Category: Hamlet

Have you ever seen an idea as an appearance but it turns into a reality? The play Hamlet and the movie The Hunger Games are very similar to each other based on Characters and plot in the book/movie. In Hamlet, the appearance of the characters is so vain. Everyone is so full deception that the appearance is made to look different than the reality. In The Hunger Games, the plot is very different from Hamlet however the theme of appearance Vs. Reality is seen in both within the movie. Hamlet is a play of Tragedy, At the beginning of the play Hamlet’s uncle, Claudius killed Hamlet’s father with poison. He does this because he wants to be king, and he wants Gertrude. Soon after Hamlet finds out his Uncle Claudius was the one who killed his father so Hamlet then decides to seek vengeance for his father’s death and wants to kill his uncle to get revenge. However, Hamlet waits to do this. In the meantime, Throughout the play, there are many twists and turns, and tragedies…

In the movie, The Hunger Games is about the games being held every year in which 2 tributes, a boy and a girl between 12-18 from each district of Panem are chosen to send to an arena to fight to the death because of the punishment of the previous rebellion. In this movie, there are plot twists as well as tragedies. The theme of Appearance VS. Reality is seen in both Hamlet and The Hunger Games within the three main characters. The three main characters from Hamlet are Hamlet, Claudius, and Ophelia. Three main characters from The Hunger Games are Katniss, President Snow, and Peeta.

After learning about the death of his beloved father, Hamlet is set with a deep sadness that makes him appear insane. He uses this to his advantage and sets up a plan to make all the other characters in the play believe that he in actuality is mad. Hamlet plays it off as if he has become this way with the rejection of his lover Ophelia. This is an easy option for Hamlet and he begins to act cruel, ignorant, and unloving to his lover. The role Hamlet plays in his act is almost flawless, By pulling off the appearance of madness due to rejected love. Hamlet’s insane act helps him with his ultimate goal of helping his dead father.

In reality, Hamlet is only acting this way because he was overtaken by the grief of his dead father and remarried mother. He is a very smart man who fools all the other characters that he is insane when in actuality he is not. Ophelia is deeply affected by the way Hamlet had been treating her but when he tells her he loves her not and acts cruel and ignorant towards her. The cruelty is an act. Hamlet expresses these feelings of love for Ophelia after she had committed suicide. When looking at her beautiful face he said, “I loved Ophelia. Forty thousand brothers Could not with all their quantity of love make up my sum. (Act 5, Scene 1). This also reflects the appearance of Katniss in The Hunger Games.

In the Hunger Games Katniss’ appearance is her appearance presenting on having more masculine traits (Hunting, fishing, Not romantic, and refuses her love for Peeta). Katniss can hide her “reality” from the capitol because, How you present yourself to others is how they will view you. You can make yourself seem stronger than you are, weaker than you are, smarter than you are, etc to benefit you. In reality, Katniss is still presenting her masculine traits but conceals her reality so President Snow won’t kill her.

This is similar to the reality of Hamlet because they both hide their love for their soulmates Peeta and Ophelia. This showed great aspects of the theme of Appearance Vs. Reality because the appearance they both were forced to have made the feelings they had for their significant other hides. Katniss had to pretend she loved Gale in the movie but she loved Peeta. However, Hamlet had to confide in his feelings of Anger and grief due to the death of his father. This theme also reflects the two main antagonists from each type of literature.

King Claudius’s appearance is very different from his actual self. To his subjects, he seems to be a very proud rightful king. However, He is just pretending to be innocent and he gives them the impression of such at the beginning of the play. He convinces the whole kingdom of his sorrows for King Hamlet’s death, yet he does it only to fulfill his ambitions. Claudius is a smart man that pulls off one of the greatest fake appearances of the play. In reality, Claudius is an evil man. He has killed his brother with poison, he has married his brother’s widowed wife, and he is trying to kill his nephew Hamlet. All Claudius wanted was the power, crown, and Gertrude. However, he fears Hamlet’s awareness of his deeds and investigates in Hamlet’s madness as a precaution for himself. Claudius says, “Whose whisper o’er the world’s diameter, as levels as the cannon to his blank transports his poisoned shot, may miss our name And hit the woundless air. Oh, come away! My soul is full of discord and dismay,”( Act 4 scene.) This quote shows the audience that Claudius is worried about solely Hamlet’s mental position, but in reality, he is fearful of him discovering the bitter truth.

However, in The Hunger Games President Snow was very nice to Katniss and told her what she had to do to win but in reality, he just wanted a show to be put on. He doesn’t care about anyone as long as he has the power and he will find anyway to kill Katniss and Peeta. When Haymitch Abernathy was talking to another representative of the game he said “Katniss, I don’t think President Snow will kill Peeta. If he does, he won’t have any way to hurt you.’ ‘So, what do you think they’ll do to him?’ I ask. ‘Whatever it takes to break you.” This quote is implying that President Snow will go to any extreme to hurt Katniss because he wants to be seen as the “powerful” leader that he isn’t.

President Snow and Claudius are alike in so many ways because they will kill anyone that comes in their way of power and money. Just like in Hamlet, Claudius killed his brother willingly because he wanted the life King Hamlet had. In The Hunger Games, President Snow made the quarter quell more difficult and hard because he wanted anyway to torture and kill katniss because in the first games she was known as “The Girl on Fire”. This showed that many kids wanted to follow her example and President Snow was not having it. This theme of appearance versus reality can also be seen through Peeta and Ophelia.

In Hamlet Ophelia’s reality is seen as honest and truthful towards her lover Hamlet. She is a fair lady that is very trustworthy to the kingdom and her father Polonius. However with Hamlet, she appears to appear uncaring to his love letters and poems by giving them back Hamlet, but they are refused and she keeps them. Ophelia is made to look sweet and innocent. In reality, Ophelia is very manipulated by her father and does what he tells her to do. She isn’t her person throughout the lay and is easily influenced by others. Even though she is supposed to make it look as she does not have feelings towards Hamlet, she is devoted to him and loves him deeply. One night her father was talking to her and said, Polonius tells Ophelia to walk in the courtyard as if reading a book. He muses that people often use appearances to ‘sugar o’er the devil’ (Act 3). This shows the way people manipulate Ophelia to get the result they want to get.

Peeta’s appearance is presented to having more feminine characteristics such as undertaking less physically demanding jobs such as gathering food, Artistic skills – decorating cakes and camouflage, More verbally expressive, and is Open to showing emotions. In reality, he is manipulated in a way to keep is physical appearance hidden and only show his less physical characteristics. In a way, Ophelia and Peeta are manipulated by loved one’s to only showcase what the audience wants to see and keep “The real them” in a sense.

Throughout both examples of literature the theme of Appearance Vs. Reality is seen within both showcasing similarities and differences. In one case Ophelia and Peeta were manipulated and portraying someone they aren’t by different people in different situations. Also, Claudius and President Snow showed evilness because they will kill anyone at any cost so they can have all the power. However, Claudius killed his brother and President Snow killed innocent people. The theme of Appearance vs. Reality is showcased to deceive the audience is perceiving something that isn’t true.

