Hamlet Ophelia Quotes

To be, or not to be: that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.--Soft you now! The fair Ophelia! Nymph, in thy orisons Be all my sins remember'd!

Be patient, Ophelia. Love, Hamlet

Said Hamlet to Ophelia, I'll draw a sketch of thee. What kind of pencil shall I use? 2B or not 2B?

Tis in my memory lock'd, And you yourself shall keep the key of it.

As Hamlet said to Ophelia, ”God has given you one face, and you make yourself another." The battle between these two halves of identity...Who we are and who we pretend to be, is unwinnable. "Just as there are two sides to every story, there are two sides to every person. One that we reveal to the world and another we keep hidden inside. A duality governed by the balance of light and darkness, within each of us is the capacity for both good and evil. But those who are able to blur the moral dividing line hold the true power.

The madness of the eyes is the lure of the abyss. Sirens lurk in the dark depths of the pupils as they lurk at the bottom of the sea, that I know for sure - but I have never encountered them, and I am searching still for the profound and plaintive gazes in whose depths I might be able, like Hamlet redeemed, to drown the Ophelia of my desire.

Too much of water hast thou poor Ophelia, and therefore I forbid my tears. But yet it is our trick, let shame say what it will. when these are gone the women will be out! Adieu my lord, I have a speech of fire that fane would blaze, But that this folly doubts it.

Lady, shall I lie in your lap? Ophelia: No, my lord. Hamlet: DId you think I meant country matters? Ophelia: I think nothing, my lord. Hamlet: That's a fair thought to lie between maids' legs. Ophelia: What is, my lord? Hamlet: Nothing.

There’s rosemary, that’s for remembrance; pray, love, remember; and there is pansies, that’s for thoughts... There’s fennel for you, and columbines; there’s rue for you, and here’s some for me; we may call it herb of grace o’ Sundays. O, you must wear your rue with a difference. There’s a daisy. I would give you some violets, but they wither’d all when my father died. They say he made a good end,— [Sings.] “For bonny sweet Robin is all my joy. Thought and afflictions, passion, hell itself, She turns to favor and to prettiness. Song. And will a not come again? And will a not come again? No, no, he is dead; Go to thy deathbed; He never will come again. His beard was as white as snow, Flaxen was his poll. He is gone, he is gone, And we cast away moan. God ’a’ mercy on his soul.

When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide; And, mermaid-like, awhile they bore her up: Which time she chanted snatches of old tunes; As one incapable of her own distress, Or like a creature native and indued Unto that element: but long it could not be Till that her garments, heavy with their drink, Pull’d the poor wretch from her melodious lay To muddy death. (Ophelia)

O, woe is me, To have seen what I have seen, see what I see!

we know what we are, but know not what we may be.

What I love in a woman is not what she is in and for herself, but the side of herself she turns towards me, what she is for me. I love her as character in our common love story. what wuld Hamlet be without the castle at Elsinore, without Ophelia, without all the concrete situations he goes through, what would he be without the text of his part? What would be left but an empty, dumb, illusory essence?

Alone in my chamber, I fairly trembled with excitement. How could it be that I, who had never been kissed before, had kissed the Prince of Denmark himself, not once but many times? Did he really speak to me of love? It was beyond belief that I, humble Ophelia, should be wooed by Prince Hamlet. Surely I had imagined it.

She speaks much of her father; says she hears There’s tricks i’ the world; and hems, and beats her heart; Spurns enviously at straws; speaks things in doubt, That carry but half sense. (Ophelia)

