Hamlet/Ophelia Relationship - words | Study Guides and Book Summaries
The significant tragedy “Hamlet” violates the eternal problems. Those problems are connected with the contradiction between action and ideal. Hamlet and Ophelia have a relationship that is quite significant to Hamlet as a whole. Their relationship in the past has been filled with many sexual endeavors . What attracted and raised a lot of questions is the relationship between Hamlet and Ophelia. Does Hamlet really fell in love with Ophelia or was he using her to.
Hamlet and Ophelia Relationship
And wanna talk about feeling like no one understands you? Clearly, there are some signals getting mixed up here. Time to get down and dirty in the details. A few good, actually: Sure, Hamlet idolizing his father seems to suggest the guy was cool, but we never have a chance to see Papa Ham in action. Whereas we can see the other father, Papa Polo, doing his best — in his own weird way — to care for his children.
And while Hamlet himself is already F. Laertes mirrors Hamlet in his revenge, rashness, and fierce loyalty to his family. Ultimately, if you look close enough, you can see mirroring ALL over the place.
“Lemme ‘splain it”: Hamlet and Ophelia’s “…Relationship?”
Hamlet mirrors his uncle, Claudius. Claudius and Laertes mirror the Ghost and Hamlet. Horatio and Hamlet mirror the Ghost and Hamlet.
- Hamlet's relationship with Ophelia
- Hamlet and Ophelia's Relationship
So why does Hamlet kick Ophelia to the curb instead of asking her to help him? That question is as good as a loyalty test for Ophelia. So, is she going to give it up? Tell him the truth? When push came to shove, Ophelia did just what she always does — run to daddy. By her choice or not, she gave it to Polonius: Maybe, like he does with Laertes in the final scene when he apologizes?
hamlet and ophelia's relationship by Grace LaFortune on Prezi
And take a look at that Fabio scene again: And with a look so piteous in purport As if he had been loosed out of hell To speak of horrors Hmm, where have we seen a character like that before? O villain, villain, smiling, damned villain!
In all this he was acting a part intensely painful to himself; the very violence of his language in the Nunnery-scene arose from this pain; and so the actor should make him show, in that scene, occasional signs of a tenderness which with all his efforts he cannot wholly conceal.
Finally, over her grave the truth bursts from him in the declaration quoted just now, though it is still impossible for him to explain to others why he who loved her so profoundly was forced to wring her heart. Now this theory, if the view of Hamlet's character which I have taken is anywhere near the truth, is certainly wrong at one point, viz.
How is it that in his first soliloquy Hamlet makes no reference whatever to Ophelia? How is it that in his second soliloquy, on the departure of the Ghost, he again says nothing about her? When the lover is feeling that he must make a complete break with his past, why does it not occur to him at once that he must give up his hopes of happiness in love?
Hamlet does not, as the popular theory supposes, break with Ophelia directly after the Ghost appears to him; on the contrary, he tries to see her and sends letters to her ii. What really happens is that Ophelia suddenly repels his visits and letters.
Now, we know that she is simply obeying her father's order; but how would her action appear to Hamlet, already sick at heart because of his mother's frailty,1 and now finding that, the moment fortune has turned against him, the woman who had welcomed his love turns against him too?
Even if he divined as his insults to Polonius suggest that her father was concerned in this change, would he not still, in that morbid condition of mind, certainly suspect her of being less simple than she had appeared to him? When Hamlet made his way into Ophelia's room, why did he go in the garb, the conventionally recognised garb, of the distracted lover?
If it was necessary to convince Ophelia of his insanity, how was it necessary to convince her that disappointment in love was the cause of his insanity? His main object in the visit appears to have been to convince others, through her, that his insanity was not due to any mysterious unknown cause, but to this disappointment, and so to allay the suspicions of the King.
But if his feeling for her had been simply that of love, however unhappy, and had not been in any degree that of suspicion or resentment, would he have adopted a plan which must involve her in so much suffering? In what way are Hamlet's insults to Ophelia at the play-scene necessary either to his purpose of convincing her of his insanity or to his purpose of revenge?
And, even if he did regard them as somehow means to these ends, is it conceivable that he would have uttered them, if his feeling for her were one of hopeless but unmingled love? How is it that neither when he kills Polonius, nor afterwards, does he appear to reflect that he has killed Ophelia's father, or what the effect on Ophelia is likely to be?
We have seen that there is no reference to Ophelia in the soliloquies of the First Act. Neither is there the faintest allusion to her in any one of the soliloquies of the subsequent Acts, unless possibly in the words iii. Considering this fact, is there no significance in the further fact which, by itself, would present no difficulty that in speaking to Horatio Hamlet never alludes to Ophelia, and that at his death he says nothing of her?
If the popular theory is true, how is it that neither in the Nunnery-scene nor at the play-scene does Shakespeare insert anything to make the truth plain? Four words like Othello's 'O hardness to dissemble' would have sufficed. These considerations, coupled with others as to Hamlet's state of mind, seem to point to two conclusions.
They suggest, first, that Hamlet's love, though never lost, was, after Ophelia's apparent rejection of him, mingled with suspicion and resentment, and that his treatment of her was due in part to this cause. And I find it impossible to resist this conclusion. But the question how much of his harshness is meant to be real, and how much assumed, seems to me impossible in some places to answer. For example, his behaviour at the play-scene seems to me to show an intention to hurt and insult; but in the Nunnery-scene which cannot be discussed briefly he is evidently acting a part and suffering acutely, while at the same time his invective, however exaggerated, seems to spring from real feelings; and what is pretence, and what sincerity, appears to me an insoluble problem.
Something depends here on the further question whether or no Hamlet suspects or detects the presence of listeners; but, in the absence of an authentic stage tradition, this question too seems to be unanswerable.
But something further seems to follow from the considerations adduced. Hamlet's love, they seem to show, was not only mingled with bitterness, it was also, like all his healthy feelings, weakened and deadened by his melancholy. But it was not an absorbing passion; it did not habitually occupy his thoughts; and when he declared that it was such a love as forty thousand brothers could not equal, he spoke sincerely indeed but not truly.
What he said was true, if I may put it thus, of the inner healthy self which doubtless in time would have fully reasserted itself; but it was only partly true of the Hamlet whom we see in the play.
Hamlet and Ophelia Relationship Essay Example
And the morbid influence of his melancholy on his love is the cause of those strange facts, that he never alludes to her in his soliloquies, and that he appears not to realise how the death of her father must affect her. The facts seem almost to force this idea on us.Hamlet & Ophelia, a non-love story
That it is less 'romantic' than the popular view is no argument against it. And psychologically it is quite sound, for a frequent symptom of such melancholy as Hamlet's is a more or less complete paralysis, or even perversion, of the emotion of love.
And yet, while feeling no doubt that up to a certain point it is true, I confess I am not satisfied that the explanation of Hamlet's silence regarding Ophelia lies in it. And the reason of this uncertainty is that scarcely any spectators or readers of Hamlet notice this silence at all; that I never noticed it myself till I began to try to solve the problem of Hamlet's relation to Ophelia; and that even now, when I read the play through without pausing to consider particular questions, it scarcely strikes me.
Now Shakespeare wrote primarily for the theatre and not for students, and therefore great weight should be attached to the immediate impressions made by his works.