When the subject of Hamlet is broached in conversation (assumedly by tweed-wearing types), often does the topic sway towards humor, as humor is used very often yet always very strategically in this play about the Dane and the fall of his house. The comedy found in Hamlet varies from the chuckles garnered by the long-winded Polonius droning on and on reminiscent to a grinding stone as it makes its solitary orbit of the mill. Heard by all yet listened to by none, juxtaposed with the over logical grave digger with his wordplay and banter allowing the audience a much-needed reprieve before the emotional actions and words of Ophelia’s funeral.

You may ask why the Bard added comedy at all? Why in this play that ends with the entirety of two families dead and the future of a nation handed to someone who had up until recently been seen as a potential threat. Why not crush the audience like waves on a beach with sorrow, tragedy, and death? Why not twist the knife as it were after the deaths of Polonius and Ophelia skipping the graveyard and leading straight into the duel? The short answer is he knew better, but the longer more complex answer has to do with how the human mind works, and how vital hope is to everyone. And how Shakespeare uses that desire for hope so he can drive the audience to feel more profoundly than they would under the crushing sadness of tragedy alone. In the article ‘Shakespeare’s Use of Comedy in Tragedy’ published in The Sewanee Review in 1906 by Arthur Huntington Nason. Nason describes three separate ways that Shakespeare uses comedy in his plays.

1. Comic passages that are in effect comic;
2. Comic passages that, through contrast with their tragic settings are, in effect, tragic or pathetic; and
3. Comic passages that, by relieving the tension, contribute to the tragic effect of the passages that follow. (Nason 30)

It is in this third class of comedic scenes that Hamlet shines. Shakespeare’s love and experience of writing comedy had given him insight into the most efficient ways to provide the audience with a momentary relief from sadness just long enough to imply hope and then hit them again and make it feel fresh even at the end of the play. This insight is one of the best lessons that can be of use in the media of today, which has a tendency of layering the same emotion over and over with little variation numbing the audience and loosing the desired effect.

When discussing Shakespeare’s use of humor in Hamlet, Polonius is the first character to show us that humor, not just wit, will tickle your sides during the performance. His longwinded meandering advice to his son earlier in the play is a catch all of stern fatherly wisdom with a bit of dad joke thrown in, but this overprotective and extremely longwinded fathers’ interaction with his children is an exaggerated yet relatable experience that grounds the audience in a play that has supernatural elements. Yet shortly after the interaction with Laertes Polonius sets Reynaldo onto his son verifying in ways that may harm his Laertes’ reputation in France.

LORD POLONIUS

You shall do marvellous wisely, good Reynaldo,

Before you visit him, to make inquire

Of his behavior.

REYNALDO

My lord, I did intend it.

LORD POLONIUS

Marry, well said; very well said. Look you, sir,

Inquire me first what Danskers are in Paris;

And how, and who, what means, and where they keep,

What company, at what expense; and finding

By this encompassment and drift of question

That they do know my son, come you more nearer

Than your particular demands will touch it:

Take you, as ’twere, some distant knowledge of him;

As thus, ‘I know his father and his friends,

And in part him: ‘ do you mark this, Reynaldo?

REYNALDO

Ay, very well, my lord.

LORD POLONIUS

‘And in part him; but’ you may say ‘not well:

But, if’t be he I mean, he’s very wild;

Addicted so and so:’ and there put on him

What forgeries you please; marry, none so rank

As may dishonour him; take heed of that;

But, sir, such wanton, wild and usual slips

As are companions noted and most known

To youth and liberty. (Hamlet 2.1 1)

This simple act of asking a servant to deliver money and notes to his son makes a sharp yet longwinded turn towards not only spying on the son of his master but making inquiries into Laertes’ lifestyle in such a way that there is a possibly of damaging Laertes’ reputation in order to protect the status of the one Polonius loves the most Polonius. These contrasting conversations show Polonius for what he is conniving and duplicitous. Which sets the stage for the confrontation between Hamlet and Polonius. An encounter that if we did not already see the older man in a less than flattering light, we might take pity on him when Hamlet unleashes his bile while feigning madness does the Bards’ use of humor truly begin to take shape.

LORD POLONIUS

Do you know me, my lord?

HAMLET

Excellent well; you are a fishmonger.

LORD POLONIUS

Not I, my lord.

HAMLET

Then I would you were so honest a man.

LORD POLONIUS

Honest, my lord!

HAMLET

Ay, sir; to be honest, as this world goes, is to be

one man picked out of ten thousand.

LORD POLONIUS

That’s very true, my lord.

HAMLET

For if the sun breed maggots in a dead dog, being a

god kissing carrion,–Have you a daughter?

LORD POLONIUS

I have, my lord.

HAMLET

Let her not walk i’ the sun: conception is a

blessing: but not as your daughter may conceive.

Friend, look to ‘t. (Hamlet 2.2 189)

This scene which takes place during the beginning of the genuine intrigue part of the play. As Hamlet is using his madness as a disguise and is about to set his ‘mousetrap’ using the players. This brief but memorable mocking of Polonius both gives the audience a chuckle and offers a disguise as to the actual depth of tragedy that is about to unfold. This camouflage relaxes the audience as stated in ‘Shakespeare’s Use of Comedy’ in Tragedy is firmly a Class 3 scene as it combined with the humor of the opening scenes with the players will make you forget that you are watching one of the tragedies.

Yet why does Hamlet single out Polonius for his ire? Hamlet makes it clear throughout all his interactions with the apparently esteemed man that he has no love for him. According to ‘The Comedy of ‘Hamlet’ by Manfred Draudt printed in 2002 in Atlantis

The discrepancy between Polonius’s benign appearance and his real nature as a hypocrite, opportunist, and flatterer – indirectly suggested by his trite and hollow sententiousness – is relentlessly exposed by Hamlet. In his first private encounter, he immediately questions Polonius’s honesty; ‘I would you were so honest a man [ as a fishmonger].’ (2.2.174-77). There is good reason to assume that Polonius has already served Hamlet Senior as lord chamberlain, yet he eagerly supports the new King –or whoever is in power. In his remarks to Laertes, Claudius leaves no doubt that he is heavily indebted to his trusted counsellor, whos age and experience may well have contributed to authorizing his clam to the throne:’ (Draudt 74)

Polonius’ abetting the rise of King Claudius, whether out of knowledge of the crime committed against King Hamlet or as a sycophant attempting to retain the power he had worked hard to obtain, does not seem to matter to Hamlet. Nor does the fact that the woman he (may) love(s) is the daughter of this man. Polonius is one of the pillars that support Claudius as King. For that reason, Hamlet unleashes the power of his sardonic wit against the aging councilor to the enjoyment of the audience and the benefit of the tragedies to come. Polonius for his part still sees this interaction as further proof of Hamlet’s madness.