In this sense the Dionysian man resembles Hamlet: both have once looked truly into the essence of things, they have gained knowledge, and nausea inhibits action; for their action could not change anything in the eternal nature of things; they feel it to be ridiculous or humiliating that they should be asked to set right a world that is out of joint. Knowledge kills action; action requires the veils of illusion: that is the doctrine of Hamlet, not that cheap wisdom of Jack the Dreamer who reflects too much and, as it were, from an excess of possibilities does not get around to action. Not reflection, no--true knowledge, an insight into the horrible truth, outweighs any motive for action, both in Hamlet and in the Dionysian man. Now no comfort avails any more; longing transcends a world after death, even the gods; existence is negated along with its glittering reflection in the gods or in an immortal beyond. Conscious of the truth he has once seen, man now sees everywhere only the horror or absurdity of existence; now he understands what is symbolic in Ophelia's fate; now he understands the wisdom of the sylvan god, Silenus: he is nauseated. Here, when the danger to his will is greatest, art approaches as a saving sorceress, expert at healing. She alone knows how to turn these nauseous thoughts about the horror or absurdity of existence into notions with which one can live: these are the sublime as the artistic taming of the horrible, and the comic as the artistic discharge of the nausea of absurdity. The satyr chorus of the dithyramb is the saving deed of Greek art; faced with the intermediary world of these Dionysian companions, the feelings described here exhausted themselves.

HAMLET MAY HAVE BEEN A TRAGEDY. BUT OPHELIA DESERVED A COMEDY

The streets of Copenhagen are filled with people who oddly look not like Prince Hamlet and Ophelia, and that strikes the cord of bizarre sadness within your heart, and drives you into the weirdly unsettled state.

Is this a prologue or a posy of a ring? Ophelia: Tis brief, my lord Hamlet: As woman's love.

Lay her i’ the earth; And from her fair and unpolluted flesh May violets spring!

I may doubt the truths of the world, but never again will I doubt whether or not the person that I am, or may be, is loved or worthy of love. I know myself, and I don’t. Both can be true. I am not Ophelia: daughter of Polonius, sister of Laertes, lover of Hamlet. I am Ophelia Rojas: daughter of Miguel and Stella, best friend of Sammie and Agatha, aspirational lover to many, many boys and one girl. And I am so much more, just waiting to be discovered.

She had spears of straw and grass in her hair, not like Ophelia gone mad through contact with Hamlet's madness, but because she had slept in some stable loft.

If I have to do battle with you a thousand times to prove my point, I'll do it.' The queen unwisely asked, 'But to prove what point, my dear Hamlet?' 'That I loved Ophelia! Fifty thousand brothers, with all the love they can summon, would not equal my love for here. Ophelia, Ophelia.

shows the destructive forces that affect young women. As a girl, Ophelia is happy and free, but with adolescence she loses herself. When she falls in love with Hamlet, she lives only for his approval. She has no inner direction ; rather she struggles to meet the demands of Hamlet and her father. Her value is determined utterly by their approval. Ophelia is torn apart by her efforts to please. When Hamlet spurns her because she is an obedient daughter, she goes mad with grief. Dressed in elegant clothes that weigh her down, she drowns in a stream filled with flowers.

Mr Bott sits down and gestures gracefully to the board. "As you are clearly both fascinated by this text, would you like to explain the significance of Laertes in Hamlet?" He looks at Alexa. "Please go first, Miss Roberts." "Well..." Alexa says hesitantly. "He's Ophelia's brother, right?" "I didn't ask for his family tree, Alexa. I want to know his literary significance as a fictional character." Alexa looks uncomfortable. "Well then, his literary significance is in being Ophelia's brother, isn't it? So she has someone to hang out with." "How very kind of Shakespeare to give fictional Ophelia a fictional playmate so that she doesn't get fictionally bored. Your analytical skills astound me, Alexa. Perhaps I should send you to Set Seven with Mrs White and you can spend the rest of the lesson studying Thomas the Tank Engine. I believe he has lots of buddies too.

HAMLET: Is this a prologue, or the posy of a ring? OPHELIA: 'Tis brief, my lord. HAMLET: As woman's love.

Broken people can be loved.

One woe doth tread upon another's heel, So fast they follow. Your sister's drowned, Laertes.

HAMLET: I loved Ophelia. Forty thousand brothers Could not with all their quantity of love Make up my sum.

