7.3.3

Presentation of Ophelia

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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”.
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1

Introduction

1.1

Introduction & Background to Hamlet

1.1.1Introduction to Hamlet1.1.2The Literary Tradition of the Hamlet Story1.1.3Introduction to the Settings in Hamlet1.1.4Introduction to Social Issues Raised
2

Plot Summary

2.1

Act 1: Key Events & Ideas

2.1.1Act 1, Scene 12.1.2Act 1, Scene 22.1.3Act 1, Scene 32.1.4Act 1, Scenes 4-5
2.2

Act 2: Key Events & Ideas

2.2.1Act 2, Scene 12.2.2Act 2, Scene 2
2.3

Act 3: Key Events & Ideas

2.3.1Act 3, Scene 1: Key Events2.3.2Act 3, Scene 1: Key Ideas2.3.3Act 3, Scene 22.3.4Act 3, Scene 32.3.5Act 3, Scene 4
2.4

Act 4: Key Events & Ideas

2.4.1Act 4, Scene 12.4.2Act 4, Scenes 2-32.4.3Act 4, Scene 42.4.4Act 4, Scene 5: Key Events2.4.5Act 4, Scene 5: Key Ideas2.4.6Act 4, Scene 62.4.7Act 4, Scene 7
2.5

Act 5: Key Events & Ideas

2.5.1Act 5, Scene 1: Key Events2.5.2Act 5, Scene 2: Key Events2.5.3Act 5, Scene 2: Key Ideas
3

Character Profiles

3.1

Hamlet

3.1.1Hamlet's Speech & Mind3.1.2Hamlet's Heroic Status3.1.3Hamlet's State of Mind3.1.4Hamlet's Indecision/Action Taking
3.2

Claudius

3.2.1Claudius' Crime3.2.2Changing Impressions of Claudius
3.3

Gertrude

3.3.1Mystery & Hamlet's View of Gertrude3.3.2Gertrude's Character3.3.3Gertrude's Relationship with Hamlet
3.4

Ophelia

3.4.1Ophelia
3.5

Polonius

3.5.1Portrayal of Polonius & Treatment of Ophelia3.5.2Polonius' Spying & Death
3.6

Laertes

3.6.1Laertes' Popularity & Relationship with Ophelia3.6.2Laertes' Character Traits
4

Key Themes

4.1

Regicide in Hamlet

4.1.1Regicide in Hamlet
4.2

Madness in Hamlet

4.2.1Madness in Hamlet
4.3

Guilt & Punishment in Hamlet

4.3.1Guilt in Hamlet4.3.2Punishment in Hamlet
4.4

Settings in Hamlet

4.4.1Physical Settings & Historical Setting of Hamlet
5

Writing Techniques

5.1

Structure

5.1.1Structure of Hamlet5.1.2'Play Within a Play' Structure5.1.3Play-Acting Motif
5.2

Form

5.2.1Soliloquy5.2.2Comedy
5.3

Imagery

5.3.1Imagery of Corruption & Decay5.3.2Imagery: Healing, Performance & Costume
5.4

Language

5.4.1Word Usage & Hendiadys5.4.2Questions & Classical Allusions
6

Context

6.1

Social & Historical Context

6.1.1Elizabeth I & Succession6.1.2Cosmic & Social Hierarchy6.1.3Renaissance & Emergence of Humanism6.1.4Regicide6.1.5The Reformation
6.2

Literary Context

6.2.1Seneca Tragedy6.2.2The Revenge Tragedy
6.3

Performance & Textual History

6.3.1Performance History of Hamlet6.3.2Textual History of Hamlet
7

Critical Debates

7.1

18-19th Century Responses to Hamlet

7.1.1Introduction to Critical Debates7.1.218th Century Commentary on Hamlet7.1.3Romantic Commentary on Hamlet
7.2

20th Century Responses to Hamlet

7.2.1Freudian Response to Hamlet7.2.2Other Early 20th Century Responses to Hamlet
7.3

Feminist Readings of Hamlet

7.3.1Introduction to Feminist Criticism7.3.2Feminist Readings of Hamlet7.3.3Presentation of Ophelia
7.4

Marxist/Political Readings of Hamlet

7.4.1Introduction to Marxist Criticisms7.4.2Marxist Readings of Hamlet

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    Which character does NOT use Ophelia, according to David Leverenz?Multiple choice
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Feminist Readings of Hamlet

Introduction to Marxist Criticisms