The scene that most embodies the true craft of Shakespeare’s comedic ability within a tragic story is the scene between Hamlet and the gravedigger. Before his knowledge that Ophelia has died, Hamlet and Horatio have a run-in with the man digging her grave. The Gravedigger is a man surrounded by death on a daily basis. His gallows humor would be very common to the original audience of Shakespeare’s time even though today’s audiences may have slightly more ick factor and an underlying anxiousness regarding the digging up of the decayed and removing their bones to make room for a new tenant. But in the past and still in some cultures today the very same process is followed. This scene comes after the plotting between King Claudius and Laertes in the poisoning of Hamlet, and the revelation that Ophelia has killed herself. Prior to Hamlet’s introduction in the scene the two gravediggers or Clowns as some versions of the play name them have a humorous yet fully logical discussion on the standing of one’s soul in the afterlife if one appears to have committed the sin of suicide. And while this conversation is held between two of the lowest educated characters in the play due to their station. The conversation itself is quite intellectually robust even if the vernacular is more akin to that of a commoner (It must also be stated that the part of the Grave Digger was played beautifully by Billy Crystal in the 1996 adaptation of Hamlet. Shakespeare would have been proud.)

HAMLET

… Whose grave’s this, sirrah?

First Clown

Mine, sir.

HAMLET

I think it be thine, indeed; for thou liest in’t.

First Clown

You lie out on’t, sir, and therefore it is not

yours: for my part, I do not lie in’t, and yet it is mine.

HAMLET

‘Thou dost lie in’t, to be in’t and say it is thine:

’tis for the dead, not for the quick; therefore thou liest.

First Clown

‘Tis a quick lie, sir; ’twill away gain, from me to

you.

HAMLET

What man dost thou dig it for?

First Clown

For no man, sir.

HAMLET

What woman, then?

First Clown

For none, neither.

HAMLET

Who is to be buried in’t?

First Clown

One that was a woman, sir; but, rest her soul, she’s dead.

Even though the subject is morbid, the banter is first class. This scene could almost be taken as a predecessor to ‘Who’s on First?” by Abbott and Costello. The purposeful misunderstandings are building on each other to a crescendo of laughter. As again stated in “Shakespeare’s Use of Comedy in Tragedy” “ without (the comedy) which the audience, already over-wrought by the tragedy of Ophelia’s burial, would be less sensitive to the full tragic import of the catastrophe that follows – strengthens the tragic effect indirectly by controlling relief (Class 3)” (Nason 30) This effect of controlling relief to enhance the tragedy of the work is a hallmark of Hamlet.

Like madness and genius, comedy and tragedy are separated by a hair’s breadth. Sometimes it is just the extremity of an injury obtained that separates the two as in slapstick. Or the difference of a few well-placed timing beats can make a joke a threat, or vice versa. In the 1955 journal article entitled “Notes on Comedy and Tragedy” from the Philosophy and Phenomenological Research Jerome Stolnitz said

Although comedy and tragedy are frequently considered antithetical in substance and treatment, one can hardly reflect for very long about these forms without being brought to an awareness of the bewildering similarities between them. Their significance is not sufficiently realized, however, until one considers certain conceptual formulations of the differentia of comedy and tragedy. For these attempts reveal, by inadvertence, how readily a characterization of the one can serve as an adequate characterization of the other. (Sloinitz 45)

This link in the human psyche between elation and misery is what allows those writers that achieve greatness like Shakespeare to marionette their audiences and readers through experiences that contain the extremes of the human condition and accurately curate scenes that elicit the proper emotion at the appropriate time like notes played on a pipe organ. This idea is echoed in the article from 1964 entitled “Shakespeare’s Comedies and the Critics” published in Shakespeare Quarterly penned by Milton Crane

Through all these denominations of the drama, Shakespeare’s mode of composition is the same; an interchange of seriousness and merriment, by which the mind is softened at one time, and exhilarated at another. But whatever be his purpose, whatever to gladden or depress, or to conduct the story, without vehemence or emotion, through tracts of easy and familiar dialogue, he never fails to attain his purpose; as he commands us we laugh or mourn or sit silent with the quiet expectations, in tranquility without indifference. (Crane 68)

Shakespeare was a man of many linguistic talents. His impact on both literature and the world beyond is incalculable. And while that contribution may never be fully cataloged and accounted for, it is safe to say that a tradition of using all forms of humor from satire to slapstick as an oasis of reprieve in a desert of calamity that has continued to this day. In the 1960 Article entitled “Comedy” by Christopher Fry in The Tulane Drama Review

Comedy is an escape, not from truth but from despair: a narrow escape into faith. It believes in a universal cause for delight, even though knowledge of the cause is twitched away from under us, which leaves us to rest on our own buoyancy. In tragedy, every moment is eternity; in comedy, eternity is a moment. In tragedy, we suffer pain; in comedy, pain is a fool, suffered gladly. (Fry 1)

Fry’s point of “In tragedy, we suffer pain; in comedy, pain is a fool, suffered gladly” may be the key to Shakespeare’s use of comedy within his tragedies. When there is something, we want we tend to hold it close to us as the audience does in these comedic oases. Yet, we are still holding close when the other shoe drops, and comedy switches to tragedy, and the cool refreshing chuckle on our lips morphs into a striking serpent of sadness. This metamorphosis of emotion is all the more impactful as it is we who are holding it so close, as well as the shift from one extreme to another with little intervening shift, causes almost a startling to the emotional centers of the brain. This more complete than others’ understanding of what made his audience tick is what has separated Shakespeare from the lesser writers for over four hundred years. It allows Shakespeare to hold a place that will not be usurped any time soon.

The play Hamlet by Shakespeare portrays many themes and a psychoanalytical depiction of the underlying issues within the protagonist Shakespeare showcases issues such as evoked emotions of losing a family member and revenge which led to the eventual “madness” of Hamlet. The in depth analysis of the shakespearean tragedy examines revenge, patriarchal hierarchy of society, corruption, foils between the characters, and the deeper psychoanalytical meaning of Hamlet’s internal feelings.

Hamlet, the Prince of Denmark, is disgusted by the remarriage of his mother, Queen Gertrude, and his Uncle Claudius shortly after the passing of Hamlet’s father. The ghost of King Hamlet encounters Hamlet and brings forth the truth about the death of himself, murdered by his brother. Hamlet’s goes through the journey of seeking out the truth and avenge his father’s death. It is apparent Hamlet’s indecisiveness of whether it’s better to act or let nature take its course in seeking revenge on Claudius but feels as though it is his duty to seek righteousness. Hamlet is constantly in doubt of his own actions and has an ongoing internal battle against his own feelings. His internal struggles and apparent madness brings forth worrieness from Claudius and Gertrude. They seek help from Hamlet’s friends Rosencrantz and Guildenstern to watch over Hamlet’s well being. Hamlet also pronounces his love for Ophelia which can be seen as on and off throughout the play resulting in the question of whether he loves her or not. Hamlet’s facade of madness allows him to inquire the truth about Claudius and King Hamlet’s death. The journey in seeking the truth causes death of many main characters in the novel including Claudius, Gertrude, Hamlet, Ophelia, Polonius, Laertes, and Hamlet himself.