Go, farewell. Or if thou wilt needs marry, marry a fool. For wise men know well enough what monsters you make of them.

Be buried quick with her, and so will I.

Drowning Ophelia made with gin and lemon and fennel syrup, served with a sprig of rosemary and a napkin with an appropriate Hamlet quote printed on it.

Othello, Ophelia and Timon have not committed suicide. Iago, Hamlet, Polonius, Laertes and the society respectively drive them mad and ultimately murder them by using ‘words’ only!

Even truth can be deceptive, whatever its appearance.

For Hamlet, and the trifling of his favour, Hold it a fashion and a toy in blood, A violet in the youth of primy nature, Forward, not permanent, sweet, not lasting, The perfume and suppliance of a minute, No more.

OPHELIA: Indeed, my lord, you made me believe so. HAMLET: You should not have believed me. For virtue cannot so inoculate our old stock but we shall relish of it. I love you not. OPHELIA: I was the more deceived.

I would not go so far as to say that to construct a history of thought without a profound study of the mathematical ideas of successive epochs is like omitting Hamlet from the play which is named after him. That would be claiming too much. But it is certainly analogous to cutting out the part of Ophelia. This simile is singularly exact. For Ophelia is quite essential to the play, she is very charming-and a little mad. Let us grant that the pursuit of mathematics is a divine madness of the human spirit, a refuge from the goading urgency of contingent happenings.

I will probably die a misunderstood virgin like Ophelia in HAMLET, only I won't do it by floating down a stream, singing my own mad song. They'll just find me here, on my bed, on a weekend night, my dead body slumped over a homework assignment. Hopefully they'll discover me before Teeny eats my remains.

HAMLET: Lady, shall I lie in your lap? OPHELIA: No, my lord. HAMLET: I mean, my head upon your lap? OPHELIA: Ay, my lord. HAMLET: Do you think I mean country matters? OPHELIA: I think nothing, my lord. HAMLET: That's a fair thought - to lie between maids' legs. OPHELIA: What is, my lord? HAMLET: Nothing.

Give me leave. Here lies the water - good. Here stands the man - good. If the man go to this water and drown himself, it is, will he nill he, he goes, mark you that. But if the water come to him and drown him, he drowns not himself. Argal, he that is not guilty of his own death shortens not his own life.

Imagine the same scene in HAMLET if Pullman had written it. Hamlet, using a mystic pearl, places the poison in the cup to kill Claudius. We are all told Claudius will die by drinking the cup. Then Claudius dies choking on a chicken bone at lunch. Then the Queen dies when Horatio shows her the magical Mirror of Death. This mirror appears in no previous scene, nor is it explained why it exists. Then Ophelia summons up the Ghost from Act One and kills it, while she makes a speech denouncing the evils of religion. Ophelia and Hamlet are parted, as it is revealed in the last act that a curse will befall them if they do not part ways.

There is a willow grows askant the brook, That shows his hoar leaves in the glassy stream. Therewith fantastic garlands did she make Of crowflowers, nettles, daisies, and long purples, That liberal shepherds give a grosser name, But our cold maids do dead-men's-fingers call them. There on the pendant boughs her crownet weeds Clambering to hang, an envious sliver broke, When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide, And mermaid-like awhile they bore her up; Which time she chanted snatches of old tunes, As one incapable of her own distress, Or like a creature native and indued Unto that element.

OPHELIA: Could beauty, my lord, have better commerce than with honesty? HAMLET: Ay, truly. For the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness. This was sometime a paradox, but now the time gives it proof. I did love you once.

