Dating hamlet ophelia monologue

The two reply that they have not been able to find its cause.They do mention, however, that Hamlet was very enthusiastic about the players’ performance that night, which prompts Claudius to agree to attend the play. Polonius and Claudius then begin their plan to loose Ophelia on Hamlet and mark their encounter, hoping to find the root of his madness.

Hamlet replies caustically, questioning Ophelia’s honesty. He then berates Ophelia, telling her off sarcastically and venomously, with the refrain, “Get thee to a nunnery,” or in other words, “Go become a nun to control your lust.” After this tirade, Hamlet exists, leaving Ophelia in shambles.

Insofar as Ophelia is arguably Shakespeare's most recognizable female character, with a long and significant history of "purloining" in both verbal and visual media, she would seem to be an excellent focus for discussions of this kind.

And indeed she is, albeit ironically so, for just as Bronfen's examples of dead women tend to remain distinct—generically categorizable as literary or visual bodies, either/or—so literary analysis rarely seeks to consider the ever-present visual interpretations and popular imaginings of Ophelia's character, and equally in discussing her representations art historians regularly prefer to concentrate on aspects of formal composition rather than explore her origins within the Shakespeare text.

The mad Ophelia's bawdy songs and verbal license, while they give her access to 'an entirely different range of experience' from what she is allowed as the dutiful daughter, seem to be her one sanctioned form of self-assertion as a woman, quickly followed, as if in retribution, by her death." Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism--excellent Elaine Showalter article from which the quotations on this web page were taken. Ophelia is fragmented by contradictory messages." Assembling the Ophelia Fragments: Gender, Genre, and Revenge in --" Examining the Ophelia fragments, those few moments that Ophelia appears on stage in person or in the dialogue of other characters, clarifies how thoroughly she undergoes, in feminine form, not only Hamlet's struggle between the twin impulses toward murder and self-destruction but also the ambiguous resolution of the conflict between what he calls in "To be or not to be" "conscience" or "resolution" and "opposing" or "suffering." Ophelia, in other words, takes an ambiguously achieved revenge, as does Hamlet, but from within the form that is most appropriate to her gender, the courtly love tragedy." By the Way, Ophelia is Pregnant--interesting approach. Those who open this window quickly discover that, contrary to the predictions of certain commentators, Shakespeare awareness is not in decline in our age but within popular culture possesses a vigorous and burgeoning afterlife.

The Death of Shakespeare's Ophelia, Popular Culture, and Web 2.0--"To examine the contents of Web 2.0 is to open a remarkably revealing window into popular culture. --Kalki Koechlin, an Indian actress and screenwriter of French ethnicity, draws parallels between Ophelia's and Indian women's lives, based on sensitive readings of both.

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