The Dramatic Function of Ophelia in Shakespeare's 'Hamlet'.

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Louise Shirley 12/13

The Dramatic Function of Ophelia in Shakespeare’s ‘Hamlet’

        In William Shakespeare’s ‘Hamlet’ the character Ophelia performs a very interesting and important role in the elaboration of the plot. Ophelia is a tragic victim, a common component of Shakespeare’s revenge tragedies and something that the audience would have come to expect. It is perhaps surprising that a vulnerable and frail character such as Ophelia could have the great impact on the play that she does. Understanding her reactions to the patriarchal society in which she lives through her relationships with the men in her life adds greater depth to the play. Her character is revealed through her interactions with Polonius, Laertes and Hamlet, and their characters in turn revealed through their relationships with her. Ophelia allows better understanding of Hamlet’s complex personality. Ophelia also highlights key themes of the play, including corruption, patriarchy and deception.

        Before her function can be analysed, Ophelia’s character must be understood.

Shakespeare presents her as a character of weakness, one to respond to with pity and sympathy. She has been read in very different ways– as shown in the greatly varied portrayals of her in different films. The conventional view is that she is a pure and innocent victim, but another reading of her is that she is a clever, sexually experienced but somewhat confused and naive girl. I believe that Ophelia is the epitome of goodness, childlike and naïve, and that it was Shakespeare’s intention to evoke sympathy for her. I think that she teeters upon the edge of adult knowledge, with those around her fighting to suppress her sexuality. She is not sexless and does demonstrate understanding of Hamlet’s bawdy language. Hamlet uses broad sexual innuendo, to which her response of ‘you are naught, you are naught’ (III.ii.148) reveals that she is offended by it, at once showing that she understands, but certainly disapproves of, his language. Her chaste nature is shown by Hamlet telling her ‘to a nunnery go (III.i.141)’ – so that it can remain so. Throughout the play Shakespeare’s use of natural and floral imagery communicates her purity. On drowning, she is surrounded by a garland of flowers and at her funeral ‘she is allowed her virgin crants’ (V.i.233) and ‘maiden strewments.’ Ophelia died while collecting flowers which are symbolic of innocence, fragility and purity. The ‘hoar leaves’ which symbolise the silver-grey colour of age put emphasis on Ophelia’s youth and innocence. “Long purples” are given a ‘grosser name’ by ‘liberal shepards’ as the roots are phallic in appearance. ‘Cold maids’, innocent virgins, refer to them as ‘dead man’s fingers’ which has a phallic connection. This implies that Ophelia was a ‘cold maid’ herself.

         Those who read Ophelia as disreputable point to Polonius’ disdain when she speaks ‘like a green girl’ (I.iii.101) which suggests that she is not entirely so. She understands the meaning of Hamlet’s lewd remarks regarding “country matters.’and a possible reading of Ophelia’s comments that “Young men will do’t / if they come to’t, by Cock / they are to blame” and “before you tumbled me / you promised me to wed” (IV.v.59-62) is that there existed a sexual relationship between Ophelia and Hamlet. In her sexually explicit songs, the lyrics of which include “let in the maid, that out a maid / Never departed more” (IV.v.52) the implication is that the girl in the song has lost her virginity. I do not think that in singing this Opelia refers to herself, but that her madness grants her freedom to express what she was unable to discuss before, her deep love and desire for Hamlet.

        I think there is a sexual aspect to the frustration which drives her insane. Hamlet’s harsh verbal abuse is almost entirely sexual, and her mad songs contain blatant sexual references. Ophelia suffers because of the avoidance of her own sexuality. It is suppressed only to emerge later in her mad ramblings.

        Ophelia is a submissive character whose personality can almost be summed up with her lines "I shall obey, my Lord." and “I do not know, my lord, what I should think.” She is controlled by her father and brother and the audience is supposed to sympathise for her, as Polonius denies her independence of choice or action, telling her "You do not understand yourself so clearly / as it behoves my daughter and your honour.” Ophelia’s madness and its causes are key parts of the plot of the play. The murder of Polonius by Hamlet leads to Ophelia’s demise- she loses all of the men she loved and obeyed and her identity is dependent upon them to such an extent that in their absence she does not know how to live, and becomes insane. She has never been responsible for making decisions about how to live because her father and brother have always controlled her conduct. As Claudius acknowledges, her madness is “the poison of deep grief / It springs all from her father’s death.” (IV.v.75) Hamlet has been responsible for her feelings- if he loves her, she is happy, and if he does not, she is not. It is through these relationships that she knows how to live, and in the absence of this direction she commits suicide.

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        Shakespeare cleverly uses Ophelia to reveal aspects of other characters’ personalities which the audience may have otherwise not been appreciated. She affects the audience’s response to the characters through language, interaction, comparison and contrast.

        One of the vital dramatic functions of Ophelia is to give insight into Hamlet’s character and situation. She gives Hamlet’s actions and thoughts greater significance. His personality is highly complex, but through Ophelia the audience are perhaps better equipped to begin understanding it. It is through her that the audience learn the depth of his sorrow, confusion, the extent of his sense of betrayal by Gertrude ...

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