H. uses the guise of feigned madness to H. stages the play-within-a-play, ‘The Mousetrap’ in order Religion: H.’s scholarly thoughtfulnes
conceal his true intentions of avenging his to ‘catch the conscience of the King’ and confirm C.’s guilt and piety cause his procrastination, as
father’s murder. His “antic disposition” blurs the before fulfilling the revenge. The meta-theatrical device
Van Goethe states "All
duties
line between appearance and reality, making it highlights the disparity between appearance vs reality. The
difficult for other characters to discern his true actors’ ironically display more truth in their performance seem holy for Hamlet". He
motives and for the audience to decide whether than C. (& possibly H.)- the true actor - who disguises his
worries about the state of his father’s
his insanity is genuine. sinister crime behind a facade or righteousness.
soul, which he believes is in purgatory
‘Hamlet’s madness is clearly feigned’ The interplay between revenge and appearance versus because of his untimely death. Hamlet
Johnson reality also underscores the moral ambiguity of Hamlet’s also fears the consequences of his own
The interplay of Appearance and actions and the concept of exacting revenge; revenge
cannot serve true justice when entangled with deceit.
actions on his soul, particularly the sin
Reality/ Deception is intertwined w/ Belsey ‘Revenge is always in excess of
murder. This is evident when he
revenge
hesitates to kill Claudius ‘now he is
justice’
praying’, fearing that Claudius would
C. epitomizes deception ‘[L.] embodies a traditional sense of honour’ Kott go to heaven if killed in a state of
via his outwood repentance.
presentation of a
Despite appearing to other characters in the play as displaying the chivalric However, as a foil for H., L. is direct
benevolent and rightful
honour code (from a medieval standpoint), there is nothing honorable in with no religious, legal or moral qua
King, in reality he has
the Machiavellian way L. exerts revenge on H. L., manipulated by C., revenge; he’s the typical ‘Senecan r
committed acts of fratricide
together underhand the death of H. in a supposedly noble fencing match Even to the extent to ‘cut his throat i
and regicide to usurp the
by poisoning the tip of his sword. Deceit intwined w/ revenge leads to L.’s Due to his action-orientated nature,
throne. This duplicity is the
downfall; he dies along with H. from the sword. The layer of deceit is interpreted from a contemporary aud
driving force behind
doubled, as C. & L ensure H.’s death by preparing a cup of poison as a
revenge in the play, as H.’s ‘not a man of thought’ TS E
backup plan. Consequently, C. is forced to drink the poison and dies.
vengeance is driven by the values his soul in the afterlife as less im
Moreover, justice will always overcome deceit in revenge. revenge. However, he regains his mor
need to expose C.’s true Gertrude drinks it and dies, it could be interpreted as revenge on C. or as an act of guilt from G.
