Act 4, Scene 5: Key Ideas

Key Ideas in Act 4, Scene 5 - Ophelia the Victim

There is no doubt that Ophelia has suffered a traumatic mental breakdown after the violent death of her father and at the hands of her former sweetheart, Hamlet.

Gentleman's report on Ophelia

Ophelia's madness is first signalled by the Gentleman’s report to Gertrude of her “distract” (mad) and confused behaviour, beating her chest (alongside other physical tics such as winking and nodding) and speaking “but half sense”.

Shock at Ophelia

On stage, the revelation of the change in Ophelia’s appearance and behaviour can be shocking.
Her brother, Laertes, can barely control his shock and dismay when he first sees her: “Burn out the sense and virtue of mine eye”.
Ophelia communicates through broken fragments of song which brood on the themes of loss, death, love and betrayal.

Signs of erotomania?

Elizabethan audiences may have recognised Ophelia’s appearance and behaviour as a specifically ‘female’ form of madness drawn upon in literature – erotomania, a form of madness typically attributed to women whereby a person believes someone else is in love with them.
- Audiences may think this is caused by her repressed sexual desires (her father and brother forbidding a romantic relationship with Hamlet) and her cruel rejection by Hamlet.

Feminist readings of Ophelia

Feminist readings have seen Ophelia as a victim of male controlling behaviour and emotional cruelty, constantly let down by the men she trusts.
Her father and brother both treat her as a child and insist on controlling how she responds to Hamlet’s advances. She is then exploited by her father, used as bait in a plot to trap Hamlet into revealing the cause of his unpredictable behaviour. Hamlet then subjects her to a barrage of emotional abuse, using highly sexualised insults to demean and degrade her.

Being denied an authentic voice

Some critics see Ophelia’s madness as a consequence of her being denied an authentic voice in the play: someone who is spoken at, rather than allowed to express her own emotions and desires.
As a result, she retreats into a state of madness where feelings of grief, guilt and abandonment are communicated in snatches of songs.

Rebellion against the patriarchy

Some feminist critics see Ophelia’s retreat into madness as a rebellion against the patriarchal control wielded by Polonius, Laertes and Hamlet; in this state, Ophelia finds an individual voice.

Key Ideas in Act 4, Scene 5 - Laertes as Revenge Hero

Just as with Fortinbras in the previous scene, audiences are invited to compare Hamlet with Laertes in this scene.

Parallels: Hamlet & Laertes

There are obvious parallels between Hamlet and Laertes:
- Their fathers have died in dubious circumstances;
- Both men are compelled to seek revenge.

Differences: Hamlet & Laertes

However, their behaviours are very different.
- Our first glimpse of Hamlet was of him as a sullen, brooding figure dressed in black and skulking at court.
- In contrast, Laertes’ entrance is preceded by panicked calls to “guard the door” before Laertes and his followers break it down and confront the King. Laertes’ speech is equally aggressive. He immediately insults Claudius (“O thou vile King”), demands answers and issues threats.

Recklessness of actions

Laertes is presented as impetuous and reckless. His cry, “I dare damnation”, provides another point of comparison with Hamlet.
- In his “To be, or not to be” soliloquy, Hamlet decides against reckless action for fear of what may lie await in the afterlife. Laertes, on the other hand, proclaims that he is willing to risk (“dare”) eternal damnation to achieve his revenge.

Laetes' fault as revenge hero

However, Laertes also has his faults as revenge hero.
- He is skillfully manipulated by Claudius.
- By the end of the scene, it is the King who has the final word, promising Laertes justice when he has learned the ‘truth’.

