Ophelia in William Shakespeares Hamlet Essay -- William shakespeare h

Ophelia in William Shakespeares small townFollow her close, give her good watch, I pray you (IV.5.73). Ostensibly, Shakespeares crossroads is the riddling, enigmatic, inscrutable theatrical character par excellence. His motives, madness, conflicting morals and empirical struggles are ambiguous to say the least. When analysing his character, Laertes and Fortinbras are often brought in as examples of less extreme characters dealing with similar but more plain dilemmas. The idea that there may be someone who exceeds critical point in instability and incomprehensibility is unfathomable. But if one looks at the character of Ophelia, this notion not only becomes a viable possibility it becomes unignorable. For while Hamlet is always struggling to define himself, leaving a trail of cast-off identities, disgustedly flinging one black outfit after another out of his closet as he tries to remain true to himself, his fathers memory, and his inspiration unconscious, we only see Oph elia in borrowed robes. She is dressed up like a dummy, paraded around, and dismissed. With her final exit, we are left with a handful of ill-fitting stage costumes, no(prenominal) of them designed by her. It is significant that in the whole play, she is referred to by elevate nineteen times in total-- the majority of the time, she is Polonius daughter, Laertes sister, or merely she or her. Ophelias first two lines are questions, but not of the To be or not to be variety. Do you doubt that? and No more but so? (I.3.4-9) imply a state confusion, insecurity, and disorientation-- of blinkered experience, of externally-imposed tunnel muckle that leads to a staggering, stilted walk through life. From her first entrance, we are presented with ... ... supreme act of self-assertion. For not only is she shaming the court and her family, talking in riddles to the buddy who preached to her, and acting out to an extreme the lesson constantly reiterated by her father, the inability to exit without his guidance. She is not merely distorting the pastoral green girl image, making a gruesome picture of the carefree, virginal Rose of May. She is spitting in the side of meat of the God who placed her in such an impotent position in the first place. And this is the real tragedy of Ophelias life and death. Because while Hamlet dies with the knowledge that he has fulfilled his mission, Ophelia has no mission. Her first independent act, what ought to advert the beginning of a life composed of her own initiatives, is the truncating of that life. Her beginning is her end-- the augury pet, released into the wild, withers and dies.