Revenge is an emotional easily rationalized and has a strong driven force in the plot of Hamlet. Hamlet’s contemplation of whether to take action of revenge or not appears throughout the text. He struggles with the internal battle and spends most of the play dwelling on what to do rather than exacting revenge. The theme of revenge through Hamlet is relevant through Hamlet’s aim to avenge his father’s killer and Laertes’ aim to avenge Hamlet. “It has a ghost who demands revenge for a murder and a hero who promises to achieve it, pretend to be mad, indulges in philosophic soliloquies, and does not succeed in this purpose till the end of five acts. (Bell 31)” Hamlet’s thirst for revenge is blinded by his anger and resentment towards Claudius and rather lacks reason. As a philosophical mind, Hamlet must seek out the truth behind the murder before taking action. Due to Hamlet’s conscious mind, the revenge doesn’t take place and its delayed until at the end of the five acts. Bell states, “It is Laertes’ drive to avenge the death of his father Polonius, which takes the action to its finish. (Bell 32)” Laertes returns to Denmark to take responsibility for the death of Polonius however, he encounters the situation in an irresponsible way. Unable to act in a rational way, Laertes gets manipulated by Claudius into dueling with Hamlet. Claudius takes advantage of Laertes’ determination for avenging his father’s death and his violence towards Hamlet in hopes to have Laertes kill Hamlet.

The line between madness and sanity is drawn at a blur in Hamlet. Hamlet and Ophelia’s display of symptoms of madness differs drastically. Hamlet’s madness is seen as an act yet Ophelia’s eventual madness is genuine. Hamlet’s madness was falsified to lure out the truth about his father’s murder. On the other hand, Ophelia’s madness springs from the combination of her father’s death, her mother’s neglect, and the lack of love from Hamlet.

Ophelia’s character embodies both grief and madness in the play. She is portrayed as weak and unable to have a sense of individuality. Her characteristics is stated to be, “the girl experienced much grief, which her fragile mind could not bear, and so she goes mad. (Hamada 60)” She experiences her vast amount of pain from the loss of male influences in her life which causes her inner pain to eventually drive her to madness. Hamada states, “Ophelia drowned in the brook because of madness. Unable to bear the loss of her true love, Hamlet, who has deserted her, amd reeling from the death of her father, she becomes mad. (Hamada 60)” The death of Polonius causes her to lose a major part of herself and is shattered from the grief which she never recovers from. Laertes and Polonius warns and indicates to Ophelia that her feelings for Hamlet are easily persuaded and she should not trust his affections towards her. She finds hope and regards Hamlet’s madness as symbol of madness is for love. Disregarding their advice, Ophelia’s further official drive to madness was fueled by her sexual and love frustration with Hamlet. Hamlet’s indecisiveness of his feelings for Ophelia takes a toll on her insanity. She is left heartbroken after Hamlet neglects his love for her in hopes to seek revenge for his father instead.

The greed and thirst for power is inevitable for the downfall of Denmark. “Something is rotten in the state of Denmark,” marks the portrayal of the shattering of Denmark’s social order under the power of King Claudius. Claudius’s thirst for power leads his eventual murder of his own brother. The unnatural coronation proves to be the reason of a poisoned Denmark. Not only does Claudius takes the throne the unrightful way, he seeks help in others to ensure his throne in Denmark. “Claudius sends a series a substitutes to uphold his part of the duel. We have Hamlet against Polonius, Hamlet against Rosencrantz and Guildenstern, Hamlet against Ophelia, and Hamlet against Gertrude. (Foreman 73)”

It is a valid argument that evil is something that we all possess in one way or another. It is also true that evil draws its power from indecision, this can be examined through Hamlet’s behaviour in the play. Hamlet the protagonist has revealed the tendency to overthink and procrastinate upon situations. Life-changing decisions can be made if one is inept to act before thinking. In William Shakespeare’s play, Hamlet’s tragic flaw is undoubtedly exhibited through procrastination, in addition to his inability to act upon important situations, which ultimately leads to his death.

It is straightforward to identify that the death of Hamlet’s father and his mother’s remarriage has taken a detriment on Hamlet. Hamlet has extensively demonstrated noticeable signs of indecisive behaviour to take his own life. Hamlet then questions himself on the topic of Suicide, which is perceived through his thoughts saying: “To be or not to be-that is the question: Whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles and by opposing end them. To die, to sleep-no more…” (Shakespeare, 2012, 3.1. 64-69).

Essentially, Hamlet expresses his fancy to perish. We can observe how he philosophizes and what he thinks about life. He wants to desperately free himself of this affliction that he is experiencing. Nonetheless, Hamlet cannot wrap his mind around the thought of ending himself. He states “To sleep, perchance to dream- ay, there’s the rub, For him in that sleep of death what dreams may come” (Shakespeare, 2012, 3.1. 66-67). Hamlet has these notorious thoughts, he compares death to going to sleep. Hamlet displays that his life is a bunch of burdens that lay upon him, in addition to the calamities that have thus far. The more thoughts he presents about death, the more he becomes indecisive committing suicide. By the final stages of his so profound soliloquy, Hamlet has not determined a decision, therefore, is in a state of indecision.

At the beginning of the play, Hamlet was given a task to avenge his father’s death by the ghost, former king of Denmark. Immediately Hamlet wants to take action upon Claudius, but when Hamlet gets the perfect chance to do so he procrastinates to kill Claudius. Hamlet perpetually assembles an excuse to inact upon important situations which leads him to indecision. “ O Oh, my offence is rank. It smells to heaven. It hath the primal eldest curse upon ‘t, A brothers murder” (Shakespeare, 2012, 3.3.40-43). Hamlet finds himself with the king, alone, praying and reflecting. This is his shot to kill Claudius but Hamlet has a reason why he shouldn’t kill him just yet. “ Now might I do it. Now he is a-praying… And so he goes to heaven. And so am I revenged… A villain kills my father, and, for that, I, his sole son, do this same villain send To heaven.” (Shakespeare, 2012,3.3. 77-83). Hamlet then proceeds to employ his religion as a justification to procrastinate. Although he procrastinates he has a valid argument to this, anyone killed in prayer will automatically ascend to heaven. Hamlet would rather wait for a better moment to kill him, possibly whilst he is committing an act that has no goodness about it.

It is evident that Hamlet’s indecision and inability to act upon important scenarios are affecting him in whether or not he will avenge the death of his beloved father, just prolonging the process of killing Claudius.