nature. for the incest and its effect on H. or to protect her son. when he begs H. for forgiveness before
Revenge will exert itself naturally
In Hamlet, the pursuit of revenge is deeply Ophelia
intertwined with the portrayal of women, as madnes
the actions and fates of Gertrude and can be
Revenge Ophelia highlight the destructive
consequences of a patriarchal society’s
damage
plot: wh
deceit and manipulation.” C. and
of which
‘[L.] embodies a traditional sense of humiliat
Despite Knight’s
view that
Intro: honour’ Kott
Belsey ‘Revenge is always in excess of
‘Hamlet is an element of Revenge is
matters
In Hamlet, revenge
,Polonius is a deeply theatrical figure, constantly performing roles—a ‘hypocritical’ advisor The Ghost’s presence transforms the stage into a site of sup
(Healey), a comically overbearing father, and a spy—with the aim to maintain his place within psychological performance, blurring the boundaries between
Polonius
the corrupt Danish court. illusion. The Ghost’s description of torture in purgatory ‘sulp
Modern interpretations (particularly feminist tormenting flames’ arguably ‘brings purgatory to the real
ones) would question Polonius’ role as a (Goldman), as it catalyses Hamlet’s emotion-driven mission
father and if he acts out of genuine concern Polonius embodies the role of an advisor, using the guise father (in the form of the Ghost), whilst also derailing him fro
for Ophelia or self-interest. of wisdom to hide his deception (use of spies). He offers revenge if the consequences of murder and regicide lead him
Feminist critics view Ophelia as a victim of ‘a contradictory and hollow counsel to Laertes, ‘to thine own place, causing his mental anguish. Exacting revenge would
self be true’. To a contemporary audience, he is a
series of patriarchal oppressions’ caricature of paternal performance with his use of cliches, would commit regicide and would be killed according to law,
(Hamana), for example the illustrating the play’s interest in role-playing and Jones’ view ‘He cannot kill without also killing h
commodification of her virginity from her appearance versus reality, aligning with Pennington’s view impossible mission also traps him between conflicting religio
father, ‘chaste treasure’. Slater describes that he is a ‘bad parent made palatable by the fact to his father (‘honor thy parents’) and other Christian convict
her as ‘an innocent pawn sacrificed’, to that he is funny’ (Pennington). kill’. By presenting conflicting interpretations, the Ghost
Polonius, she is just an extension of his own
reputation and therefore a tool for advancing
perform the role of a devoted son and skeptical reveng
A feminist reading would interpret that Polonius
his political ambitions. From a Marxist reveals the differences between male and female
allegiance part of a larger ‘play’ of moral, spiritual, and
perspective, this ambition leads to the roles in Elizabethan society as his treatment of conflict. This moral paradox positions Hamlet as a victim of
abandonment of morals and the Laertes and Ophelia differ greatly. in which any action risks spiritual damnation, contributing to
commodification of individuals like Ophelia. fragmentation.
The relentless drive of lower social classes to
perform roles of higher power results in using Like a comic eavesdropper he hides ‘behind the
arras’, his insistence on performance over truth leads From a contemporary perspective, Hamlet’s qualms over the
others as mere instruments for personal
him to his own death. Hamlet exposes the limitations performance of an ‘antic disposition’ as a whole is an alleg
gain, reflecting the harsh realities of a
class-stratified society. From a contemporary of Polonius’ performance, ‘he may play the fool societal transition over the adjustment of Catholicism to Prot
perspective her lack of agency would be nowhere but in's own house." He becomes the to religious and political instability and uncertainty. The Ghos
viewed as normal, so she wouldn’t be viewed victim of the same theatrical deceit he so often laced with ‘deliberate ambiguity’ (West), causing Hamlet’s
as a ‘victim’ (Reinhardt) to Polonius, she directs, marking a moment of tragic slapstick, as a whether to accept it as ‘spirit of health or goblin damned’
displays a typical performance of a Jacobean
‘harmless old fool’ (Rossiter). contemporary theological conflict. This deepens his existent