I read the miserable story of the play in which she was the one true loving soul. It obviously described the spread of an epidemic brain fever which, like typhoid, was perhaps caused by seepings from the palace graveyard into the Elsinore water supply. From an inconspicuous start among sentries on the battlements the infection spread through prince, king, prime minister and courtiers causing hallucinations, logomania and paranoia resulting in insane suspicions and murderous impulses. I imagined myself entering the palace quite early in the drama with all the executive powers of an efficient public health officer. The main carriers of the disease (Claudius, Polonius and the obviously incurable Hamlet) would he quarantined in separate wards. A fresh water supply and efficient modern plumbing would soon set the Danish state right and Ophelia, seeing this gruff Scottish doctor pointing her people toward a clean and healthy future, would be powerless to withhold her love.

Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry And lose the name of action. Soft you now, The fair Ophelia! - Nymph, in thy orisons Be all my sins remembered.

In Hamlet a branch breaks and Ophelia is drowned. Did she die because the branch broke or because Shakespeare wanted her to die at that point in the play? Either—both—whichever you please. The alternative suggested by the question is not a real alternative at all—once you have grasped that Shakespeare is making the whole play.

give order that these bodies High on a stage by placed to the view. And let me speak to the unknowing world How these things came about. So shall you hear Of carnal, bloody, and unnatural acts, Of accidental judgements, casual slaughters, Of deaths put on by cunning and forced cause, And, in this upshot, purposes mistook Fallen on th'inventors' heads. All this can I Truly deliver.

To the celestial, and my soul's idol, the most beautified Ophelia. Doubt thou the stars are fire. Doubt that the sun doth move. Doubt truth to be a liar. But never doubt I love. O dear Ophelia, I am ill at these numbers. I have not art to reckon my groans. But that I love thee best, O most best, believe it. Adieu. Thine evermore, most dear lady, whilst this machine is to him, Hamlet.

People write tragedies in which fatal blondes betray their paramours to ruin, which Cressidas, Cleopatras, Delilahs, and sometimes even naughty daughters like Jessica bring their lovers or their parents to distress: but these are not the heart of tragedy. They are fripperies to the soul of man. What does it matter if Antony did fall upon his sword? It only killed him. It is the mother's not the lover's lust that rots the mind. It is that which condemns the tragic character to his walking death. It is Jocasta, not Juliet, who dwells in the inner chamber. It is Gertrude, not the silly Ophelia, who sends Hamlet to his madness. The heart of tragedy does not lie in stealing or taking away. Any featherpated girl can steal a heart. It lies in giving, in putting on, in adding, in smothering without pillows. Desdemona robbed of life or honour is nothing to a Mordred, robbed of himself--his soul stolen, overlaid, wizened, while the mother-character lives in triumph, superfluously and with stifling love endowed on him, seemingly innocent of ill-intention. Mordred was the only son of Orkney who never married. He, while his brothers fled to England, was the one who stayed alone with her for twenty years--her living larder. Now that she was dead, he had become her grave. She existed in him like the vampire. When he moved, when he blew his nose, he did it with her movement. When he acted he became as unreal as she had been, pretending to be a virgin for the unicorn. He dabbled in the same cruel magic. He had even begun to keep lap dogs like her--although he had always hated hers with the same bitter jealousy as that with which he had hated her lovers.

Suffice it to say I was compelled to create this group in order to find everyone who is, let's say, borrowing liberally from my INESTIMABLE FOLIO OF CANONICAL MASTERPIECES (sorry, I just do that sometimes), and get you all together. It's the least I could do. I mean, seriously. Those soliloquies in Moby-Dick? Sooo Hamlet and/or Othello, with maybe a little Shylock thrown in. Everyone from Pip in Great Expectations to freakin' Mr. Rochester in Jane Eyre mentions my plays, sometimes completely mangling my words in nineteenth-century middle-American dialect for humorous effect (thank you, Sir Clemens). Many people (cough Virginia Woolf cough) just quote me over and over again without attribution. I hear James Joyce even devoted a chapter of his giant novel to something called the "Hamlet theory," though do you have some sort of newfangled English? It looks like gobbledygook to me. The only people who don't seek me out are like Chaucer and Dante and those ancient Greeks. For whatever reason. And then there are the titles. The Sound and the Fury? Mine. Infinite Jest? Mine. Proust, Nabokov, Steinbeck, and Agatha Christie all have titles that are me-inspired. Brave New World? Not just the title, but half the plot has to do with my work. Even Edgar Allan Poe named a character after my Tempest's Prospero (though, not surprisingly, things didn't turn out well for him!). I'm like the star to every wandering bark, the arrow of every compass, the buzzard to every hawk and gillyflower ... oh, I don't even know what I'm talking about half the time. I just run with it, creating some of the SEMINAL TOURS DE FORCE OF THE ENGLISH LANGUAGE. You're welcome.

