In Hamlet why is Hamlet mad at Ophelia?
English Literature Books Shakespeare, it is claimed by many modern critics, was a feminist. Hamlet answers believe that Shakespeare because of his extraordinary genius for portraying human behaviour, necessarily depicted the condition of women within a patriarchal system and created women characters which in their richness, transcend the limitations of his time.
Ophelia, it would seem, wholly at the mercy of the male figures within her life, is certainly a victim figure. In short, Hamlet throughout the play uses Ophelia as a tool in his revenge plan. With regard to her father and brother, the two direct ruling male forces in her life, Ophelia Hamlet answers also very much a victim.
Unquestioningly obeying their remonstrances against pursuing a relationship with Hamlet, she rejects his advances - which of course she believes to be genuine - and thus when he pretends to be mad she believes it to be her fault. Her speech reflects her deep and genuine sorrow: And I of ladies, most deject and wretched That sucked honey of his music vows O woe is me.
As a result she becomes mad. In the later tragedy, Othello, it can also be argued that the tragedy occurs from adherence to patriarchal rules and stereotypes.
Protected by a system which makes women the weaker, dependent sex, Desdemona is unequipped to deal with such aggression; she is helpless against Othello. Desdemona thus retreats into childlike behaviour to escape from reality.
This is certainly a convincing argument, for Othello all-too-easily accepts a stereotypical view of his wife based on the authority of a male voice. He loses sight of the real Desdemona, allowing every action of hers, once his suspicion is stimulated, to reaffirm this stereotypical conception of her.
This speech illustrates the precarious position of love in a society submerged in stereotypes. By the world, I think my wife be honest, and think she is not.
I think thou [Iago] art just, and then think thou art not. In Antony and Cleopatra, Shakespeare again explores the idea of the victim within a patriarchal society. However, in this play the gender roles are inverted and it is Antony who is the true victim.
He cannot remain away from Cleopatra and faithful to Octavia who symbolises Caesar and the power of Patriarchal Rome. Inevitably he returns to Egypt and Cleopatra, and causes a rift which can never again be cemented between himself and Caesar, which ultimately results in war.
Surprisingly, in modern-day readings of the play, this attitude still exists: It is true that the play is ultimately concerned with the conflict between love and politics; Egypt and Rome; but to simply reject the former as wrong, is to miss the nuances of the play and succumb to a view of the polarities of masculine and feminine as separated and distinct, which the play itself undercuts.
Although Antony occasionally lapses into judging himself by the standards of the patriarchy - for example, towards the end of the play dejected and shamed by his diminished political power, he becomes jealous and irrational and claims that Cleopatra has emasculated him: The end of the play can be seen as a tribute to love; a celebration rather than a downfall.
Antony does not cease to be a valiant Roman by choosing Egypt over Rome; love over politics, but becomes vanquisher of himself in his suicide. By dying simultaneously in the Roman fashion, and with Cleopatra and for Cleopatra he kills himself when he believes she is deadAntony combines the two polarities which have been evident and separate throughout the play: Neither Cleopatra nor the relationship can be stifled within the confines of the patriarchy of the seventeenth century.
The distinctions between masculine and feminine are blurred - in a sense Antony and Cleopatra swap roles, continually embracing both their masculine and feminine selves and thus experiencing a full bonding of souls. Shakespeare evidently recognises the existence of both masculine and feminine qualities within females and males.
Cleopatra, unlike Othello and Ophelia, is the dominating force of the play in terms of theme and also her personal presence.
Cleopatra through the combination of sexual and political power is a force to be reckoned with. Surprisingly, even Enobarbus, despite his patriarchal views, does on occasions present her as positively sexual, as his unforgettable description of her indicates: Age cannot wither her, Nor custom stale her infinite variety.
Other women cloy The appetites they feed, but she makes hungry Where most she satisfies.multiple choice questions for Hamlet that test students' recall and understanding of the work. essay questions on hamlet act 3 review word essay layout review writing essay ielts task 2 general questions and answers how to write common app essay formatting essay macbeth light and dark college essay new york times best books goodreads essay about fast and furious 7 trailer official write an essay about.
Here are nine quotes from Shakespeare's "Hamlet". Most of them are spoken by Hamlet himself. The first letters of the answers to questions one to nine spell the answer to the last question. Is Hamlet really mad or is he merely mocking Polonius? Justify your opinion.
At the end of Act1, Scene 5 Hamlet says, “The time is out of joint; O cursed spite,/That ever I was born to set it right!” (). Hamlet Study Guide Hamlet Study Guide Questions Hamlet Study Guide Questions Act I. Jump to Navigation Hamlet’s famous “To be or not to be” soliloquy is in scene one.
In a sentence or two paraphrase his main points. Read questions and answers from fellow students below. If you're question hasn't already been asked, ask it now. The Question and Answer sections of our study guides are a great resource to ask questions, find answers, and discuss literature.
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