daughter. every choice feels like an act, shaped by uncertainty rather t
conviction
Bloom states that Hamlet is ‘the most theatrical of all Shakespeare characters’ as Hamlet’s
madness and comedy can be interpreted as partly performative, in order to ‘catch the conscience of the To a contemporary audience his unfitness to perform the role of a
King,’. However, some may suggest his ‘feigned madness’ (Johnson) is used as a weapon to critique and revenger’ is exacerbated by the foil of Laertes, who ‘awaits a pe
satirize deception within court, for example sycophants like Polonius, ‘cloud that’s almost in shape of a regarded as one for the ages’ (Hapgood) as he is direct an
camel?’. From a Marxist interpretation his madness is a tactic to undermine the existing power structures and revenger with no religious, legal or moral qualms - even to the exte
expose the corruption and sycophancy within the court. This reflects the wider motif of the play: courtly th’ church’. Laertes is arguably ‘not a man of thought’ (TS Eliot) as
a revenger over the threat of eternal damnation, which exacerbate
performance doesn’t lead to order, but to rot and death. In the Patrick Stewart production, this is satirized by
awareness and contemplation of death, ‘to be or not to be’, as he
Claudius’ notably pragmatic rather than mournful reaction to Polonius’ death, despite Polonius’ excessively
a typical ‘Renaissance Man’. However it can be read as though, ‘L
obsequious performance. This reveals the futility and cyclical nature of performance, where Claudius is
would have been recognised as parallel to Hamlet's’ (Burton
exposed for his crime, Hamlet, despite manipulating perception cannot escape his fate, in which Horatio, the ultimately manipulated by external forces: Hamlet by the ghost, La
only character to observe and not perform survives. revealing the tragic consequences of their quests for justice. Their
highlight how performance can lead to public and self-deception, w
and identity is fragmented, exemplifying the complexities of honor,
, Ophelia is driven to madness, and then speculated suicide due to the
lack of agency that comes with being used as a pawn by Polonius,
Sacrificial victims of male Gertrude's role as a mother is explored through her c
conflict & ambition
Hamlet, raising questions about whether her actions
Claudius, and also by Hamlet through his erratic behavior and rejection protection or selfishness and neglect. While she doe
as part of his ‘antic disposition’, and eventual murder of her father all
Polonius’ plot to spy on him, some critics interpret thi
contribute to her psychological collapse. This systemic exploitation by
male figures suggests that Ophelia becomes collateral damage in a broader Hamlet seeks revenge on his mother for her hasty marriage concern into why her son is mad, ‘why seems it so pa
struggle for power. Moreover, it can be interpreted that she sacrificed to Claudius, incest and speculated adultery, feeling her supports Graf’s view that she ‘protects her son
herself as a result of male conflict and corruption, where, as Dane argues passive punishment is inadequate. H.’s abusive and
to shield him from ‘the man that murdered h
‘her suicide is the only courageous death’ (Dane). In this misogynistic outbursts, also unfairly project onto Ophelia
reading her death functions as a deliberate escape from an oppressive ‘get thee to a nunnery’, as collateral damage of his complicates this claim. From a psychoanalytical pers
patriarchal world - one that, crucially, didn’t involve regicide, murder or actions and lack of action may reflect her internalised
disillusionment from women. Mallibardstates ‘it is
calculation. However, from a Jacobean perspective, audiences may have ‘our hasty marriage’. Her inability to confront Claudiu
viewed it as morally troubling, potentially condemning her soul according her sexuality that turns H. so violently Hamlet may reflect not malice, but psychological par
to Christian doctrine. Even in death however, Ophelia’s identity remains maternal instinct and dependence on a new political
externally defined; Getrude uses poetic imagery to romanticise it against her’, which aligns with the Freudian motherhood is portrayed as deeply fraught, shaped b
‘mermaid-like’, instead of an emotional loss. From a Marxist viewpoint interpretation that H.’s hatred for G. is a manifestation sincerity and the pressures of a patriarchal court.
