Blake Nichol Dr. Susan Jones Composition II March 20, 2011 The Suicide of Ophelia is a topic that is romanticized by modern women, underestimated by literary critics, and somewhat disregarded by the general public. The character of Ophelia in “Hamlet, Prince of Denmark” presents an intriguing puzzle – did she genuinely end her own life? It is important to acknowledge that in the deeply religious culture that influenced the creation of Hamlet, suicide was considered a serious sin. Such an act carried the consequence of eternal punishment and damnation, burial in unhallowed ground, and everlasting shame associated with the deceased.
There are different perspectives on the reason behind Ophelia’s death – whether it was deliberate or unintentional. Nevertheless, the fact remains that she committed suicide. Ophelia’s decline into madness and subsequent self-inflicted demise can be viewed as a contrast to Hamlet’s pretended insanity and accidental death. Furthermore, her passing can be linked to Hamlet’s desire for revenge, as his words drive her towards madness and ultimately result in her drowning.
The reasons for Ophelia’s choice to take her own life are intricate. Primarily, Hamlet’s refusal of her has a profound effect on her emotional state. This is not only because she loves him deeply, but also because she relies on the King for support in the absence of her father and brother, Laertes. Additionally, societal norms and expectations regarding women’s behavior place significant restrictions on Ophelia, leaving her with few alternatives.
Ophelia faces several options: she can follow Hamlet’s suggestion of becoming a nun before her descent into madness, or she can consider marriage, which Hamlet promptly rejects. The unspoken alternative for Ophelia is death, often associated with eternal damnation. Nevertheless, her deteriorated mental condition prevents her from comprehending the repercussions of choosing to take her own life.
Hamlet’s refusal of Ophelia is a noteworthy setback. In Act Three, Scene One, Hamlet continuously advises Ophelia to “go to a convent” (Shakespeare). At this point in the play, Hamlet is furious and his treatment of Ophelia may not only be directed at her but also towards women overall or his mother. He feels betrayed by his mother for hastily marrying Claudius, whom he suspects of murdering his father. Hamlet is determined to reveal the truth about his father’s assassination.
Although it is uncertain what role his mother played in the murder of Old King Hamlet, her betrayal of him in young Hamlet’s eyes is equivalent to murder as she married the man responsible for the king’s death. Thus, when Hamlet expresses anger towards Ophelia, he does not intend to cause her the pain that his words ultimately do, as shown by his later remorse. However, regardless of his intention, Hamlet’s words undeniably have an impact on Ophelia. In a rather heartless and misogynistic manner, Hamlet declares that he “loved her once”, only to immediately take back and say “I loved you not” (Shakespeare).
Hamlet continues to criticize Ophelia, stating that “wise men know well enough what monsters you make of them” (Shakespeare, 3. 1). This suggests that women are responsible for men’s sins and can turn them into monsters. Hamlet specifically refers to his mother, believing that Gertrude’s lust may have influenced Claudius to kill his father, Old King Hamlet. However, Hamlet also acknowledges that men are all deceitful and advises Ophelia not to trust any of them.
However, for Ophelia, the advice that Hamlet throws into his rant on women is insufficient to lessen the impact. In this scene, Hamlet has piled guilt upon Ophelia, holding women accountable for the foolishness of men, extinguishing her hopes of marrying him or having any kind of relationship, and even denying that he once loved her. For a young woman, this is a difficult truth to accept, and Ophelia fails to overcome these sorrows. The blow to her self-esteem is ultimately fatal. Analysis of Hamlet’s behavior suggests that his relationship with the maternal is rooted in a psychology characterized by suppressed infantile fantasies and the adult son’s fears and aversion to complex female relationships and interactions (Kumamoto 4). This understanding sheds light on how deeply ingrained (possibly unconscious) Hamlet’s repulsion toward Ophelia’s desires may have been, thus clarifying how his almost instinctual reaction to Ophelia ultimately triggers her descent into madness and consequently, her demise.
From a psychological perspective, it is unlikely that Hamlet truly loved Ophelia or desired a future with her. His fixation on his mother and his simultaneous aversion to her newfound sexual nature and perceived immorality would have made it impossible for him to form a genuine connection with Ophelia. Unlike Gertrude, Ophelia possesses distinct characteristics that set her apart and serve as a contrast within the play. Some may mistakenly interpret Ophelia’s madness as stemming solely from sexual fixation, disregarding other factors contributing to her mental state.
To fully comprehend Ophelia’s madness, it is crucial to grasp the references she makes and the relationship between sexuality and religion during her time. During the 1400s, sexuality and religion were intertwined – within the institution of marriage, sexuality was promoted due to its role in procreation, especially in the context of royalty where producing an heir was crucial. However, sexual behavior outside of marriage was disapproved of and could result in punishment.
The utmost importance of chastity and virginity for females was highly valued. Ophelia, experiencing the rejection of Hamlet and the subsequent death of her father, may have become overwhelmed by these changes, leading to her descent into madness and eventual suicide. Alison Chapman analyzes Ophelia’s madness, her delusions, and the intertwining of her sexuality and religion. Chapman suggests that Ophelia’s expressions of eroticism and Catholicism are not surprising, considering her plunge into a debased form of madness, which also leads to religious utterances. Chapman specifically references Ophelia’s musical musings to the King and Queen in Act Four when she has lost her sanity. Ophelia sings about the consequences of premarital sex and expresses disappointment over broken promises of marriage. Furthermore, Chapman highlights that Ophelia’s ravings provoke contemplation on the role of women in England’s religious history and the connection between sexuality and holiness.Ophelia finds solace, albeit temporary, in her deranged outbursts. These outbursts entail sorrowful songs that expose her anguish and the sexual desires pounding within her. Eventually, these torments lead Ophelia to her tragic end.
