Ophelia's Treatment Of Women In Hamlet

REPRESENTATION OF GENDER ROLES BEYOND OEDIPAL COMPLEMENTARITIES IN DAUGHTER CHARACTERS IN
SHAKESPEARE’S SELECTED WORKS “[A] II human individuals, as a result of their bisexual disposition and of cross-inheritance, combine in themselves both masculine and feminine characteristics, so that pure masculinity and femininity remain theoretical constructions of uncertain content”.

—Freud, 1925
ABSTRACT
All over the world, especially in developing countries, the condition of women were or are not in par with men. The predicament of women has undergone a considerable change, which can be seen every part of the globe. Creating labels as well as nomenclatures to identify women has become a common phenomenon, which is found all over the world. At this

Ophelia, it would seem, totally at the pity of the male figures throughout her life, is indeed a victim figure. With regard to her father and brother, the two direct ruling male forces in her life, Ophelia is also very much a victim. Unquestioningly obeying their remonstrance against pursuing a relationship with Hamlet, she rejects his advances which of course she believes to be genuine and thus when he pretends to be mad she believes it to be her fault. Her speech reflects her deep and genuine

Most of what is said about Sycorax, for example, is said by Prospero. Further, Stephen Orgel notes that Prospero has never met Sycorax – all he learned about her he learned from Ariel. According to Orgel, Prospero's suspicion of women makes him an unreliable source of information. Orgel suggests that he is skeptical of female virtue in general, citing his ambiguous remark about his wife's fidelity.[37] However, certain goddesses such as Juno, Ceres, Iris, and sea nymphs are in one scene of the