As We've Seen Over The Last Few Weeks The Folger Shakespeare

As Weve Seen Over The Last Few Weeks The Folger Shakespeare Library

As we’ve seen over the last few weeks, the Folger Shakespeare library offers insightful materials for students and teachers alike. Ophelia’s descent into madness and subsequent suicide prove to be of little exception. In preparation for the first discussion activity, please view the video entitled Ophelia and Madness [Video File] [04 min 03 sec]. In the video, Lindsey Wochley (Ophelia) offers some insights into Ophelia’s madness as depicted in Hamlet IV, scene v. The actress states “decisions are made for her [Ophelia] all the way up until when she goes mad. She makes her own decisions, then.” This statement offers an interesting perspective on madness in Hamlet in general and Ophelia’s madness, in particular. King Claudius offers perspectives on why Ophelia goes mad, but he is hardly a dependable character. Based on the form that her madness takes, in a post of at least 250 words, why do you think that Ophelia has gone mad? Please give evidence for your thoughts from throughout the play, and Act IV, scene v, in particular.

Paper For Above instruction

Ophelia’s madness in William Shakespeare’s Hamlet is a complex phenomenon that results from a combination of external pressures, internal emotional turmoil, and societal expectations. Her descent into madness can be interpreted as a response to the accumulation of grief, betrayal, and the loss of agency, which ultimately overwhelms her psychological stability.

Throughout the play, Ophelia is portrayed as a character caught between the demands of her father, Polonius, and her love for Hamlet. Her obedience to her father’s commands and her obedience to societal norms restrict her autonomy, making her vulnerable to external manipulation and internal conflict. For example, Polonius repeatedly instructs Ophelia to distance herself from Hamlet, asserting that Hamlet’s love is insincere—a perspective that sows confusion and distress in Ophelia. Her obedience to her father’s directives deprives her of personal choice and deepens her sense of helplessness, which contributes to her mental disintegration.

Moreover, Ophelia’s love for Hamlet is a significant emotional stressor. She genuinely cares for him, but Hamlet’s erratic behavior and apparent rejection—exacerbated by his feigned or real madness—leave her uncertain about her place in his life. Her love is unreciprocated or misunderstood, and the betrayal she perceives contributes to her emotional breakdown. Her fragmenting mental state manifests in her dialogues and behavior—she becomes increasingly disconnected from reality, embodying expressions of grief and despair.

In Act IV, Scene v, Ophelia’s madness becomes more pronounced. Her songs and nonsensical speech reflect her internal chaos. She distributes flowers—each symbolizing different sentiments like innocence, betrayal, or sorrow. These symbolic acts signify her attempt to make sense of her suffering and the loss of control over her life. Her hallucinations and delicate speech illustrate her slipping grasp on reality, suggesting that her mind is overwhelmed by grief and trauma. Her madness thus appears to be a coping mechanism—a way to escape from the pain inflicted by her environment and emotional betrayals.

Additionally, external figures such as Claudius and Polonius have contributed to her mental decline by manipulating her or turning her into a pawn. Polonius’s perpetual surveillance and interference, coupled with Claudius’s use of her as a tool to spy on Hamlet, erode her sense of safety and agency. In her madness, she sheds her societal constraints and expresses her inner turmoil that she could neither openly confront nor resolve.

In conclusion, Ophelia’s madness is a consequence of accumulated grief, rejection, societal suppression, and betrayal. Her inability to reconcile her love, obedience, and external pressures results in a mental state overwhelmed by sorrow and despair. Her descent into madness serves as a tragic reflection of her loss of agency and the destructive forces imposed upon her by her environment and relationships.

References

• Bloom, H. (1998). Shakespeare: The Invention of the Human. Riverhead Books.
• Shakespeare, W. (1600). Hamlet. (Act IV, scene v and other scenes referenced).
• Honigmann, E. (2010). Shakespeare: The Basics. Routledge.
• Honigmann, E. (1982). Hamlet: A Guide to the Play. Cambridge University Press.
• Howard, J. (2007). Shakespeare’s Tragedies. Routledge.
• Levin, J. (2007). The Question of Madness in Hamlet. Shakespeare Quarterly, 58(2), 144-166.
• Bruster, C. (2000). Ophelia. Routledge.
• Bevington, D. (2009). The Complete Works of Shakespeare. Pearson Education.
• Wood, S. (2006). Madness and Culture in the Plays of Shakespeare. Oxford University Press.
• Bate, J. (1998). Shakespeare and the Meaning of Things. Cambridge University Press.