Relax, it only hurts a little,” she murmured in Edwin’s ear as she stroked his head and shoulders from behind. “What you feel later more than makes up for it.”“But will I…will I have to drink blood after I am…initiated?” “Don’t worry, Edwin. I promise it will be many years before either you or Ophelia will need to seek your sustenance in such a manner.” Hamlet kissed his cheek. “Are you ready?” Edwin nodded. Closing his eyes, he turned his head slightly to give Hamlet easier access. He felt a momentary pinch and then… Ecstasy! Overwhelming warmth flooded his veins as colors exploded in his mind and a feeling of euphoria lifted him from the bed to the skies. He was flying free from the confines of his body. He soared above the clouds…heading into the stars. “Wonderful, isn’t it?” Ophelia giggled and clapped her hands. “I wish I could experience it more often, but Hamlet says it’s even better once you’re on the receiving end.” He opened his eyes slowly. Still light-headed, Edwin observed the gaze of mutual pleasure in Hamlet’s dark eyes. His sensual lips glistened with tint of red. Instead of horror or aversion, Edwin felt complete peace and contentment. “Thank you.” Without hesitation Edwin pulled Hamlet's lips to his and kissed him.

She speaks much of her father: says she hears There's tricks i'th'world, and hems, and beats her heart, Spurns enviously at straws, speaks things in doubt That carry but half sense. Her speech is nothing. Yet the unshaped use of it doth move The hearers to collection. They aim at it, And botch the words up fit to their own thoughts, Which, as her winks and nods and gestures yield them, Indeed, would make one think there might be thought, Though nothing sure, yet much unhappily.

If we divide human attributes into "masculine" and "feminine" and strengthen only those attributes that "belong" to that sex, we cut off half of ourselves from ourselves as human beings, condemned forever to search for our other half. The world is in desperate need of multilayered human beings with the voices, stamina, and insight to break through our current calcified ways of doing things, (...) The patriarchal structures of honor, shame, violence, and might is right, do as much harm to Hamlet, Edgar, Lear, and Coriolanus as they do to Ophelia, Desdemona, Lady Macduff (...) (...) To have feelings, intuitive flights of understanding, a desire to have knowledge of what is happening below the surface, to serve. These are often called "feminine" attributes, and it is true that many women in the plays possess them. But they also belong to Kent, Ferdinand, Florizel, Camillo, as well as the women. So they are not "feminine" attributes: they are human attributes.

But that I know love is begun by time, And that I see, in passages of proof, Time qualifies the spark and fire of it. There lives within the very flame of love A kind of wick or snuff that will abate it, And nothing is at a like goodness still; For goodness, growing to a pleurisy, Dies in his own too-much. That we would do We should do when we would. For this 'would' changes, And hath abatements and delays as many As there are tongues, are hands, are accidents. And then this 'should' is like a spendthrift sigh, That hurts by easing.

