lose your heart, or your chaste treasure open
To his unmaster'd importunity. (1.3.33-36)
Laertes is advising Ophelia not to believe Hamlet's affections – no matter how much sweet talk he uses towards her. But most importantly he emphasizes "chaste treasure" – a metaphor for her virginity – and how she must take care of it. In a normal family, this sort of talk would be a mother's responsibility. However, in the play, Shakespeare does not include nor mention the mother of Laertes and Ophelia. Figuring that Shakespeare purposely did this, we can assume that Ophelia's lack of a mother figure was done to impact her character and only contribute to the eventual characterization of a victimized woman. A woman in those times usually had an older woman to guide her in learning proper comportment in polite society. Here Ophelia has no maternal figure to show her which can very well explain her behavior later on. Now aside from the fact that she didn't have a female figure to look up to, her family talks down to her and treats a like a dummy – their condescending tone and close to vulgar diction demonstrate this best:
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. (1.3.114-118)
Shakespeare has Polonius openly insulting her intelligence by calling her "a baby." Before this she has received a similar chat from her brother who also talks to her in a condescending tone, nevertheless we can see from Ophelia's mocking diction when she answers her brother that she is not in fact as stupid as her brother and father think her to be:
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. (1.3.49-55)
Ophelia is smart enough to realize her brother's hypocrisy in giving her advice that he himself does not follow. Shakespeare giving her dialogue with the words "libertine" and "reckless" in reference to her brother are best in interpreting precisely what type of person Laertes is. To be talked down by someone like Laertes on the subject of chastity should be degrading as it is. Her father's words are no better and if one were to look at Polonius's line "you'll tender me fool," it's evident that he's more concerned for his reputation than Ophelia's benefit. With no mother and both a father and brother who leave much to be desired as paternal figures, Shakespeare has evidently set out to have her play the role of victimized woman. From the beginning, Shakespeare uses the power of dialogue to show the obvious mistreatment of Ophelia through the condescending tone and vulgar diction of her father and brother – a background that sets her up for doom.
As the play progresses, we see that Ophelia is a woman of little strength – and though some may interpret it as being a dutiful daughter – it adds up to simple weakness and another form of degrading Ophelia by her father. Throughout most of the play Shakespeare uses Ophelia as a tool so that other characters may reach their alternative ends. We first see this with Polonius, who does not hesitate to use his daughter for his own needs. When Ophelia describes Hamlet's strange behavior towards her, Polonius immediately interprets this to his convenience.
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. (2.1.113-118)
Polonius interprets his daughter's description as madness from love which is in his convenience because it can very well mean Ophelia marrying into royalty which would consequently bring him up in society as well. Polonius's intentions are seen through the desperate tone in he speaks with. He is quick to follow through and this is seen when he quickly says "I will go seek the king." What Shakespeare does is basically have Polonius's action and dialogue happen almost simultaneously. He does not lose one minute in searching out the king because the quicker he informs him, the quicker his social status rises, but this is simply the beginning of using Ophelia as a tool. Almost right after, Polonius informs the king and queen that he has in his possession letter from Hamlet to Ophelia.
I have a daughter--have while she is mine--
Who, in her duty and obedience, mark,
Hath given me this: now gather, and surmise. (2.2.114-116)
Ophelia has given Polonius her letters from Hamlet – this is weakness of will. What woman in her right mind would give up her love letters to her father so he can read them aloud? Especially letters that say things like "excellent white bosom." Even if in said possibility that Ophelia were playing the part of obedient daughter this only further proves that she is a victimized woman because in obeying her father – her dutiful role is taken advantage of and used for the benefit of others. The possessiveness of Polonius saying that his daughter is his, also shows through his dialogue that he considers his daughter property – something he can do what he wants and thus is able to get the letters from her – he explains it as "he duty and obedience." Polonius does not talk about Ophelia in terms of open trust or affection. The detached diction that Polonius uses to describe his having Ophelia's letter demonstrates the lack of affection Ophelia must suffer through.
But her father is not the only one to abuse her trust so does the king. In his decision to see whether Polonius inferences are true, the king and Polonius agree to use Ophelia as their tool so that they may spy on her conversation with Hamlet. Hamlet too abuses her, not only verbally, but he also uses her as his pawn to distract those watching from any suspicions of what he might be conspiring against the king:
Get thee to a nunnery: why wouldst thou be a
breeder of sinners? ...
