7.3.3
Presentation of Ophelia
Feminist Readings of the Presentation of Ophelia
Feminist Readings of the Presentation of Ophelia
Ophelia’s role in the play has been the focus of much scrutiny.
David Leverenz (1978)
David Leverenz (1978)
- In The Woman in Hamlet (1978), David Leverenz described Ophelia’s dramatic function as that “everyone has used her: Polonius, to gain favour; Laertes, to belittle Hamlet; Claudius, to spy on Hamlet; Hamlet, to express rage at Gertrude and Hamlet again, to express his feigned madness with her as decoy”.
- Ophelia’s descent into madness is made inevitable by the extent to which she is exploited.
Carol Rutter (2018)
Carol Rutter (2018)
- Carol Rutter, Professor of Shakespeare and Performance Studies at the University of Warwick, told BBC Radio 4’s In Our Time (2018) that “Ophelia… is bullied [and] betrayed by every person in this play”.
- Rutter also notes how Ophelia’s journey mirrors that of Hamlet: Ophelia “performs… the psychic journey of Prince Hamlet and the big themes of the play. Hamlet is thinking about madness; Ophelia plays it for real…. Hamlet toys with the idea of suicide; …Ophelia commits suicide”.
Carol Camden (1964)
Carol Camden (1964)
- Carol Camden (1964) also points out how “Hamlet’s pretended madness is contrasted with the reality of Ophelia’s madness”.
- Camden points out that despite the reality of Ophelia’s madness, she is a marginal figure, whereas Hamlet’s feigned madness dominates the play.
- Camden puts this down to gender roles - the assumption that masculinity is dominant and femininity is subordinate.
Katherine Goodland (2005)
Katherine Goodland (2005)
- Katherine Goodland (2005) explores how Hamlet imposes stereotypical gender roles on Ophelia in the nunnery scene, illustrating how he portrays her as “a saint at the beginning of the scene to a painted whore by the end”.
Charney and Charney (1977)
Charney and Charney (1977)
- Some feminist critics see Ophelia’s descent into madness as a form of empowerment, with Ophelia at last finding her own authentic voice.
- Maurice Charney and Hanna Charney (1977) argue that “her madness… enables her to assert her being; she is no longer enforced to keep silent and play the dutiful daughter”.
1Introduction
2Plot Summary
2.1Act 1: Key Events & Ideas
2.2Act 2: Key Events & Ideas
2.3Act 3: Key Events & Ideas
2.4Act 4: Key Events & Ideas
2.5Act 5: Key Events & Ideas
3Character Profiles
3.1Hamlet
3.3Gertrude
3.4Ophelia
4Key Themes
4.1Regicide in Hamlet
4.2Madness in Hamlet
4.3Guilt & Punishment in Hamlet
4.4Settings in Hamlet
5Writing Techniques
6Context
6.1Social & Historical Context
6.2Literary Context
6.3Performance & Textual History
7Critical Debates
7.118-19th Century Responses to Hamlet
7.220th Century Responses to Hamlet
7.3Feminist Readings of Hamlet
7.4Marxist/Political Readings of Hamlet
Jump to other topics
1Introduction
2Plot Summary
2.1Act 1: Key Events & Ideas
2.2Act 2: Key Events & Ideas
2.3Act 3: Key Events & Ideas
2.4Act 4: Key Events & Ideas
2.5Act 5: Key Events & Ideas
3Character Profiles
3.1Hamlet
3.3Gertrude
3.4Ophelia
4Key Themes
4.1Regicide in Hamlet
4.2Madness in Hamlet
4.3Guilt & Punishment in Hamlet
4.4Settings in Hamlet
5Writing Techniques
6Context
6.1Social & Historical Context
6.2Literary Context
6.3Performance & Textual History
7Critical Debates
7.118-19th Century Responses to Hamlet
7.220th Century Responses to Hamlet
7.3Feminist Readings of Hamlet
7.4Marxist/Political Readings of Hamlet
Unlock your full potential with GoStudent tutoring
Affordable 1:1 tutoring from the comfort of your home
Tutors are matched to your specific learning needs
30+ school subjects covered