Hamlet’s soliloquy, you know; the most celebrated thing in Shakespeare. Ah, it’s sublime, sublime! Always fetches the house. I haven’t got it in the book—I’ve only got one volume—but I reckon I can piece it out from memory. I’ll just walk up and down a minute, and see if I can call it back from recollection’s vaults.” So he went to marching up and down, thinking, and frowning horrible every now and then; then he would hoist up his eyebrows; next he would squeeze his hand on his forehead and stagger back and kind of moan; next he would sigh, and next he’d let on to drop a tear. It was beautiful to see him. By and by he got it. He told us to give attention. Then he strikes a most noble attitude, with one leg shoved forwards, and his arms stretched away up, and his head tilted back, looking up at the sky; and then he begins to rip and rave and grit his teeth; and after that, all through his speech, he howled, and spread around, and swelled up his chest, and just knocked the spots out of any acting ever I see before. This is the speech—I learned it, easy enough, while he was learning it to the king: To be, or not to be; that is the bare bodkin That makes calamity of so long life; For who would fardels bear, till Birnam Wood do come to Dunsinane, But that the fear of something after death Murders the innocent sleep, Great nature’s second course, And makes us rather sling the arrows of outrageous fortune Than fly to others that we know not of. There’s the respect must give us pause: Wake Duncan with thy knocking! I would thou couldst; For who would bear the whips and scorns of time, The oppressor’s wrong, the proud man’s contumely, The law’s delay, and the quietus which his pangs might take, In the dead waste and middle of the night, when churchyards yawn In customary suits of solemn black, But that the undiscovered country from whose bourne no traveler returns, Breathes forth contagion on the world, And thus the native hue of resolution, like the poor cat i’ the adage, Is sicklied o’er with care, And all the clouds that lowered o’er our housetops, With this regard their currents turn awry, And lose the name of action. ’Tis a consummation devoutly to be wished. But soft you, the fair Ophelia: Ope not thy ponderous and marble jaws, But get thee to a nunnery—go! Well,

[Shakespeare realized that] Women are able to understand themselves better on a personal level and survive in the world if they dress in men's clothing, thus living underground, safe (...). The presence of women disguising themselves as men dictates that the play be a comedy; women remaining in their frocks, a tragedy. In four great tragedies -Julius Caesar, Hamlet, Othello, and King Lear- almost all the women die (...). How much the women have to adhere to the rules and regulations of their enviroment makes a large difference. Once Rosalind [disguised as a man in As You Like It] has run away from the court, she has no institutional structures to deal with. Ophelia [in her frocks] is surrounded tightly by institutional structures of family, court, and politics; only by going mad can be get out of it all.

Then, if he says he loves you, It fits your wisdom so far to believe it As he in his particular act and place May give his saying deed; which is no further Than the main voice of Denmark goes withal. Then weigh what loss your honour may sustain If with too credent ear you list his songs, Or lose your heart, or your chaste treasure open To his master importunity. Fear it, Ophelia, fear it, my dear sister. And keep you in the rear of your affection, Out of the shot and danger of desire. The chariest maid is prodigal enough If she unmask her beauty to the moon. Virtue itself 'scapes not calumnious strokes. The canker galls the infants of the spring Too oft before their buttons be disclosed; And in the morn and liquid dew of youth Contagious blastments are more imminent. Be wary then. Best safety lies in fear. Youth to itself rebels, though none else near.

Let me sum up: Hamlet’s the prince of Denmark. His dad, the king, died and though it’s only been two months, his mom married his dad’s brother, Claudius. Now Claudius is king. Hamlet thinks that’s whack.” “Sounds just like Shakespeare.” “One night, three guards see a ghost and they tell Ham. Ham sees it too. It’s Dad. Dad says Claudius poured poison in his ear and killed him. Hamlet’s mind is blown. But hold up, he’s been dating Ophelia, daughter of Polonius. Polonius is Claudius’ right-hand man. Polonius tells Ophelia that Hamlet’s losing his marbles and she has to break up with him. “Ophelia and Hamlet are in love but, like, the fucking patriarchy, right? She caves to her dad’s pressure and agrees to break up with him. Ham’s devastated and rants that all women are traitorous bitches, and Ophelia should go to a nunnery and never reproduce. Then Ham confronts his mom while Polonius eavesdrops and—whoops!—Ham kills Polonius. “Ophelia, having lost her man and her dad, proceeds to lose her mind. She goes nuts, sings a bunch of dirty, sexy-time songs, and drowns herself in the river. Then a bunch of other shit happens until pretty much everyone else in the cast is dead. Curtain.

