In Shakespeare’s Hamlet, the character of Ophelia is a young madwoman who commits suicide. From the first scene in which she is introduced, it is evident that Ophelia is a woman caught in struggles similarly shared with sixteenth century Renaissance women. She has little to no power over herself and her surroundings, because she maintains the same devotion to men early renaissance women were forced into. She is prevented from acting for herself and also manipulated and deceived throughout the play for the benefit of her male superiors. Therefore, Ophelia’s madness is attributed to her lack of control over her body, mind, and actions.
During the time of the sixteenth century in which a demanding patriarchal system existed, women took to the roles of caregivers and servants to their families, husbands, and children (Hull 31). Women learned early on of these expected roles, starting from the time they were little girls. Middle-class daughters like Ophelia were raised to become wives (Hull 136). They were required to obey a “dominant code of ethics that prescribed chaste, silent, and obedient Renaissance women” (Pebworth 76). This code also included an embedded notion that women were not allowed to promote or engage their sexuality. Women of nobility and wealth were only encouraged to engage in sexual activity to provide heirs (Hull 99). Likewise, women of lower class were expected to provide extra hands to help the family survive (Hull 99). Any other thought or expression of sexuality was severely looked down upon and even considered blasphemous.
The notion of this inappropriate behavior is evident in the first scene in which Ophelia is introduced. In Act 1, Ophelia’s brother Laertes is the first to put her down about her relationship with Hamlet. First he explains to her Hamlet’s actions offering, “For Hamlet, and the trifling of his favor/ Hold it a fashion and a toy in blood” (1.3.5-6). When she persists, Laertes warns her of her reputation saying “Then weight what loss your honor may sustain/ If with too credent ear you list his songs/ Or lose your heart, or your chaste treasure open” (1.3.29-31). He encourages her to stay away from Hamlet so as not to damage her reputation, a good example of part of the code women of this time period followed. He warns her, “Fear it, Ophelia…keep you in the rear of your affection…The chariest maid is prodigal enough/ If she unmask her beauty to the moon/ Virtue itself scapes not calumnious scopes” (1.3.33-34; 36-38). With these few lines, Laertes is advising his sister to stay away from Hamlet. He is concerned with their relationship because he does not want her to get caught up in the spell of love and give herself to Hamlet as a result. Laertes is maintaining the strict “notion that it is easy to be contaminated and that ‘chariness’ is prudent” (Lyons 70).
The essence of this code was learned by Renaissance daughters as they grew older. These young women were educated on the appropriate ways of conduct including domestic duties and responsibilities, as well as serving their fathers and future husbands (Hull 31). Ophelia’s father Polonius is the perfect example of a typical sixteenth century father, controlling every aspect of her life including her feelings towards a possible spouse, Hamlet. In Act 1 Scene 3, Polonius’ control over Ophelia’s desire towards Hamlet becomes obvious rather quickly. Polonius inquires Ophelia about the nature of her relationship with Hamlet. He says, “‘Tis told me, he hath very oft of late/ Given private time to you, and you yourself/ Have of your audience been most free and bounteous” (1.3.91-93). Here, Polonius is defining “a world in which for a young girl to be ‘free and bounteous’ is to be cheap” (Lyons 70). When she replies that Hamlet has been paying her special attention, Polonius scolds her for taking him seriously. He states, “Think yourself a baby/ That you have ta’en these tenders for true pay/ Which are not sterling. Tender yourself more dearly…or you’ll tender me a fool” (1.3. 105-107). Here, Polonius is telling Ophelia to have more respect for herself and not fall under Hamlet’s spell or Polonius will be made a fool of. He is not so much concerned with Ophelia’s feelings as he is for his own reputation. Having a daughter getting involved with a madman is a terrible disgrace to the honor of his family. He does not want Ophelia to surrender to Hamlet because that would damage his image in the eyes of society. Although unaware of his ulterior motive, Ophelia is still affected by his selfishness. She’s lost control of her relationship and must now end it.