Gertrude is seen as an example of the ruling class's detachment and lack
of his suppressed Oedipal desires. According to this
of empathy for those of lower social status. Therefore, Ophelia is a victim Gradby states she has an ‘ambiguous mora
to the Body Politic as well as gender oppression. view, Hamlet's desire to kill Claudius is not purely moral
marriage to Claudius would have been regarded as i
but psychologically driven by repressed desire for his
sibling-in-law was illegal. Hamlet conveys that Gertru
mother. However, this reading can be challenged with
and inordinately interest in sex, ‘at your age’. Mallib
Modern interpretations, particularly feminist ones, expand this critique Hamlet’s extreme admiration for his father, elevating
by ‘her body and external pleasures’. A feminis
with the view of Ophelia as a victim of ‘a series of patriarchal him to God-like status, ‘Hyperion’, outweighing any
an ‘intelligent’ and ‘sensible’ (Heilbrun) survival
oppressions’ (Hamana), such as the commodification of her virginity sense of jealousy, which suggests that his motivation
be seen as a way to maintain her status and security
from her father, ‘chaste treasure’. Slater describes her as ‘an is rooted in grief and loyalty rather than Freudian Claudius, she might also be trying to secure Hamlet's
innocent pawn sacrificed’, to Polonius, she is just an extension of rivalry. Her death can be interpreted as a ‘tragedy’ him with a safer environment, proving she is a good
his own reputation and therefore a tool for advancing his political misogyny embedded within the trope of the old-whor
(Montgomery), as she is not aware to the lethal plan laid
ambitions. Here, Marxist and feminist lenses intersect, revealing how
out by Claudius, which makes her death an ‘innocent adultery, ‘adulterate beast’ (about C.) and murder, wi
personal relationships are distorted by social ambition and hierarchy,
leading to the abandonment of morals and the commodification of casualty’ of political machinations. Moreover, both of their evidence. Paradoxically Hamlet abandons his strict p
individuals like Ophelia. The relentless drive of lower social classes to fates are determined by the power struggles and revenge the claim that C. murdering his father is unreliable. A
advance results in using others as mere instruments for personal gain, plots of the men in their lives. Their passive deaths, further his own mother, arguably misogynistically, aligning to
reflecting the harsh realities of a class-stratified society. While modern emphasise the limited control they have over their own perspective H.’s harsher criticism of Gertrude over C
critics emphasise her her status as a ‘victim’ (Reinhardt), a lives, reflecting their roles as victims of patriarchal authority Gertrude’s morality and motivations remain underdev
contemporary audience might have accepted her lack of agency as and political manipulation. audience, this supports Noely’s view that she is ‘ma
normative, thus diminishing the perceived tragedy of her fate. As
Ophelia’s identity is defined by men ‘I shall obey’, a feminist
perspective would suggest that due to their absence (for example
the death of Polonius) she is ‘deprived of thought’ (Showalter),
with no identity or purpose as a result, so her mind fragments into
insanity.
Female
representation
In Hamlet, Gertrude and Ophelia are underdevelo
ambiguous characters, portrayed as victims of ma
conflict.
conceal his true intentions of avenging his to ‘catch the conscience of the King’ and confirm C.’s guilt and piety cause his procrastination, as
father’s murder. His “antic disposition” blurs the before fulfilling the revenge. The meta-theatrical device
Van Goethe states "All
duties
line between appearance and reality, making it highlights the disparity between appearance vs reality. The
difficult for other characters to discern his true actors’ ironically display more truth in their performance seem holy for Hamlet". He
motives and for the audience to decide whether than C. (& possibly H.)- the true actor - who disguises his
worries about the state of his father’s
his insanity is genuine. sinister crime behind a facade or righteousness.
soul, which he believes is in purgatory
‘Hamlet’s madness is clearly feigned’ The interplay between revenge and appearance versus because of his untimely death. Hamlet
Johnson reality also underscores the moral ambiguity of Hamlet’s also fears the consequences of his own
The interplay of Appearance and actions and the concept of exacting revenge; revenge
cannot serve true justice when entangled with deceit.
actions on his soul, particularly the sin
Reality/ Deception is intertwined w/ Belsey ‘Revenge is always in excess of
murder. This is evident when he
revenge
hesitates to kill Claudius ‘now he is
justice’
praying’, fearing that Claudius would
C. epitomizes deception ‘[L.] embodies a traditional sense of honour’ Kott go to heaven if killed in a state of
via his outwood repentance.
presentation of a
Despite appearing to other characters in the play as displaying the chivalric However, as a foil for H., L. is direct
benevolent and rightful
honour code (from a medieval standpoint), there is nothing honorable in with no religious, legal or moral qua
King, in reality he has
the Machiavellian way L. exerts revenge on H. L., manipulated by C., revenge; he’s the typical ‘Senecan r
committed acts of fratricide
together underhand the death of H. in a supposedly noble fencing match Even to the extent to ‘cut his throat i
and regicide to usurp the
by poisoning the tip of his sword. Deceit intwined w/ revenge leads to L.’s Due to his action-orientated nature,
throne. This duplicity is the
downfall; he dies along with H. from the sword. The layer of deceit is interpreted from a contemporary aud
driving force behind
doubled, as C. & L ensure H.’s death by preparing a cup of poison as a
revenge in the play, as H.’s ‘not a man of thought’ TS E
backup plan. Consequently, C. is forced to drink the poison and dies.