Hamlet is a man who’s logic is valuable and is very proactive, he is always making decisions. Now after waiting for an extensive period of time Hamlet has still not decided to kill Claudius. At first, Hamlet was certain that the ghost’s word is true and states: “Remember thee Yea, from the table of my memory… And thy commandment all alone shall live Within the book and volume of my brain” (Shakespeare, 2012, 1.5. 104-110). Hamlet displays that he trusts the ghost and that he believes him. However soon to acknowledge eventually Hamlet questions the ghost is he’s telling the truth or not. “The spirit that I have seen May be the devil, and the devil hath power T’ assume a pleasing shape… Wherein I’ll catch the conscience of the king”

(Shakespeare, 2012, 2.2. 627-633). Hamlets want to observe if it really was Claudius who murdered his father. Yet, again like a broken record, this is Hamlet’s famous display of fine art called procrastination at its finest. Hamlet’s decision to catch Claudius was to put on a play coincidentally named “The Mouse-Trap”. After the performance of the play the King becomes angered and yelled: “Give me some light. Away!” (Shakespeare,2012, 3.2. 295). Thus satisfying Hamlet that the ghost was indeed truthful and that Claudius is the Murderer. Evidently, at the end of the play Hamlet’s procrastination and indecisive behaviour catch up to him as he is killed by Laertes. Only because of this Hamlet kills Claudius after Laertes spills the news to Hamlet. It took Hamlet months to kill him because of his overthinking. In truth, many situations could have been prevented if he could act without thinking.

In the tragedy of Hamlet, Shakespeare demonstrates Hamlet’s tragic flaw to be observed through his constant procrastination, as well as the inability to act upon important situations, which ultimately lead to his death. Ophelia is a woman that is special to Hamlet. In the play, Hamlet confesses that he loved Ophelia. “I Loved Ophelia. Forty thousand brothers Could not with all their quantity of love Make up my sum. What wilt thou do for her” (Shakespeare, 2012, 5.1. 285-287). Hamlet certainly through these words says that he loved her. Hamlet even wrote a letter that showed he loved Ophelia. “Doubt thou the stars are fire, Doubt that the sun doth move, Doubt truth to be a liar, But never doubt I love” (Shakespeare, 2012, 2.2. 124-127). Hamlet has just thrown down some immense words here. Yet again, Hamlet’s indecision is shown up again with Ophelia, and now he doesn’t love her and never has. Hamlet tells Ophelia “Get thee to a nunnery” (Shakespear,2012, 3.1. 131). Hamlet here is basically telling Ophelia to get to the whorehouse or in other terms brothel. In addition, he also says to Ophelia “ You should not have believed me… I loved you not” (Shakespeare, 2012, 3.1. 127-129). This indicating that Hamlet is indecisive does he love the poor girl or not? Hamlet’s indecision and inability to act without thought have been quite the epidemic to himself. Unanimously this has affected him in various ways. If Hamlet could act without philosophizing would the play have taken a drastic turn of events?

Throughout the play “Hamlet”, written by William Shakespeare, there are various important themes that are developed among the characters within their respective traits and personalities. However, in the midst of all the chaos and tragedy in the story line, there is one major theme that tends to always stand out in Hamlet’s life; death. Over the course of the play, Hamlet becomes death-obsessed. Eventful moments such as his discussion with his fathers’ ghost, his “to be, or not to be” soliloquy, and his experience at the graveyard all highlight this theme in depth. His indecisive nature becomes extremely conspicuous in his view of death as the play moves along. Hamlet’s highly ambiguous mental state contributes to two ideals that are overcontemplated: revenge and suicide. Life seems unimportant to Hamlet and he wonders whether or not he should end it all. However, he is unaware of the undiscovered mystery of death. This concept terrifies him, leaving him in a tight situation because he is unsure of both of his options.

Initially, Hamlet has a very pessimistic outlook on life. He is quite emotional about his father’s death and is very opposed to the new marriage between his uncle, Claudius, and his mother, Gertrude. This is the first issue that leads Hamlet to contemplate suicide. He believes that it will instantaneously resolve all of the problems in his life. However, he realizes that if he commits suicide he will be sent to hell, due to it being a mortal sin. Hamlet becomes more and more discouraged after coming to this realization because of all of the unfortunate events that are occurring in his life. Once Hamlet encounters his father’s ghost, he immediately is less bleak about his idealization on life and death. When the ghost informs Hamlet that his own brother, Claudius, murdered him in cold blood, he swears an oath to his father’s ghost to avenge his death. This new task, gives Hamlet a reason to keep living. Nonetheless, he believes that he was born to set this right and once the deed has been completed he can rest in peace. His new sworn oath gives him a self-destructive purpose. Although Hamlet finds his motivation within this new assignment, Shakespeare continuously displays signs that Hamlet’s viewpoint on life is profoundly negative. He is trapped within his own mindset and thoughts about suicide and is also burdened about how he can succesfully manage to succeed in avenging his father by killing Claudius. He continues to view the world as an unpleasant place and thinks as others to be a piece of work. This demonstrates that Hamlet remains still about his pessimistic standpoint, regardless of his newfound reason of existence

Secondly, Hamlet’s soliloquy “To be, or not to be” views the experience of death as a peaceful salvation from the constant misery of life. This moment is where he begins to sincerely consider suicide in order to depart from the painful world that we live in. It is very obvious that Hamlet’s impression of death as a smooth and tranquil sleep-like feeling, makes him open about suicidal thoughts. Hamlet’s famous monologue was fueled by Ophelia’s self-drowning. Her decision to commit suicide only added to Hamlet’s suffering and makes him further question his life and why he continues to live it. Eventually, Hamlet comes to the conclusion that for those who conetmplate suicide, it is much easier to complete when they aren’t afraid of the outcome of death. However, in Hamlet’s case, he unfortunately cannot muster up the courage to end his unbearable life. Death is something that is desirable in the eyes of Hamlet. It’s perfect closure. It’s nothing more than a sleep.

Nonetheless, there is an opposing ideal. Hamlet says that we aren’t in control of our own dreams, so what is the possibility that the dreams that arise in the occurrence of death, involve all of the dreadful details of life’s course? With this speculation in mind, Hamlet pauses to reconsider his options. The dilemma with his proposition of death is that the afterlife is entirely unidentified and could end up having more consequences than life itself. It’s very frightening, but it’s true. That’s the obstacle that Hamlet is trying to overcome but it’s leading his thoughts toward a whole other way.

Allan G. Johnson, a sociologist, defines Misogyny as ‘misogyny is a cultural attitude of hatred for females because they are female’. (Johnson, 2000). In the play, Hamlet, there are just two individuals from the cast who are female characters. One is Gertrude who is anticipated as a forbidden, cutthroat and a prostitute. The other, Ophelia, is cast to be an innocent and oblivious young lady. Together, these ladies portray the female sex in William Shakespeare’s play. Both the characters are shown as weak and victimized characters lacking power and control.

The first female character presented in the play is Gertrude, the Queen of Denmark. Despite the fact that she belongs to the royal family and is of high order, she constantly carries a shadow of irresponsible and careless behavior. The way Shakespeare portrays him is a woman of weak character. Although she is a noble lady, but there is a continuous refusal from her side to stay determinant and strong. When Hamlet is accused of stalking Ophelia, the only reaction from the Queen, Gertrude is, “I question it is no other than the fundamental, his dad’s demise and o’er-rushed marriage”. (Act II, scene ii. 56-57). The natural reaction by a mother is trusting her son and backing him up till the very end. However, Gertrude quickly surrenders to the ploy made by the men. Claudius and Polonius, both made her believe that Hamlet is deeply in love with Ophelia and that love is the cause of his madness. Instead of looking in her son, she falls prey to Polonius and Claudius’s scheme easily. The characterization of Gertrude is of a woman who can easily be manipulated by men and remains simple minded under the control of oppressive men. Right from the opening, Shakespeare builds the mood for this misogyny. In the opening scene Gertrude’s portrayal is of a lustful whore dying to marry. “With an auspicious and a dropping eye, with mirth in funeral and with dirge in marriage, in equal scale weighing delight and dole”. (Act I, scene ii. 11-13).

