Introduction
Composed by William Shakespeare circa 1600, “Hamlet” is a tragedy that delves into friendship, madness, and revenge themes. This article comprehensively explores Ophelia and Gertrude in Shakespeare’s “Hamlet.” It will do so by conducting a meticulous examination of their respective characters and an analysis of pertinent passages from the play. Presented below is an in-depth scrutiny, drawing comparisons and contrasts between Ophelia and Gertrude, beginning with analyzing different character and their characteristics.
Ophelia’s Characterization
In “Hamlet,” Ophelia emerges as a portrayal of innocence, characterized by her lack of agency. The men in her life—her father, Polonius, and her brother Laertes—exercise control over her, rendering her seemingly subordinate to their influence. Throughout the play, Ophelia appears unable to assert her opinions or express her emotions, positioning her as a character who allows herself to be manipulated and guided by the male figures surrounding her. Polonius communicates to Claudius, the king, concerning his idea: “I have a daughter- have while she is mine- Who in her duty and obedience, mark” (Shakespeare 19). The male figures predominantly influence her thoughts and actions in her life.
Within the narrative of Hamlet, Ophelia’s compliance with the directives of her father and brother, coupled with her rejection by Hamlet, highlights the restricted role of women in expressing their opinions, emotions, or desires within a courtly environment. In Hamlet, Ophelia finds herself under the control of her father, Polonius, who is actively seeking insights into Hamlet’s conduct (Samuelsson). Polonius manipulates Ophelia as a tool in his machinations, utilizing her as part of his strategy to probe into Hamlet’s apparent madness. In this scenario, Ophelia lacks autonomy in expressing her views or participating in Polonius’s plans. Taking advantage of his paternal relationship, Polonius proposes to the king that Ophelia be utilized to unravel the mysteries behind Hamlet’s erratic behavior.
Ophelia undergoes a sorrowful romantic entanglement with Hamlet. The unpredictable actions and perceived abandonment by Hamlet profoundly impact her psychological well-being, leading to her descent into madness throughout the narrative. The combination of her father’s demise and Hamlet’s rejection overwhelms her, causing her character to spiral down a somber trajectory that ultimately culminates in her tragic demise. “There’s rosemary, that’s for remembrance; pray, love, remember: and there are pansies, that’s for thoughts” (Shakespeare 70).
Ophelia is portrayed as lacking command over her actions, communicating and behaving erratically. The depiction of Ophelia’s descent into madness constitutes a noteworthy facet of her character. Her vulnerability is underscored by both her melodic songs and disturbed conduct. Ophelia’s madness manifests in her cryptic and fragmented speech, exemplified by lines that introduce an element of tragic irony.
Gertrude’s Characterization
Hamlet’s mother, Gertrude, is often perceived as sensual and emotionally distant. She serves as a foil to her son, presenting a stark contrast in character. Unlike Hamlet, Gertrude does not engage in monologues contemplating her nature and actions; instead, she is driven by emotions rather than introspection. Her demeanor is marked by affection, impulsiveness, and strong-willed tendencies, rendering her character complex and ambiguous. Hamlet’s profound grief and misery lead him to contemplate death as a release from suffering (Tsentourou 161). Still, he is deterred by the fear of eternal damnation in Christian beliefs that prohibit suicide.
Gertrude’s swift marriage to Claudius following King Hamlet’s death raises questions about her loyalty and intensifies Hamlet’s disapproval. Her hasty union is attributed to a mix of love and loneliness, blinding her to the implications of her actions. “Frailty, thy name is woman!” (Shakespeare 60). Hamlet’s renowned statement underscores his disappointment with his mother’s rapid remarriage, accentuating his perception of Gertrude’s vulnerability and fragility. This perception contributes to his characterization of her actions as incestuous.
Hamlet is frustrated with his mother’s apparent obliviousness to his father’s death. “O, speak to me no more; these words like daggers enter my ears!” (Shakespeare 90). Gertrude’s reaction to Hamlet’s confrontation in her chamber underscores the tension and conflict existing within their relationship. Gertrude contends that Hamlet has disrespected his father’s memory, but he renounces, accusing her of wrongdoing against his father. Gertrude questions the harshness of Hamlet’s words and expresses uncertainty about whether he has forgotten her role. In response, Hamlet asserts his awareness of her identity: the wife of his father’s brother and, regretfully, his mother.