vengeance is driven by the values his soul in the afterlife as less im
Moreover, justice will always overcome deceit in revenge. revenge. However, he regains his mor
need to expose C.’s true Gertrude drinks it and dies, it could be interpreted as revenge on C. or as an act of guilt from G.
nature. for the incest and its effect on H. or to protect her son. when he begs H. for forgiveness before
Revenge will exert itself naturally
In Hamlet, the pursuit of revenge is deeply Ophelia
intertwined with the portrayal of women, as madnes
the actions and fates of Gertrude and can be
Revenge Ophelia highlight the destructive
consequences of a patriarchal society’s
damage
plot: wh
deceit and manipulation.” C. and
of which
‘[L.] embodies a traditional sense of humiliat
Despite Knight’s
view that
Intro: honour’ Kott
Belsey ‘Revenge is always in excess of
‘Hamlet is an element of Revenge is
matters
In Hamlet, revenge
,Polonius is a deeply theatrical figure, constantly performing roles—a ‘hypocritical’ advisor The Ghost’s presence transforms the stage into a site of sup
(Healey), a comically overbearing father, and a spy—with the aim to maintain his place within psychological performance, blurring the boundaries between
Polonius
the corrupt Danish court. illusion. The Ghost’s description of torture in purgatory ‘sulp
Modern interpretations (particularly feminist tormenting flames’ arguably ‘brings purgatory to the real
ones) would question Polonius’ role as a (Goldman), as it catalyses Hamlet’s emotion-driven mission
father and if he acts out of genuine concern Polonius embodies the role of an advisor, using the guise father (in the form of the Ghost), whilst also derailing him fro
for Ophelia or self-interest. of wisdom to hide his deception (use of spies). He offers revenge if the consequences of murder and regicide lead him
Feminist critics view Ophelia as a victim of ‘a contradictory and hollow counsel to Laertes, ‘to thine own place, causing his mental anguish. Exacting revenge would
self be true’. To a contemporary audience, he is a
series of patriarchal oppressions’ caricature of paternal performance with his use of cliches, would commit regicide and would be killed according to law,
(Hamana), for example the illustrating the play’s interest in role-playing and Jones’ view ‘He cannot kill without also killing h
commodification of her virginity from her appearance versus reality, aligning with Pennington’s view impossible mission also traps him between conflicting religio
father, ‘chaste treasure’. Slater describes that he is a ‘bad parent made palatable by the fact to his father (‘honor thy parents’) and other Christian convict
her as ‘an innocent pawn sacrificed’, to that he is funny’ (Pennington). kill’. By presenting conflicting interpretations, the Ghost
Polonius, she is just an extension of his own
reputation and therefore a tool for advancing
perform the role of a devoted son and skeptical reveng
A feminist reading would interpret that Polonius
his political ambitions. From a Marxist reveals the differences between male and female
allegiance part of a larger ‘play’ of moral, spiritual, and
perspective, this ambition leads to the roles in Elizabethan society as his treatment of conflict. This moral paradox positions Hamlet as a victim of
abandonment of morals and the Laertes and Ophelia differ greatly. in which any action risks spiritual damnation, contributing to
commodification of individuals like Ophelia. fragmentation.
