In Act I Scene III, her brother Laertes and father Polonius tell her that Hamlet will not marry her since he is the heir to the throne, he may choose to marry whomever he pleases. Ophelia believes, however, that Hamlet does truly love her, even though he denied it in the Nunnery Scene. This is an example of how Ophelia is hesitant on making her own decisions but chooses
In act four Hamlet ‘pretended’ that he didnt love Ophelia because her dad and claudius were watching him. If Hamlet really loved Ophelia then he would not of acted like a douche bag and made Ophelia feel like she meant nothing to him. If he did have to say those things he said to her so he can stay with her he didn 't even bother to send her a letter and tell her why he said the things he said, instead he never contacted her again he just let it be. Hamlet could have been a man and confessed his love for her in front of them and just fight for her. Another way Hamlet shows he does not love Ophelia is is the fact he feels no harm in his killing of Ophelia dad.
Batista and Egeus both have a hand in the marriages of their daughters, but vary on the decision of whom should marry their daughters specifically. Both Batista and Egeus ignore their daughters when their daughters want to have a voice in who they marry. Unlike Egeus’s lack of involvement throughout the play, Batista is quite presence in his play and has a hand in the marriages of his daughters. At the end of the play, Batista accepts his daughters’ marriages, whereas, Egeus needs more persuasion by Theseus to accept the marriage of Hermia. The parallels between both Batista and Egeus show the similarities of the two fathers over their concern for their daughters’ futures.
For example, as the scene opens, Juliet is imagining her and Romeo having sexual intercourse: “Lovers can see to do their amorous rites by their own beauties” (III:ii, 11). This shows that Juliet is mature because she is starting to think about stuff adults do. Also, when the nurse calls on shame to Romeo, Juliet contradicts her by telling her to shut up: “Blister’d by thy tongue” (III:ii, 20). This shows that Juliet is mature and makes her own decisions because now she doesn’t say what the nurse tells her to say but what she feels and thinks. In addition, Juliet won’t speak ill of “him who killed her cousin” because she says that why should she if that is her husband: “Shall I speak ill of him that is my husband?” (III:ii, 22).
Gertrude is a dependent character of men, especially Claudius. Indeed, she married Claudius barely a month after the death of her husband, which suggests several things. First of all, this means that it constantly seeks a male figure to lean on, it is in need of affection and desire for attention. It also suggests the possibility that she wants to keep her Queen status. Subsequently, Gertrude takes no real decision for himself because it follows the choice made by the men around her.
When Treplev tries to share stories from the past with his mother. Arkana forgets who she was in the past than slowly remembers. Acting out sarcastic about the past story is remembering from her past, feeling sad for her son. That seems narrow-minded because Arkadina is a mother. She doesn’t care what she did the past, it only matters what she is going to do in the future with her new lover.
Janie’s grandmother, Nanny, forces Janie to marry a man she is not in love with out of convenience. Nanny does not want Janie to suffer the necessities of life, but Janie cares little about materials and seeks love. Nanny’s ideology haunts Janie for much of her life, influencing decisions she takes later in marriage. Huston says, “The memory of Nanny was still powerful and strong,” which shows how Janie conforms to the ideology her grandmother instilled in her. And although Janie conforms, she continues to question inwardly about love.
Besides the point that he does not want his own daughter to get hurt by another man, but he also cares about his reputation too. Polonius was devoted to King Claudius at the time, and since Claudius was not in a good relationship with Hamlet, Polonius does not want his daughter to embarrass him by being in a relationship with Hamlet. Polonius’ words to Ophelia showed that he is a person who cares more about material well-beings and his own reputation than his daughter’s happiness. When Ophelia was explaining Hamlet’s actions, she said that “He hath, my lord, of late made many tenders of his affection to me” (108-09). The word “tenders” has three meanings: kind, money, and to give.
Ophelia’s character went through quite a large transformation. In the play her father tells her that she is to stay away from Hamlet and she readily agrees. In the movie Ophelia doesn’t disagree with her father but she also doesn’t agree just to please him. This shows that Ophelia isn’t easily persuaded, even by her own father. Despite her father’s warning about Hamlet, Ophelia met with him in secret at her apartment until her father found out.
Lear believes that his daughter does not care for him and so takes away her inheritance, while Claudio believes that his betrothed has been unfaithful and so shames her on their wedding day. The final similarity is Shakespeare’s use of ‘funny characters,’ those whose value seems to be nothing more than to provide the audience, usually the groundlings, with same base form of amusement. Lear has his jester, and the maid Margaret plays the part in Much Ado. However, often these characters will be given deeply philosophical lines and essential parts in the furthering of the plot, which go unseen by the average, non-academic viewer. “While we might think little of the buffoonery of a Nick Bottom or the witticisms of a Feste, Shakespeare, his contemporaries in the early modern professional theatre and especially his audiences, valued clowning highly – and scrutinised it carefully in its
No questions asked. Her true self is clear when she has a conversation about Hamlet, first with Laertes, her brother, then with Polonius, her father. After Laertes advises Ophelia to fear Hamlet and to be cautious with him, she replies by telling him not to lecture her (Act: I: Scene: 3: Lines 48-50). She is able to criticize her brother to some extent, but when her father gives her the same lecture as he did and tells her not to accept Hamlet’s hand, she simply replies, “I shall obey, my lord” (Act: I: Scene 3: Line 135). This early scene in the play sets up Ophelia’s mood.