1Introduction

1.1Introduction & Background to Hamlet

1.1.1Introduction to Hamlet

1.1.2The Literary Tradition of the Hamlet Story

1.1.3Introduction to the Settings in Hamlet

1.1.4Introduction to Social Issues Raised

2Plot Summary

2.1Act 1: Key Events & Ideas

2.1.1Act 1, Scene 1

2.1.2Act 1, Scene 2

2.1.3Act 1, Scene 3

2.1.4Act 1, Scenes 4-5

2.2Act 2: Key Events & Ideas

2.2.1Act 2, Scene 1

2.2.2Act 2, Scene 2

2.3Act 3: Key Events & Ideas

2.3.1Act 3, Scene 1: Key Events

2.3.2Act 3, Scene 1: Key Ideas

2.3.3Act 3, Scene 2

2.3.4Act 3, Scene 3

2.3.5Act 3, Scene 4

2.4Act 4: Key Events & Ideas

2.4.1Act 4, Scene 1

2.4.2Act 4, Scenes 2-3

2.4.3Act 4, Scene 4

2.4.4Act 4, Scene 5: Key Events

2.4.5Act 4, Scene 5: Key Ideas

2.4.6Act 4, Scene 6

2.4.7Act 4, Scene 7

2.5Act 5: Key Events & Ideas

2.5.1Act 5, Scene 1: Key Events

2.5.2Act 5, Scene 2: Key Events

2.5.3Act 5, Scene 2: Key Ideas

3Character Profiles

3.1Hamlet

3.1.1Hamlet's Speech & Mind

3.1.2Hamlet's Heroic Status

3.1.3Hamlet's State of Mind

3.1.4Hamlet's Indecision/Action Taking

3.2Claudius

3.2.1Claudius' Crime

3.2.2Changing Impressions of Claudius

3.3Gertrude

3.3.1Mystery & Hamlet's View of Gertrude

3.3.2Gertrude's Character

3.3.3Gertrude's Relationship with Hamlet

3.4Ophelia

3.4.1Ophelia

3.5Polonius

3.5.1Portrayal of Polonius & Treatment of Ophelia

3.5.2Polonius' Spying & Death

3.6Laertes

3.6.1Laertes' Popularity & Relationship with Ophelia

3.6.2Laertes' Character Traits

4Key Themes

4.1Regicide in Hamlet

4.1.1Regicide in Hamlet

4.2Madness in Hamlet

4.2.1Madness in Hamlet

4.3Guilt & Punishment in Hamlet

4.3.1Guilt in Hamlet

4.3.2Punishment in Hamlet

4.4Settings in Hamlet

4.4.1Physical Settings & Historical Setting of Hamlet

5Writing Techniques

5.1Structure

5.1.1Structure of Hamlet

5.1.2'Play Within a Play' Structure

5.1.3Play-Acting Motif

5.2Form

5.2.1Soliloquy

5.2.2Comedy

5.3Imagery

5.3.1Imagery of Corruption & Decay

5.3.2Imagery: Healing, Performance & Costume

5.4Language

5.4.1Word Usage & Hendiadys

5.4.2Questions & Classical Allusions

6Context

6.1Social & Historical Context

6.1.1Elizabeth I & Succession

6.1.2Cosmic & Social Hierarchy

6.1.3Renaissance & Emergence of Humanism

6.1.4Regicide

6.1.5The Reformation

6.2Literary Context

6.2.1Seneca Tragedy

6.2.2The Revenge Tragedy

6.3Performance & Textual History

6.3.1Performance History of Hamlet

6.3.2Textual History of Hamlet

7Critical Debates

7.118-19th Century Responses to Hamlet

7.1.1Introduction to Critical Debates

7.1.218th Century Commentary on Hamlet

7.1.3Romantic Commentary on Hamlet

7.220th Century Responses to Hamlet

7.2.1Freudian Response to Hamlet

7.2.2Other Early 20th Century Responses to Hamlet

7.3Feminist Readings of Hamlet

7.3.1Introduction to Feminist Criticism

7.3.2Feminist Readings of Hamlet

7.3.3Presentation of Ophelia

7.4Marxist/Political Readings of Hamlet

7.4.1Introduction to Marxist Criticisms

7.4.2Marxist Readings of Hamlet

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