Paul Adrian Fried / HAMLET'S BIBLE

Excerpt: ...getting playgoers and readers to imagine a pregnant, or carnal, Ophelia amounts to a dramatic benefit because, at some point (usually a retrospective moment), the recollection of this identity obviously compounds the pathos of her personal tragedy. At the same time, those contemporary consumers of Hamlet aware of an Elizabethan aesthetics of the pregnant imagination are likely to question their reconstruction of Ophelia’s sexual status, simply be- cause they know that her supposed pregnancy could be the result of the operation of their pregnant minds on the elements of Shakespeare’s play. In other words, Shakespeare calls attention to the challenging plastic quality of mind that he generally seems always to require of his educated theater readers and playgoers. Every play in the Shakespeare canon, virtually every Shakespearean character, becomes richly enjoyable and instructive to the degree that pregnant minds animate them. Shakespeare’s urging the pregnant mind to make ...

Ophelia in Hamlet represents a paradox about both the injustice and virtue of nothing, emptiness, poverty: Ophelia is an intelligent young woman [1], lectured, silenced [2], taken for granted [3], told what to do, where to go [4], and whose death is linked to crown-envy [5], a cautious way for Gertrude to blame the envious actions of Claudius for Ophelia’s death. When Hamlet makes bawdy remarks at the playlet, “The Mousetrap,” Ophelia says, “I think nothing” [6]. In Elizabethan slang, women have “nothing” between their legs, while men have a “thing.”[7] “Nothing” is a theme in other Shakespeare plays: - A self-centered Richard II, losing his throne, says, “I must nothing be” [8]. - King Lear wants his favorite daughter Cordelia to be best at expressing her love for her father, but she refuses to play the game. Lear tells her “Nothing can come of nothing” [9]. By the end, Lear will be emptied and learn poverty. Many world religions emphasize the virtue of humility and spiritual povert...

Ophelia and Hamlet influence Gertrude's final choices; they live in her: If we have followed Gertrude’s progress closely (allowing her to be at least as intelligent as the men in the play), we might note: She may have been deceived to marry Claudius, and done so as much for the safety of Denmark facing a threat from Norway [1], as for lust (contrary to what her son and the Ghost say [2]). She understands her son’s “Mousetrap” and its implications: Claudius poisoned his brother and wooed his brother’s wife [3]. Hamlet’s scolding in her closet has “cleft [her] heart in twain” [4]. She feels guilty facing Ophelia after her father’s death and her reported madness [5]. She reports Ophelia’s death not as suicide, but as an accident caused by crown-envy: the breaking of a sliver of willow envious for a crown [6], hinting at Claudius as the ultimate cause [7]. She probably suspects that Claudius poisoned the cup when dropping in a pearl and asking Hamlet to drink [8]. But she can’t know fo...

Part 45: Ophelia's Terrible Awakening and Liberation Ophelia and Gertrude awaken from earlier naivete and become liberated from aspects of patriarchy, Ophelia from her father, and Gertrude from her husband. Consider Ophelia: Ophelia had been excited to spend “free and bounteous” time with Hamlet [1], to be wooed by him “in honorable fashion” [2], to receive from him “almost all the holy vows of heaven” [3], probably a marriage proposal, not snares [4] to steal her “chaste treasure” [5] as her brother and father fear and suspect. She is forbidden by Polonius to see Hamlet or receive his letters [6], but used as bait by him and Claudius for their spying [7]. Gertrude tells her that she hopes Ophelia’s “virtues” will help to heal Hamlet [8]. Hamlet does not tell her that he has spoken with an apparition like the ghost of his father, but seems to fear that those he loves most may be at risk at least of suffering purgatory for sins, apparently like his father. He tells her to go “to a...

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Part 44: Ophelia, Ariadne, Aegeus: Rejection, Ecstasy, Drowning After Ophelia’s father Polonius tells her to reject Hamlet [1], she obeys; later Hamlet is unkind to her and tells her, “Get thee to a nunnery” [2]. But the fact that her father forbade her to see him could not erase her feelings for him [3], or her hurt at being rejected. The story of Theseus, son of King Aegeus, and how he killed the Minotaur with help from Ariadne, was quite familiar in Shakespeare’s time, and the playwright even has Theseus as a character in “A Midsummer Night’s Dream.” Ariadne loved Theseus, as Ophelia seems to have loved Hamlet. But like Polonius, Ariadne’s father, King Minos, would not have approved. In the Greek myth, Theseus takes Ariadne with him when he leaves the island of Crete after defeating Ariadne’s half-brother, the Minotaur [4]. He later abandons her on the island of Naxos. Ophelia may feel similarly abandoned after Hamlet leaves for England [5] and her father is found dead and given...