The relentless drive of lower social classes to
perform roles of higher power results in using Like a comic eavesdropper he hides ‘behind the
arras’, his insistence on performance over truth leads From a contemporary perspective, Hamlet’s qualms over the
others as mere instruments for personal
him to his own death. Hamlet exposes the limitations performance of an ‘antic disposition’ as a whole is an alleg
gain, reflecting the harsh realities of a
class-stratified society. From a contemporary of Polonius’ performance, ‘he may play the fool societal transition over the adjustment of Catholicism to Prot
perspective her lack of agency would be nowhere but in's own house." He becomes the to religious and political instability and uncertainty. The Ghos
viewed as normal, so she wouldn’t be viewed victim of the same theatrical deceit he so often laced with ‘deliberate ambiguity’ (West), causing Hamlet’s
as a ‘victim’ (Reinhardt) to Polonius, she directs, marking a moment of tragic slapstick, as a whether to accept it as ‘spirit of health or goblin damned’
displays a typical performance of a Jacobean
‘harmless old fool’ (Rossiter). contemporary theological conflict. This deepens his existent
daughter. every choice feels like an act, shaped by uncertainty rather t
conviction
Bloom states that Hamlet is ‘the most theatrical of all Shakespeare characters’ as Hamlet’s
madness and comedy can be interpreted as partly performative, in order to ‘catch the conscience of the To a contemporary audience his unfitness to perform the role of a
King,’. However, some may suggest his ‘feigned madness’ (Johnson) is used as a weapon to critique and revenger’ is exacerbated by the foil of Laertes, who ‘awaits a pe
satirize deception within court, for example sycophants like Polonius, ‘cloud that’s almost in shape of a regarded as one for the ages’ (Hapgood) as he is direct an
camel?’. From a Marxist interpretation his madness is a tactic to undermine the existing power structures and revenger with no religious, legal or moral qualms - even to the exte
expose the corruption and sycophancy within the court. This reflects the wider motif of the play: courtly th’ church’. Laertes is arguably ‘not a man of thought’ (TS Eliot) as
a revenger over the threat of eternal damnation, which exacerbate
performance doesn’t lead to order, but to rot and death. In the Patrick Stewart production, this is satirized by
awareness and contemplation of death, ‘to be or not to be’, as he
Claudius’ notably pragmatic rather than mournful reaction to Polonius’ death, despite Polonius’ excessively
a typical ‘Renaissance Man’. However it can be read as though, ‘L
obsequious performance. This reveals the futility and cyclical nature of performance, where Claudius is
would have been recognised as parallel to Hamlet's’ (Burton
exposed for his crime, Hamlet, despite manipulating perception cannot escape his fate, in which Horatio, the ultimately manipulated by external forces: Hamlet by the ghost, La
only character to observe and not perform survives. revealing the tragic consequences of their quests for justice. Their
highlight how performance can lead to public and self-deception, w
and identity is fragmented, exemplifying the complexities of honor,
, Ophelia is driven to madness, and then speculated suicide due to the
lack of agency that comes with being used as a pawn by Polonius,
Sacrificial victims of male Gertrude's role as a mother is explored through her c
conflict & ambition
Hamlet, raising questions about whether her actions
Claudius, and also by Hamlet through his erratic behavior and rejection protection or selfishness and neglect. While she doe
as part of his ‘antic disposition’, and eventual murder of her father all
Polonius’ plot to spy on him, some critics interpret thi
contribute to her psychological collapse. This systemic exploitation by
male figures suggests that Ophelia becomes collateral damage in a broader Hamlet seeks revenge on his mother for her hasty marriage concern into why her son is mad, ‘why seems it so pa
struggle for power. Moreover, it can be interpreted that she sacrificed to Claudius, incest and speculated adultery, feeling her supports Graf’s view that she ‘protects her son
herself as a result of male conflict and corruption, where, as Dane argues passive punishment is inadequate. H.’s abusive and
to shield him from ‘the man that murdered h
‘her suicide is the only courageous death’ (Dane). In this misogynistic outbursts, also unfairly project onto Ophelia
reading her death functions as a deliberate escape from an oppressive ‘get thee to a nunnery’, as collateral damage of his complicates this claim. From a psychoanalytical pers
patriarchal world - one that, crucially, didn’t involve regicide, murder or actions and lack of action may reflect her internalised
disillusionment from women. Mallibardstates ‘it is
calculation. However, from a Jacobean perspective, audiences may have ‘our hasty marriage’. Her inability to confront Claudiu
viewed it as morally troubling, potentially condemning her soul according her sexuality that turns H. so violently Hamlet may reflect not malice, but psychological par
to Christian doctrine. Even in death however, Ophelia’s identity remains maternal instinct and dependence on a new political
externally defined; Getrude uses poetic imagery to romanticise it against her’, which aligns with the Freudian motherhood is portrayed as deeply fraught, shaped b
‘mermaid-like’, instead of an emotional loss. From a Marxist viewpoint interpretation that H.’s hatred for G. is a manifestation sincerity and the pressures of a patriarchal court.
