Ophelia and Hamlet: A Lover's Grievance
Very often through the play Hamlet, the breakdown of Hamlet and Ophelia's relationship supports the conclusion that Hamlet nearly entirely triggers Ophelia's madness. Because Hamlet seems to be in love with Ophelia, nevertheless is actually just interested in her sexually, he breaks Ophelia's heart and thus creates her madness. The breakdown of their relationship contributes to the play's overall theme of the disintegration of interactions between people, that helps focus on morality.
William shakespeare conveys this idea in many ways through his writing, and maybe most interesting is the motif he produces using ‘violets' to describe Hamlet's initial interest for Ophelia and the breakdown of their relationship. When warning Ophelia to get wary of Hamlet's advances, Laertes refers to Hamlet's love while ‘A violet in the junior of primy nature' (I. iii. 7), describing it as nothing more than a short phase of young lust and passion. Ophelia, probably unknowingly, proceeds Laertes' theme when states ‘I gives you a few violets, however they withered almost all when my dad died. ' (IV. versus. 178-180). Ophelia might be responsive Laertes' perspective of Hamlet's love like a fit of passion, and adds that Laertes was right, to get the violets (Hamlet's love) have withered. Violets are usually traditionally a symbol of faithfulness, and the withering with the violets in Hamlet represents unfaithfulness. Ophelia thus seems to be referring to unfaithfulness in Hamlet. Notably, Ophelia says 'they withered all' as opposed to 'they all withered'. By doing this, Ophelia might be aiming to say that Hamlet's love (the violets, ‘they') has destroyed everything in her your life (‘withered all'). Ophelia says that Hamlet's actions include led to quite a lot of misery in her, which then causes her insanity.
Ophelia tries to convey for the characters this mistreatment for Hamlet's hands, and not her father's fatality, cause her misery and madness. The first line we all hear from a mad Ophelia is ‘Where is the beauteous majesty of Denmark? ' (IV. v. 21). Ophelia's use of the term ‘beauteous' is usually reminiscent of Hamlet's use of the term ‘beautified' in a single of his letters to Ophelia; Hamlet describes Ophelia as ‘the most beautified' (II. ii. 109). This kind of echo implies that Ophelia is thinking about Hamlet's letters, and so Hamlet him self, during her madness, because he has caused this craziness. She wants the other characters to learn this fact. Thus, the lady seemingly goes in the scene searching for Hamlet, the royal prince of Denmark. Gertrude, naturally , assumes that Ophelia can be referring to her, and responds to this problem. In fact , the characters from the play at times fail to recognize that Ophelia is talking about Hamlet, and instead mostly assume that she's referring to Polonius. The Man says, the moment telling Gertrude about Ophelia's madness, Her speech is nothing,
The unshaped use of it doth move
The hearers to collection; that they aim at this,
And botch the words up to fit their particular thoughts,
Which usually, as her winks and nods and gestures deliver them,
Certainly would make 1 think there can be thought,
Although nothing sure, yet much unhappily. ' (IV. sixth is v. 7-13)
The truth that this individual acknowledges the fact that character ‘botch the words up to fit their particular thoughts' appears to indicate the fact that characters' understanding of Ophelia's words, and who the girl with talking about, will be wrong. Yet , even though this individual acknowledges this kind of fact, he admits that that her speech does not contain any kind of meaning (though her gestures convey that they can might) and therefore, even he assumes that Ophelia can be singing about Polonius. ‘She speaks much of her father' (IV. v. 4), 'Conceit upon her father' (IV. v. 45) and 'it springs All from her father's death' (IV. v. 75-76) are just some of the lines that mean that all the characters believe the death of Polonius alone to have brought on Ophelia's madness. However , Ophelia tries to make it clear that she actually is singing regarding Hamlet, but not Polonius, once she responds to one of the above...