Like most sixteenth century fathers, Polonius is disregarding his daughter’s happiness in place of his own desire for a respectable reputation. This coincides with one of the earliest lessons a young women learned during this time period. They were taught to obey their parents, and most importantly acknowledge that their fathers were the head of the households (Hull 135). Although Ophelia is aware of this notion, she still claims Hamlet pledged to be true stating, “he hath importuned me with love…hath given countenance to his speech/ With all the holy vows of heaven” (1.3. 110, 113-114). In turn, Polonius reminds her of the freedom she does not have saying, “For Lord Hamlet/ Believe so much in him that he is young/ And with a large tether may he walk/ Than may be given you…I would not from this time forth/ Have you so slander any moment leisure/ As to give words or talk with the Lord Hamlet” (1.3.123-126, 132-134). Polonius is reminding Ophelia that she has not the freedom Hamlet does and instructs her to stop talking to him at once. With this order, she is completely shut down. Ophelia will not have Hamlet because Polonius does not approve and ends the scene submitting to his will saying “I shall obey, my lord” (1.3.136).
This scene is only the beginning of Polonius’ manipulation of Ophelia. When Ophelia goes to her father with news of Hamlet’s frightening approach towards her at the beginning of Act 2, Polonius quickly manipulates Ophelia into thinking that Hamlet is completely mad because of his love for her. Polonius states “This is the very ecstasy of love/ Whose violent property fordoes itself/ And leads the will to desperate undertakings” (2.1.102-104). At first it seems Polonius is merely trying to explain to his daughter the craziness of love. However he asks, “What, have you given him any hard words of late?” (2.1.107). Ophelia replies, “No, my good lord. But as you did command/ I did repel is fetters and denied/ His access to me” (2.1.108-110). Making his point, Polonius says “That hath made him mad…I feared he did but trifle and meant to wreck thee” (2.1.110, 112-113). This is another good example of Polonius’ subtle manipulation.
By previously remaining uncertain for the reason of Hamlet’s madness, Polonius can now blame the very presence of Ophelia as the cause. This inflicts pain and guilt on Ophelia because she suddenly feels responsible for Hamlet’s downfall. Polonius reminds Ophelia that even though she reluctantly followed his orders to rid herself of Hamlet, by doing so, she is causing Hamlet’s insanity. Therefore because of her father’s choice, she is not only unable to be with the man she loves, but also is causing him great pain and sorrow.
In this scene between Ophelia and her father, she is caught in an ultimate struggle in which she cannot win. On one hand, she obeys her father’s word and by doing so, hurts the man she loves. On the other hand, to be with Hamlet and cause him no harm would mean her complete betrayal and sin against her father’s authority. She is caught in a common struggle that many renaissance women faced. For any woman to do the right thing for herself would be considered selfish and against the law (Hull 136). Because Ophelia is caught in this tradition of patriarchy with no personal choice, she will always be without control. Her pain and devastation caused by this fact will contribute to Ophelia’s inevitable demise. This is because “when strong attachment and love are threatened by the interference of others and possibly, the misconduct of the beloved, this results in an extraordinary response that merges feelings of disappointment and extreme adulation with worries about disloyalty and neglect” (Pebworth 197). It is from here she becomes a pawn in Polonius’ game.
When Polonius goes to consult King Claudius about Hamlet and his madness, his use for Ophelia is soon revealed with a single love letter. Polonius first marks his confidence in her obligation to him saying, “I have a daughter- have while she is mine-/ Who in her duty and obedience, mark/ Hath given me this” (2.2.108-110). After reading the love letter to the King and Queen, Polonius again claims that Ophelia’s denial has caused Hamlet’s insanity. He says, “And he repelled/ Fell into sadness, then into a fast…into a madness wherein now he raves/ And we all mourn for” (2.2.137-138, 141-142). Polonius continues to express Ophelia as the reason for Hamlet’s state, now spreading his belief to Hamlet’s parents. Finally, he puts his plan in motion saying, “I’ll loose my daughter to him…Mark the encounter/ If he love her not/ And not be from his reason fall’n thereon/ Let me be no assistant for a state” (2.2.154, 156-157). With this statement, Polonius has now offered his daughter up as a pawn in their game. He will now force her into facing the man she not only loves and was forced to stay away from, but also the man she believes is mad because of her. This will cause extreme emotional damage on Ophelia. Her father selfishly disregards her feelings and fears for his own benefit.