What should such fellows as I do crawling
between earth and heaven? We are arrant knaves,
all; believe none of us. Go thy ways to a nunnery. (3.1.131-132, 138-140)
Shakespeare uses the pun of going to a "nunnery" as a double-message of either going to a convent or a prostitution house. Basically, what Hamlet implies is that Ophelia is prostituting herself to her family and ironically enough, she is also "prostituting herself" to him since he uses her as a distraction for others. In further irony, Hamlet is also warning Ophelia not to trust men because they are all "knaves" – an allusion to the satire form of knaves and fools. Ophelia, however, is too naïve and too gullible towards others to understand that she really is being used or the pun Shakespeare has Hamlet use. What is really impacting about all this is that those who Ophelia has closest to her do her most harm. All in all those who she loves most humiliate her and degrade her the most. Hamlet is especially guilty of this. Here, Hamlet is openly rude making indecent conversation to Ophelia:
OPHELIA
You are keen, my lord, you are keen.
HAMLET
It would cost you a groaning to take off my edge.
OPHELIA
Still better, and worse. (3.2.272-275)
Shakespeare has Hamlet make a lot of sexual innuendos towards Ophelia through lewd diction which, for any lady in that time period, should have been beyond humiliating, yet Ophelia quietly allows him to go on, even when she is well aware of what he's implying from her response, "still better, and worse." The fact that Hamlet is doing this all in public – the King's court – makes his words even more insulting and humiliating. Ophelia is ultimately trapped by all the pressures that are surrounding her – Hamlet's rejection of her and her obligation to her family. She is a victim of her circumstances and those around her take advantage of it. What can be seen so far from Ophelia is that she is more naïve than she is stupid – with no one of her side it's impossible for her to be able to move out of the overwhelming bubble she is in. Shakespeare shows this through her answers in dialogue such as in her reaction towards Hamlet's vulgarities. She is meek in responses and does not stand up for herself – her position as someone who's used to being abused is what makes her meek and it's reflected in her speech as well.
Now, rejected by her lover and used by her family – Shakespeare characterizes Ophelia as both a woman scorned and humiliated by the way those close to her talk to her and use her. However, she does not burst on a vengeful rampage but instead bottles all in making her into a figure of a defeated woman and finally a victimized woman. The cherry on top of the Sundae is her father's death – a plot device which Shakespeare uses as a catalyst to finally drive Ophelia over the edge into insanity. Strangely enough, it is during Ophelia's lunacy that the audience finally gets to see the lucidity of her character. Shakespeare's use of poetic yet truthful diction to make up Ophelia's songs are what show her issues clearly – while it's evident that she's pained by her father's death, we learn something more.
Quoth she "Before you tumbled me,
You promised me to wed."
He answers:
"So would I ha' done, by yonder sun,
An thou hadst not come to my bed." (4.5.67-71)
Ophelia's song reflects a mistake she made – she lost her virginity to Hamlet. With her father dead, her brother away, and her virginity lost, Ophelia really does not have a future left as a woman. She is a pitiful character in the end – her insanity is only a product of the victimization she goes through from all ends. It is finally with her suicide that thing for Ophelia change. While she is, in fact, dead – it is only after her death, that anyone says anything good about her, which shows something very painful about Ophelia. Not once throughout the play does someone say anything affectionate or demonstrate at all that she is loved. Right before she does commit suicide the queen is also guilty of not wanting to speak to Ophelia, yet after learning of her death, Shakespeare gives her poetic diction when revealing her suicide.
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 lauds; (4.7.199-202)
While the queen maybe speaking nicely of Ophelia – using the metaphor of a mermaid – out of respect for the dead, it is disturbing to know that only when dead was Ophelia praised. Finally, the one who hurt her the most is the one who admits to having cared.
I loved Ophelia: forty thousand brothers
Could not, with all their quantity of love,
Make up my sum. What wilt thou do for her? (5.1.285-287)
The hyperbole Shakespeare has Hamlet use emphasizes the hypocrisy of his words now and his former action when humiliating her. The fact that his humiliations have been in public just like his words of affection at her burial make it more difficult to no if he's being honest or whether he is saying this out of the heat of the moment.
She was in fact a victimized woman who was used for every one's convenience but her own and not given much thought upon until her death. With no one to guide her she gave her virginity away to the first man who promised affection and with constant condescending treatment, Ophelia stands a defeated woman until her insanity finally pours out all her grief leading up to her inevitable suicide.
A mere innocent bystander, Ophelia's degradation, insanity and untimely death are all products of the people around her. She's without a mother figure and left with an ambitious father who puts himself before his daughter. Finally, she is wronged by the one whom she swore loved her. To top everything off, Ophelia is used as a means for everyone to get a little of what they want – ultimately prostituting herself to her family and Hamlet. Becoming pathetic and pitiful in the end, Ophelia is best characterized as a victimized woman, who was defeated by those around her, making insanity and death her only escape.