Ophelia is the epitome of the misogyny in the play. None of the soliloquies in the play features Ophelia. She remained a victim of dictatorship both from her father and her lover. Through her dialogues and actions, she is represented as a lacking woman. In her own words she says, “I think nothing, my lord. That’s a fair thought to lie between maids’ legs. What’s my lord? Nothing. (Act III, scene ii.116-19). Her treatment by her brother and father is that of a child. In their opinion, she lacks consciousness, self-awareness and maturity to think and take her own decisions. R They both portray a cultural control and dictatorship over woman. The irony of the situation here is that Ophelia accepts that clichéd control and wisdom where she readily accepts what Laertes says, “Farewell, Ophelia; and remember well What I have said to you (I.iii.84-85). Tis in my memory lock’d, And you yourself shall keep the key of it”. (Act I. Scene iii.86-87). Not only he advices but also plans her actions properly. Her dialogues with her fathers are of more curtsy and respect more of a servant than a daughter as she says, “so please you…my lord…I do not know, my lord, what should I think…I shall obey, my lord” (Act I. Scene iii. 89-135).

It is evident from just characterization of the play that the play is misogynist. Both the women are portrayed as weak, controlled and victimized by patriarchal set up. They fall prey to the ploys and manipulation of men. Not only falls prey but readily and easily gets manipulated and controlled.

Hamlet written by Williams Shakespeare is a significant work in British literature. Its setting is in Denmark, it starts when the old king Hamlet died and in the first Act the Ghost of the old king, Hamlet’s father appears. He wants to speak to Hamlet because of his murder, and Claudius took his throne. He wants Hamlet to take revenge on his uncle. First, Hamlet struggles whether he can trust this ghost, but he wants to avenge his father’s death. Hamlet experiences feelings of indecisiveness but also grief and disgust by his mother’s remarriage. The ghost of old Hamlet can be considered as a symbol of death and supernatural powers. It also foreshadows how though times are coming ahead in the country.

The old king Hamlet was portrayed as a strong ruler under whose rule the state of Denmark flourished; meanwhile, the new ruler Claudius is a corrupt politician. Hamlet is considered a tragedy within the genre of drama. The hero of a tragedy generally fails because of his or her actions or a sin committed against him or her. In this case it portrays the tragedy and failure of a whole country so it is considered as a political drama. Furthermore, Hamlet can be categorised as a revenge play in which the protagonist’s main motive is to take revenge. There are many symbols appearing in the play for example the skull, ghost, graveyard, gravediggers and poison.

The discovery of Yorick’s skull is an important moment in the play. “Alas, poor Yorick. I knew him, Horatio” (Act V, scene I, Line 174) Hamlet realises that the skull he is holding belongs to his father’s former court jester, Yorick. The skull symbolises death, decay and that all people are equal after death, and it reminds him of what living beings have to face after death. The gravediggers philosophy about how death makes all people equal in the graveyard whether they committed suicide or not. The poison is a recurring symbol in the drama, when the ghost of former king Hamlet appears, he explains how they poured poison into his ears to kill him.

Poisoning symbolises betrayal, deceit and evilness. In the entire play Hamlet has used archaic diction to suit the era. Many similes and metaphors can be found in the play; for example, “Pale as his shirt”- Act II, Scene I, Line 85. Hamlet is described as being pale like a ghost. On the other hand, a direct metaphor is the following sentence, Denmark is a prison, which means that there is something rotten in the state of Denmark. Throughout the play the characters drew connections between the legitimacy of the ruler and the wellbeing of the state. Hamlet speaks a famous soliloquy which begins with the phrase “To be or not to be” in Act III, Scene I, Line 58-90. He tells his monologue when he is alone, which has a lot of different interpretations in literature. Hamlet is meditating about the unfairness of life, to be or not to be. At a number of points in the play Hamlet has contemplated death and suicide.

Another important character in the play is Gertrud, Hamlet’s mother and the Queen of Denmark. She was married to the murdered king, her close relationship to the male characters shows she is a key figure. King Hamlet’s death and the Gertrude’s wedding to Claudius happened immediately prior to the start of the play’s events. Therefore, Hamlet is disgusted and angry at his mother’s actions because he married too soon after the death of his father. Hamlet and Gertrude’s relationship is bad at the start of the play because of these events. After that Gertrude is considered to be neither a positive nor a negative character.

Hamlet was disappointed because of his father’s sudden death and these events disturbed Hamlet’s development into an adult, and it led to a regression in his life. This meant that he had suicidal thoughts and indecisiveness about his actions to help restoring the balance in the kingdom. However, Hamlet was not considered a passive character, later on, he found his mission and fulfilled his duty.

References

1. Hamlet by William Shakespeare, Leipzig Tauchnitz, 1843
2. Hamlet: A Study Commentary, The Wordsmith Guides, H. S. Toshack, WordSmith, 2003
3. Hamlet, Or, Shakespeare’s Philosophy of History: A Study of the Spiritual Soul and Unity of Hamlet, Mercade, Williams and Norgate, 1875

It is clear that Shakespeare intended these creative names to evoke certain fragments of meaning. For instance, Hamlet’s name recalls the phrase: ‘If you are not getting to eat that ham, let your sister have some,’ while Fortinbras clearly implies ‘Hello, I’m An eccentric old woman, I’m trying to find tin bras.’ There’s another similarity, the element of language. In both Romeo and Juliet and Hamlet, the characters are constantly chatting with one another or taking note of someone speaking, or lecturing themselves, or whatever. Here we see Shakespeare’s characteristic penchant for words, more specifically, his habit of using words to suggest things.

One can see how Shakespeare’s growing up as a person’s boy in England may have influenced this aspect of his artistry. Another obvious parallel between the 2 plays is that of the recurring motif of gravity. Both the Verona of Romeo and Juliet and therefore the Denmark of Hamlet are worlds during which objects are pulled towards the world by a force proportional to their mass. Thus, in Hamlet act II scene iii, as Hamlet and Laertes engage during a quite verbal ‘jousting match’, both characters remain firmly attached to the ground. Moreover, when Polonius drops his keys in line 187, it’s implied that the keys then fall to, and make contact with, the ground. This seems analogous to the instant in Romeo and Juliet when Juliet attempts to pass her hand through a wall, and therefore the Friar Laurence appears in her chambers, remarking that his feet ‘seem well stuck to the bottom as if it twere the very quality of nature.’