It is important to note that if Ophelia is feeling unable to be sanctified through marriage to Hamlet, she may view damnation by suicide as no more abhorrent than damnation resulting from sexual relations with Hamlet that did not end in marriage (although this is not proven in the story and can only be speculated, as Hamlet offers to lie his head in Ophelia’s lap, suggesting a sexual encounter with her, possibly in private in Act three Scene two), or the prospect of living as an unmarried woman or nun.
Ophelia also expresses her thoughts and concerns about Hamlet’s rejection of her and the impact it has on her state of mind. She laments, “O, what a noble mind is here o’erthrown!” (Shakespeare, 3.1), implying her worry for Hamlet’s mental well-being. Ophelia wonders whether Hamlet has gone mad or if his emotions towards Gertrude and her remarriage to his father’s murderer have driven him to this state.
At this point, Ophelia is starting to comprehend, if not express, the Oedipal complex that Hamlet is going through. However, she quickly shares her personal feelings. And I, of ladies most deject and wretched, That sucked the honey of his musical promises, Now witness that noble and most powerful logic, Like sweet bells out of tune and harsh; That unmatched appearance and beauty of youthful vitality Destroyed with overwhelming joy: O, woe is me, To have witnessed what I have witnessed, see what I see! (Shakespeare, 3. 1).
Ophelia is feeling “dejected and wretched” as she acknowledges. She believed Hamlet’s lies and thought he loved her or cared deeply for her. Yet she fails to realize that Hamlet may truly care for her but is unable to express it. He might feel it’s best to protect her innocence from him because he plans to seek revenge by killing Claudius. However, the outcome remains the same for Ophelia – rejection. Furthermore, Ophelia observes Hamlet’s madness, possibly indicating his desire to be with his mother and his scheme to assassinate the King.
According to Shakespeare (3.1), she compares Hamlet to bells that are out of tune and harsh. This suggests that Hamlet is behaving unnaturally. It is possible that Ophelia, despite being underestimated by critics, is highly perceptive and notices that Hamlet is either disturbed by her actions or his mother’s actions. This emotional response leads to two outcomes. Firstly, it triggers Hamlet’s Oedipal complex and secondly, it prompts the revenge plot against Claudius for killing Hamlet’s father.
The combination of Ophelia discovering Hamlet’s rejection and her realization of his intentions may drive her to madness and suicide. She would carry the weight of knowing that the man she loves, perhaps even had a sexual relationship with, is rejecting her for her own protection. He is also envious of his mother’s sexuality and potentially desirous of her attention, planning to avenge his father’s murder and claim the throne. Consequently, Ophelia’s future with Hamlet is not only destroyed by his rejection but also by his revenge plot, making life seem pointless and leading her to contemplate suicide.
Ophelia, an adolescent girl, carries the burden of a failed love. According to Carol Gilligan’s psychological theory on female development, adolescent girls experience a crisis that makes them more vulnerable than males at this stage of their lives (Marshal, 709). Ophelia’s representation in Hamlet’s madness and suicidal thoughts serves to absorb pathological excesses that pose a threat to Hamlet but do not overpower him (Neely 55).
In summary, Ophelia embodies Hamlet’s madness and carries out his desire for death through her own intentional suicide. This is in accordance with Gilligan’s theory, which states that adolescent females are more vulnerable than males. Ophelia’s suicide is supported by strong evidence, considering her vulnerable state as a young girl and the rejection she experiences from her lover.
Moreover, during that time period, societal norms emphasized the importance of sexual relations occurring exclusively within the confines of marriage. Any deviation from this expectation would be considered sinful. In the case of Ophelia, her prospects of getting married decline as her relationship with Hamlet falls apart. Additionally, Ophelia may have also perceived or understood Hamlet’s intention to kill Claudius and realized that he was not an appropriate choice for a husband or a future together due to this circumstance. However, it is important to highlight Gertrude’s belief that Ophelia’s suicide was accidental regardless of her mental stability.
According to Gertrude, Ophelia lacks self-awareness and fails to acknowledge her own pain (Shakespeare, 4. 7). Gertrude also suggests that Ophelia’s suicide might not have been intentional, considering it occurred during a period of madness (Neely, 55). This brings up the question of accountability since we must decide if an action can be deemed “accidental” even if it was deliberately carried out by someone in an unstable mental condition.
Considering Gertrude’s nature, it is unlikely that she would knowingly condemn Ophelia to eternal damnation by believing she intentionally committed suicide. However, the evidence suggests that Ophelia’s death was a deliberate act, contrasting her character with Hamlet’s feigned madness. While Ophelia’s madness is genuine, Hamlet’s is not.
Hamlet’s contemplation of suicide and Ophelia’s actual suicide are crucial elements in the play Hamlet. These actions by the characters help determine that Ophelia intentionally took her own life.