Gertrude is seen as an example of the ruling class's detachment and lack
of his suppressed Oedipal desires. According to this
of empathy for those of lower social status. Therefore, Ophelia is a victim Gradby states she has an ‘ambiguous mora
to the Body Politic as well as gender oppression. view, Hamlet's desire to kill Claudius is not purely moral
marriage to Claudius would have been regarded as i
but psychologically driven by repressed desire for his
sibling-in-law was illegal. Hamlet conveys that Gertru
mother. However, this reading can be challenged with
and inordinately interest in sex, ‘at your age’. Mallib
Modern interpretations, particularly feminist ones, expand this critique Hamlet’s extreme admiration for his father, elevating
by ‘her body and external pleasures’. A feminis
with the view of Ophelia as a victim of ‘a series of patriarchal him to God-like status, ‘Hyperion’, outweighing any
an ‘intelligent’ and ‘sensible’ (Heilbrun) survival
oppressions’ (Hamana), such as the commodification of her virginity sense of jealousy, which suggests that his motivation
be seen as a way to maintain her status and security
from her father, ‘chaste treasure’. Slater describes her as ‘an is rooted in grief and loyalty rather than Freudian Claudius, she might also be trying to secure Hamlet's
innocent pawn sacrificed’, to Polonius, she is just an extension of rivalry. Her death can be interpreted as a ‘tragedy’ him with a safer environment, proving she is a good
his own reputation and therefore a tool for advancing his political misogyny embedded within the trope of the old-whor
(Montgomery), as she is not aware to the lethal plan laid
ambitions. Here, Marxist and feminist lenses intersect, revealing how
out by Claudius, which makes her death an ‘innocent adultery, ‘adulterate beast’ (about C.) and murder, wi
personal relationships are distorted by social ambition and hierarchy,
leading to the abandonment of morals and the commodification of casualty’ of political machinations. Moreover, both of their evidence. Paradoxically Hamlet abandons his strict p
individuals like Ophelia. The relentless drive of lower social classes to fates are determined by the power struggles and revenge the claim that C. murdering his father is unreliable. A
advance results in using others as mere instruments for personal gain, plots of the men in their lives. Their passive deaths, further his own mother, arguably misogynistically, aligning to
reflecting the harsh realities of a class-stratified society. While modern emphasise the limited control they have over their own perspective H.’s harsher criticism of Gertrude over C
critics emphasise her her status as a ‘victim’ (Reinhardt), a lives, reflecting their roles as victims of patriarchal authority Gertrude’s morality and motivations remain underdev
contemporary audience might have accepted her lack of agency as and political manipulation. audience, this supports Noely’s view that she is ‘ma
normative, thus diminishing the perceived tragedy of her fate. As
Ophelia’s identity is defined by men ‘I shall obey’, a feminist
perspective would suggest that due to their absence (for example
the death of Polonius) she is ‘deprived of thought’ (Showalter),
with no identity or purpose as a result, so her mind fragments into
insanity.
Female
representation
In Hamlet, Gertrude and Ophelia are underdevelo
ambiguous characters, portrayed as victims of ma
conflict.