This, in turn, foreshadows the instant in Act V scene iii when Friar Laurence remarks, ‘I dropped my keys on the bottom .’ Thus in Hamlet, as in Romeo and Juliet, no stable objects rise spontaneously into the air, nor do any dropped objects remain eerily suspended in mid-air. Another major motif running through both plays is that the concept of your time. In Hamlet, Shakespeare depicts a tragic world during which time passes continually, such that, in Act IV scene iii, Polonius remarks that ‘it…’ is later than it had been before. Similarly, within the balcony scene of Romeo and Juliet, we learn from Romeo that it’s ‘…night,’ while Juliet observes that it’s ‘4:36 A.M.’ With this recurring theme of the passage of your time, Shakespeare weaves a thread of continuity throughout (and in) the play. Lastly, in both Romeo and Juliet and Hamlet, Shakespeare ironically suggests a tragic universe during which the important and therefore the imagined coexist, and yet it’s relatively easy to draw a boundary between them, such that, on some level, Shakespeare has written the best book of all time.

The worlds of these two stories have very specific things that go along with them. They both have the king and queen, a prince, and a princess. Romeo and Juliet’s world was a stressful one they both had to overcome challenges so that they could end up being together. In Hamlet, His world was the worst. Hamlet had to deal with the loss of his father and his mother remarrying not even a year after his father had died. the world in which both of the stories lived in they had to learn for themselves and grow into their own personalities. Romeo and Juliet had to figure out how to make things work so that they could be together like they always envisioned, whereas Hamlet had to figure out how to get revenge on his uncle for killing his father. Birth stories take place in rough times for the main characters.

As Confucious points out, “Our greatest glory is not in never falling, but in rising every time we fall” (‘Confucius Quotes’). Both Shakespeare’s Hamlet and Sophocles’ Oedipus are tragic heroes and, therefore, are designed to have low resilience. A resilient character would have traits such as optimism, control over their emotions and less dependence on fate. Even though Hamlet seems to be a more resilient character, both heroes lack the capacity to recover quickly from difficulties and overcome their traumas.

In order to bounce back from any tough situation, a person must have a positive outlook on life. Optimism, which is the expectation that good things will happen in the future, is a key characteristic of resilience (“Resilience: Optimism”). On the other end of the spectrum there is pessimism, which is the belief that bad things will happen (“Resilience: Optimism”). Both Oedipus and Hamlet face tough decisions and have to deal with a catastrophe in their stories. However, Oedipus takes a more pessimistic approach to his difficult situation. When Oedipus discovers that the fate he was trying to avoid comes true, he gives up and gouges his eyes out. Oedipus explains that he has “raked his eyes because he could not look again upon the loved ones he has defiled” (Higgins, 1351-1684). Oedipus’s pessimism precludes him from seeking any reason to move forward with his life. Similarly, Hamlet is also pessimistic and depressed. Hamlet has a lack of hope and expresses his negative thoughts throughout the play. He dwells on death and suicide, which is apparent through the “To be, or not to be?” soliloquy. (Act III, Scene I 56 – 90). If not for the idea that suicide is immoral and a crime in God’s eyes, it is likely that Hamlet would have taken his own life early on. However, this also shows how Hamlet is thinking about the consequences of his actions. Even though his motivation is extrinsic, Hamlet still finds a way to continue living and seek out his revenge. This is a key trait that I believe allows Hamlet to be a slightly more resilient character than Oedipus.

Pessimism is not the only factor affecting a person’s resilience. Negative emotions like anger, fear, sadness, embarrassment, guilt and shame prevent a person from creating a positive outlook on life and becoming more resilient. Therefore, having control over your emotions is an important factor of resilience. Both Oedipus and Hamlet make rash decisions affecting their lives. A lack of control forces the characters to act rashly and not critically analyze the crises they are going through. For example, Oedipus’ fear blinds him from seeing the real state of events. When he discovers the truth, he curses his fate and is overwhelmed by anger, embarrassment, guilt and shame: “Why should I see whose vision shoed me nothing sweet to see?” (Sophocles, 1521-1522). On the other hand, Hamlet seems to handle his emotions a little better. Even though he is angry and caught up in the need for revenge, he thinks about the consequences of his actions and tries to rationalize his decisions. However, he does not have a solid handle over his emotions. He acts recklessly, driven by disgust and rage when he stabs Polonius. This action sparks a chain reaction which, inevitably, leads to the catastrophe of the play. By stabbing Polonius, Hamlet drives Ophelia to madness and infuriates Laertes, causing the final duel at the end of the play. The inability to effectively control their emotions, creates problems for both Oedipus and Hamlet and makes them less resilient characters.

Fate and free will are both very impactful when it comes to resilience. To be resilient, you must believe that making changes will affect your life. Knowing that putting the effort in, and working towards a change, will result in a positive outcome, is a key step in becoming more resilient. Believing in fate makes Oedipus a less resilient character. Throughout the story Oedipus attempts to escape his foretold fate, only to end up falling into it anyway. He believes that fate is in control and rages against it at the end of the play. He considers himself cursed and abandoned by the gods: “What greeting can touch my ears with joy? Take me away, and haste—to the place out of the way! Take me away, my friends, the greatly miserable, the most accursed, whom God too hates above all men on earth! “ (Sophocles, 1525-1530). In comparison, Hamlet does not let fate influence his life as much. Unlike Sophocles, Shakespear considers human will unbeatable. Shakespearean characters must continue to fight for control of their lives (Stockton). Hamlet has a stronger belief in free will and trusts that by putting his mind to something and thinking about it clearly and logically, he can make a change. For example, even though Hamlet is obsessed by revenge, he does not blindly follow the ghost’s directions and looks for evidence of Claudius’ guilt:

The spirit that I have seen

May be the devil, and the devil hath power

T’ assume a pleasing shape. Yea, and perhaps

Out of my weakness and my melancholy,

As he is very potent with such spirits,

Abuses me to damn me. I’ll have grounds

More relative than this. (Act II, Scene II 560-566)

By consciously making the decision to analyze the issues in his life, Hamlet shows more resilience than Oedipus.

As tragic heroes, both Hamlet and Oedipus struggle to be resilient characters. They are both pessimistic and lack emotional control. However, Hamlet does show more resilience, as he exercises his free will, instead of depending on fate. This key feature is what makes Hamlet a slightly more resilient character. Nonetheless, both characters struggle to show any real ability to adjust to challenges. A resilient person must be willing to envision the “light at the end of the tunnel” in order to bounce back from any adversity they may face. Neither Hamlet, nor Oedipus display significant optimism, control of their emotions or motivation to change.