With no say whatsoever, Ophelia is now thrown into a situation as a pawn in her father’s game. He instructs her, “Ophelia, walk you here…read on this book/ That show an exercise may color/ Your loneliness” (3.1.43; 45-46). With no objection, she proceeds into the hall with the book in hand awaiting Hamlet’s arrival. This is Ophelia’s dilemma. By obeying her father’s every word, she is now faced with the face of her beloved once again. However, in this scene, it is from the man she loves that she must take such harsh treatment from. Against her own feelings, Ophelia remembers what her father told her about her family’s reputation, and quickly says to Hamlet “My Lord, I have remembrances of yours/ That I long to redeliver/ I pray you now receive them” (3.1.92-94). Caused by great distress, Hamlet denies ever giving Ophelia anything. It is here that she briefly surrenders to the sweet words in her heart for Hamlet saying “My honor’d lord, you know right well you did/ And with them words of so sweet breath compos’d/ As made these things more rich” (3.1.96-98).
With this, Ophelia suddenly endures the wrath of Hamlet. He fires at her, “I did love you once…You should not have believed me/ I loved you not….Get thee to a nunnery. Why wouldst thou be a breeder of sinners…if thou wilt marry needs marry, marry a fool, for wise men know/ Well enough what monsters you make of them” (3.1.117-118, 120-121,124-125,140-141). Frustrated and angry, Hamlet exits the room leaving Ophelia to her own thoughts. She is overcome with deep sadness and confusion over Hamlet. She cries out to herself, “Oh what a noble mind is here o’erthrown!… And I, of the ladies most deject and wretched…Oh, woe is me/ T’ have seen what I have seen, see what I see” (3.1.156, 161-162). Ophelia is overwhelmed with grief for Hamlet and his current state. She feels guilty because she knows that she triggered Hamlet’s outburst by asking him to take back the gifts he gave to her. Ophelia is not only dealing with guilt but also with the idea Polonius has set in her mind of being the cause of hamlet’s insanity. The pain she endures from breaking the heart of her beloved takes a great toll on her heart.
Ophelia’s sanity does not hold out for long. After Hamlet kills Polonius at the end of Act 3, Ophelia jumps off the deep end. She approaches the Queen at the end of Act 4, in visible despair and anguish. She walks in looking for the Queen and asks her to listen. She sings, “He is dead and gone, lady/ He is dead and gone/ At his head a grass-green turf/ At his heels a stone” (4.5.29-32). At this time, she has gone completely insane. It is evident by the song she is singing that the death of Polonius was the final straw. The death of her father causes deep sorrow in her. However, she is not only dealing with his death, but also the fact that the man she loves is responsible. She is so deeply affected by this that she soon commits suicide. Driven to insanity by lack of control, the loss of her lover and father, Ophelia would rather die than continue a life she was not happy living to begin with.
Ophelia is a character unlike any other in Hamlet. From the first moment she is introduced in the play until her unfortunate death, Ophelia is caught in a vicious cycle of lies and manipulation, which inevitably tears her down. Ophelia is not unlike a common woman of the sixteenth century. Born and raised to do others will and know no sense of control, these women are faced with a severe sense of imprisonment. However, these Renaissance women are not the only ones who can relate to Ophelia’s struggle. Many women throughout history can identify with living a life they didn’t choose for themselves. While most of these situations do not end in insanity or suicide, many of them deal with similar intense emotions. Therefore, Ophelia is not just an ordinary character in an ordinary play. She is the embodiment of women in society everywhere.
Works Cited
Hull, Suzanne W. Women According to Men: The World of Tudor-Stuart Women. New York: Walnut Creek AltaMira Press, 1996.
Lyons, Bridget. “The Iconography of Ophelia.” ELH 44 (1977): 60-74. MLA
International Bibliography. EBSCO. Saint Leo University, Cannon Memorial Library. 15 Nov 2007
Pebworth, Ted-Larry, Claude J. Summers. Representing Women in Renaissance England.
Columbia: University of Missouri Press, 1997
Shakespeare, William. Hamlet. Ed. Susanne L. Wofford. New York: Bedford Books, 1994.