It didn’t take me very much reading and skimming to discover that Tess had serious problems – much worse than mine. The most important thing in her life happened to her in the very first part of the book. She got taken advantage of, at night, in the woods, because she’d stupidly accepted a drive home with a jerk, and after that it was all downhill, one awful thing after another, turnips, dead babies, getting dumped by the man she loved, and then her tragic death at the end. (I peeked at the last three chapters.) Tess was evidently another of those unlucky pushovers, like the Last Duchess, and like Ophelia – we’d studied Hamlet earlier. These girls were all similar. They were too trusting, they found themselves in the hands of the wrong men, they weren’t up to things, they let themselves drift. They smiled too much. They were too eager to please. Then they got bumped off, one way or another. Nobody gave them any help. Why did we have to study these hapless, annoying, dumb-bunny girls? I wondered. Who chose the books and poems that would be on the curriculum? What use would they be in our future lives? What exactly were we supposed to be learning from them? Maybe Bill was right. Maybe the whole thing was a waste of time

Holy mother on a fork! It’s Prince Hamlet’s fair maiden!

If I had disdain for her character, it was in the way Shakespeare used her: a weathervane for everyone else’s wind. She is told by her father to betray Hamlet, and does, and when Hamlet shortly after loses his mind—something, I might add, which is entirely his own problem—Ophelia blames herself. Hamlet will not marry her; he will instead murder her father, and she blames herself for that too. Later, she climbs a willow tree, falls from it, and drowns, as one apparently does.

Their father, Polonius, was in a ‘have a go’ mood and joined in. He also made changes, and together they renamed it: The Tragedy of the Very Witty and Not Remotely Boring Polonius, Father of the Noble Laertes, Who Avenges His Fair Sister, Ophelia, Driven Mad by the Callous, Murderous and Outrageously Disrespectful Hamlet, Prince of Denmark.” “What was it like?” “With Polonius? Very . . . wordy.

Do you remember how on TV they cut Ophelia from the Russian version of Hamlet?

Hamlet ist besoffen und kriegt seine gespielten Orgasmen, Ophelia sagt zu ihm: "Hamlet, tue nicht so - gib dir nicht Mühe, ich weiß, du willst gerade an dein Morgen, wo du dir dein Begräbnis vorstellst, denken - aber du denkst, daß du bei der Sparkasse vorbeigehen sollst und vom Delikatessenladen den Espresso-Cafe holen sollst, weil du denkst - warum nicht, wenn ich es mir leisten kann, dann willst du mit deiner Mama telephonieren, weil sie jemand kennt, der die Adresse weiß von einer Dreizimmerwohnung, und du willst deinen Lieblingskäse holen, bevor du mit deiner Mutter telephonierst.

Sam laughed. "One of these days you're going to forget your lines and have to thribble, and it's going to come out in Yorkshire-ese." He put a hand to his brow, in a parody of the way I played Ophelia in Hamlet. "'Gog's blood! I wis some scanderbag has brast his noble costard wi' a waster!'" He yodeled the last word in imitation of my uncertain voice. I tried to scowl at him, but my features kept wanting to break in to a grin. "You sot! I'll never again be able to do that scene wi' a straight face!

To AFFRONT  (AFFRO'NT)   v.a.[affronter, Fr. that is, ad frontem stare; ad frontem & contumeliam allidere, to insult a man to his face.]1. To meet face to face; to encounter. This seems the genuine and original sense of the word, which was formerly indifferent to good or ill. We have closely sent for Hamlet hither,That he, as ’twere by accident, may hereAffront Ophelia.Shakespeare’sHamlet.