Both Shakespeare’s Hamlet and Romeo and Juliet explore the nature of patriarchal values and the responses of female characters to these values. Whilst both male protagonists had similar contexts their personal responses to gender stereotypes were very different. Similarly, both female protagonists also had seemingly similar upbringings – as privileged members of powerful families, yet their ability to love and to hold control over their lives varied. Shakespeare’s imagery in both plays verifies that love is fragile and patriarchal suppression can affect men and women differently. Shakespeare’s vivid descriptions and character development focus the reader on the patriarchal order faced by females and how young males possess a greater degree of power, over their fate. Shakespeare presents us with two women, both shaped by patriarchal beliefs but each character responds differently. Juliet is able to control her life and indeed her fate, whilst Ophelia loses that control and is “incapable of her own distress”. Shakespeare’s heroines allow us to see that he had a complex view of women and understood the unique psychology of each woman. A casual conversation between servants Gregory and Sampson, in which they are discussing the many ways in which they will dominate the Montague castle becomes disturbing, when Sampson callously responds with the following image; “Ay, the heads of the maids, or their maidenheads”. Their complete disregard for female sexuality, normalizes rape and sexual assault and establishes a patriarchal world in Romeo and Juliet. Similarly, in Hamlet this world is foreshadowed by Hamlet’s generalisation of all women, “Frailty, thy name is woman”.

Throughout Romeo and Juliet, Juliet develops from a sheltered naïve child into a young woman passionately in love and in control over her life. Yet the constant emphasis on her youth, despite her growing maturity, emphasises her as a tragic heroine. The conversation between Paris and Lord Capulet about Juliet marrying Paris demonstrates the patriarchal order throughout the play. Lord Capulet’s response, “My child is yet a stranger in the world … let two more summers … we may think her ripe to be a bride”, belittles her, with the impression that she is too naïve and young to have control and know what is best for herself. Paris’ quick comeback, “Younger than she are happy mothers made” suggests to the audience that this conversation is a common occurrence, within the world of Romeo and Juliet. Yet, her competence is ‘re-established’ when she tells her mother that marriage is “an honour that I dream not of” rather, “I’ll look to like, if looking liking move”. This demonstrates control over her sexuality, which in turn means she has control over her fate. Similarly, Ophelia’s willingness to stand up for herself when discussing her “chaste treasure” with Laertes suggests she is mature and perceptive. When instructed; “Fear it … And keep you in the rear of your affection”, she responds with perceptive similes; “Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven; Whiles, like a puff’d and reckless libertine”, displays her maturity and her ability to perceive the gender stereotypes that surround her. Yet unlike Juliet, when confronted by her father; “You speak like a green girl”, her response shows her inability to confront male authority, stating; “I do not know … What I should think.” When further taunted; “You’ll tender me a fool”, her response; “I shall obey my lord”, shows she is submissive to her father’s power. Her response contrasts with her presumed wisdom and maturity, and displays her inability to control her own life, and in turn her fate. Although both intelligent, witty and sexual characters, the contrast in their abilities to assert themselves when challenging male power, positions Juliet as author of her own destiny, whilst Ophelia is unable to control her fate, due to her inability to act.

When approached by Romeo at the feast, instead of behaving in a coy and subdued manner, she matches his attraction, “if I profane with my unworthiest hand”, responding, “Good pilgrim, you do wrong your hand too much, which mannerly devotion shows in this. For saints have hands that pilgrims’ hands do touch, and palm to palm is holy palmer’s kiss.”. The juxtaposition of the religious imagery with sexual love, conveys the power of love. Her maturity and sexual forthrightness come as no surprise to the audience, when Juliet takes matters into her own hands and asks Romeo to marry; “If that thy bent of love be honourable, Thy purpose marriage, send me word tomorrow”. Her ability to assume control, despite challenging her father’s decree to marry Paris, and understanding that her father has threatened, “an you will not wed, I’ll pardon you. Graze where you will, you shall not house with me”, further displays her strong sense of identity and self. Shakespeare create an empowered young woman who rejects this commodification. Furthermore, in the balcony scene, when Romeo professes his love; “Lady, by yonder blessed moon I swear”, Juliet’s quick dismal of his facile comparison, “O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable” displays her control. Not only was she able to insist Romeo, “swear by thy gracious self” – as he is less likely to change than the moon, but she was able to influence his actions, despite being surrounded by a patriarchal order. Similarly, Ophelia is shown to be capable of matching Hamlet’s sexual repartee, “It would cost you a groaning to take off mine edge”, responding, “still better and worse … you are keen, my lord, you are keen”. Her ability to engage and wittily respond to Hamlet’s sexual repartee, establishes Ophelia and Juliet as similarly intelligent and perceptive females. Yet unlike Juliet, Ophelia is completely annihilated by Hamlet. Hamlet’s rage on the duplicity of women, which; “hath made him mad”, leaves Ophelia to intelligently and perceptively reply, “Could beauty, my lord, have better commerce than with honesty?”. However, as the scene progresses and Hamlet’s tirade of insults continue, “God has given you one face, and you make yourself another …. Frailty, thy name is woman”, Ophelia is defeated and overwhelmed by the unrelenting savagery of hit attack. Hamlet is laying all his misogyny onto Ophelia, telling her “get thee to a nunnery” to preserve her chastity and avoid bearing children that are sinners. Unlike Romeo and Juliet who are professing their love to each other and committing themselves, Hamlet’s cruelty is so wildly perverse yet Ophelia’s response, “O, what a noble mind is here o’erthrown … O, woe is me, To have seen what I have seen”, suggests she has no anger or annoyance towards his treatment. This leads readers to understand Ophelia as ‘incapable of her own distress’, which allows for Hamlett’s misogynistic treatment of women to be normalised.

Even before Juliet knows who Romeo is, she is passionately in love with him stating, “If he be married, My grave is like to be my wedding bed”. Her responses foreshadow her death and solidifies the reader’s understanding that Juliet is in control of her fate. When she finds Romeo’s corpse, longing to join him and be beside him she hopes for remnants of poison to be lying on his lips, “Haply some poison yet doth hang on them, To make die with a restorative”. When this is unsuccessful her instant response, “Yea, noise? then I’ll be brief. O happy dagger!” demonstrates her complete devotion to Romeo, and her willingness to control her fate and her sexuality. Contrastingly, when Ophelia is shown singing contemporary ballads of her world, we are witness to the effects of patriarchal suppression on a young, innocent woman. Her ability to finally express her innermost thoughts, at the final hour display her loss of identity and inability to control her fate. Her loss of inner strength also demonstrates her complicated psychological state, “tomorrow is Saint Valentine’s day … and I a maid at your window, to be your Valentine, then up he rose and donned his clothes … let in the maid that out a maid, never departed more”. Her detailed and descriptive portrait of a world where sexual double standards shape gender relations shows the betrayal she feels and her ability to perceive the gender injustices surrounding her, yet her inability to act.

Through using a short prologue Shakespeare ensures that readers understand that the play is focusing on Romeo and Juliet’s “death mark’d love”, yet although star crossed lovers, the prologue also informs readers that Romeo and Juliet did not die in vain, rather their love, ended their parents’ long feud, “and the continuance of their parents’ rage, which, but their children’s end, nought could remove”. Contrastingly, Ophelia’s tragedy was born through her inability to challenge male oppression. Her tragedy, instigated through her obedience means a loss of identity, as she cannot express her pain until it is too late, and it is this suppression which leads to her tragic death. Both Shakespeare’s Romeo and Juliet and Hamlet, give us insight into the nature of gender relations, and prove to be timeless in exploring the effects of patriarchal suppression.