Comparison and Contrast
In examining their attitudes toward love, Ophelia’s affection is portrayed as sincere and poignant, while Gertrude’s connection with Claudius prompts speculation about the genuineness of her feelings. There is a strong likelihood that Hamlet’s love for Ophelia is genuine, supported by evidence such as the love letters he wrote to her, which Ophelia reveals to Polonius. Hamlet tells Ophelia, “I did love you once” (Shakespeare 117). He declares his love for Ophelia once more to Laertes, Gertrude, and Claudius after Ophelia’s passing, expressing that he loved Ophelia. Forty thousand brothers or could not, with all their quantity of love, make up his sum. Polonius and Claudius clandestinely observe the encounter between Ophelia and Hamlet, during which Hamlet becomes furious about women and marriage. Claudius deduces that Hamlet is neither in love with Ophelia nor mad. Perceiving Hamlet as a potential threat, Claudius resolves to send him away.
In response to Hamlet’s madness, Ophelia succumbs to insanity, while Gertrude takes a more pragmatic approach, attempting to comprehend and manage Hamlet’s erratic behavior. Ophelia’s descent into madness is triggered by the death of her profoundly beloved father, Polonius, at the hands of Hamlet (Tsentourou 161). Additionally, Hamlet, whom she also loved, callously rejects her. The fact that this grief propels Ophelia into madness exposes her profound feelings of despair and powerlessness, underscoring the influence wielded by the men in her life. Despite Gertrude’s initial reluctance to engage with Ophelia, a courtier informs her of Ophelia’s madness and nonsensical utterances. Horatio advises Gertrude to listen to Ophelia, and although she consents, she privately expresses concern that Ophelia’s deterioration may foreshadow a significant calamity.
Both characters wield significant influence in shaping Hamlet’s emotional state and actions, albeit with distinct roles and impacts. Various raw human emotions, including revenge, anger, deceit, and love, mark Hamlet’s journey. Hamlet’s intense thirst for revenge is the most prominent manifestation of these emotions (Tsentourou 164). Following his father’s murder, Hamlet remains consumed by anger, hatred, and the relentless pursuit of retribution.
At the play’s outset, Hamlet welcomes Rosencrantz and Guildenstern as old friends. However, during the voyage to England, he uncovers their collaboration with Claudius and their mission to deliver a directive from Claudius for Hamlet’s execution in England. In a bold move, Hamlet alters the directive’s contents, replacing it with his order to execute Rosencrantz and Guildenstern. This act underscores the depth of Hamlet’s commitment to revenge and his strategic use of deception to achieve his objectives. He has his “old friends” murdered because he believes they deserve to die for betraying him: “Their defeat or does by their insinuation grow.” (Shakespeare 63). It shows some roles had a different impact on the characters within the play.
These two primary female characters exhibit contrasting responses to Hamlet’s attacks. Gertrude displays greater strength and stubbornness, consistently avoiding admission of wrongdoing despite confrontations. In contrast, Ophelia never acts independently and needs more power to challenge or argue with Hamlet. When Hamlet questions her honesty and fairness, her only response is, “My Lord?” (Shakespeare 64).
On the other hand, Gertrude asserts her power more overtly, expressing her emotions and attempting to counter Hamlet’s aggression. After a series of harsh words in a heated argument, she tells him that if those words were mere breath, she would not have the life to breathe (Shakespeare 91). In essence, Shakespeare employs the characters of Ophelia and Gertrude to illustrate two contrasting facets of womanhood. Gertrude appears relatively strong but inconsistent, while Ophelia is portrayed as entirely reliant on male opinions, embodying absolute innocence.
Conclusion
In Shakespeare’s “Hamlet,” the characters Ophelia and Gertrude epitomize distinct facets of femininity, navigating a nuanced interplay of societal norms, familial influence, and personal tragedy. Ophelia, portrayed as a genuine young woman, grapples with the dominance and control exerted by the men in her life, ultimately succumbing to a tragic descent into madness. In contrast, Gertrude, Hamlet’s mother, emerges as a more intricate figure, propelled by her emotions and entwined in the court’s detailed political and familial dynamics.
Both Ophelia and Gertrude play pivotal roles in shaping Hamlet’s emotional state and actions, albeit in contrasting ways. Ophelia’s tragic destiny catalyzes Hamlet’s heightened emotional turmoil, while Gertrude’s decisions contribute to the intricate dynamics within the royal family. In the elaborate tapestry of “Hamlet,” Ophelia and Gertrude are contrasting embodiments of femininity, mirroring the societal norms and expectations of Shakespeare’s era. Their characters enrich the thematic landscape of the play, delving into the intricate nuances of love, madness, and the prescribed societal roles assigned to women.
Works Cited
Samuelsson, Mathilda. “Shakespeare’s representation of women: A Feminist Reading of Shakespeare’s Hamlet.” (2020). Web.
Shakespeare, William. “Hamlet.” One-Hour Shakespeare. Routledge, 2019, pp.19-89.
Tsentourou, Naya. “Hamlet’s ‘Spendthrift Sigh’: Emotional breathing on and off the stage.” Hamlet and Emotions (2019), pp.161-176. Web.