He read greedily but understood selectively, choosing the bits and pieces of other men’s ideas that supported whatever predilection he had at the moment. Thus he chose to remember Hamlet’s abuse of Ophelia, but not Christ’s love of Mary Magdalene; Hamlet’s frivolous politics, but not Christ’s serious anarchy. He noticed Gibbon’s acidity, but not his tolerance, Othello’s love for the fair Desdemona, but not Iago’s perverted love of Othello. The works he admired most were Dante’s; those he despised most were Dostoyevsky’s. For all his exposure to the best minds of the Western world, he allowed only the narrowest interpretation to touch him.

She is bleeding Ophelia, not a tortured Hamlet.

He read greedily but understood selectively, choosing the bits and pieces of other men's ideas that supported whatever predilection he had at the moment. Thus he chose to remember Hamlet's abuse of Ophelia, but not Christ's love of Mary Magdalene; Hamlet's frivolous politics, but not Christ's serious anarchy. He noticed Gibbon's acidity, but not his tolerance, Othello's love for the fair Desdemona, but not Iago's perverted love of Othello. The works he admired most were Dante's; those he despised most were Dostoyevsky's. For all his exposure to the best minds of the Western world, he allowed only the narrowest interpretation to touch him.

I am going to tell a story: Once Upon A Time there was a man and a woman. The man and the woman were dreaming. The man and the woman dreamed each other and when they finished dreaming they had invented each other. So I am going to tell the story of a dream: Once upon a time there was a couple: the ideal couple, the perfect couple, the archetypal couple, who would combine in their two faces the features of all the lovers of history, all those who might have been able to fall in love with each other, all those ever imagined by the poets, and all those unimagined yet. They were (or would be) Abelard and Héloïse, Venus and Tannhäuser, Hamlet and Ophelia, Agathe and Ulrich, Solomon and the Shulamite maiden, the Consul and Yvonne, Daphnis and Chloe, Percy and Mary Shelley, the narrator and Albertine, Jocasta and Oedipus, Hans Castorp and Clavdia Chauchat, Pygmalion and Galatea, Othello and Desdemona, Penelope and Ulysses, Baudelaire and Jeanne Duval, Laura and Petrarch, Humbert Humbert and Lolita, Elizabeth Barrett and Robert Browning, Alonso Quijano and Dulcinea, Leda and the Swan, Adam and Eve, Wagner and Cosima, Pelléas and Mélisande, Cleopatra and Mark Antony, Calisto and Melibea, Faust and Gretchen, Orpheus and Eurydice, Romeo and Juliet, Heathcliff and Cathy, Tristan and Isolde, Rilke and Lou Andreas-Salome, Jason and Medea, Miranda and Ferdinand, Kafka and Milena, Electra and Agamemnon, Don Juan and Thisbe, von Aschenbach and Tadzio, Poe and Annabel Lee, Borges and Matilde Urbach. As the curtain rises they are kissing each other passionately in the middle of a steamy, shadowed park, underneath the pines. Is this not perhaps the ideal beginning of any love story? Not to forget that there is also a unicorn, a tree laden with garnet-colored fruit, and a large neon sign hanging above them both that reads: A Mon Suel Desir. If we look carefully we will notice that the park is surrounded by water on all sides—that is, this is an island. The story might well begin at any moment.

We know what we are but not what we may be

We know what we are but not what we may be

The first thing to note is how apt an image ‘lifelessness’ is in terms of Dylan’s songs of the period. Lifelessness being a sin perfectly chimes with Dylan’s writing at the time. The hip, visionary Dylan was constantly contrasting the vibrant young with the stagnant and decaying old, and the vital against the lifeless. “He not being busy born, is busy dying.” sang Bob in ‘It’s Alright Ma, (I’m Only Bleeding’)’ in perhaps the most famous of these assertions. It is not, however, a fair depiction of Ophelia as she appears in the play. The Ophelia in Dylan’s song is portrayed as a wrongdoer rather than the victim she is in Hamlet.