Note: This was a strong paper, for three main reasons.  First its thesis--that the language used about women in Hamlet reflects assumptions during the time of Shakespeare's plays about female inferiority--makes a specific argument that foregrounds a concept rather than some aspect of the play's plot or character.  Second, all of the points are supported by textual evidence that is read closely and frequently in ways that make one see the text in a new way (I particularly like the point that no one worries about Hamlet's sexual behavior, even when it appears much more out of control than Ophelia's).  The paper also doesn't limit its interpretive lens to what one character does or says, but rather shows a common perspective threading through the words of multiple characters in the text.  Third, the paper is also well organized.  Each paragraph announces its distinct point and then supports the point announced; and all of the points relate to the thesis.

The paper could also be revised in three respects (and what paper could not?).  First, the thesis could be more specific still.  Up front it should say in what terms women in the play are seen as inferior.   There's a potentially stronger thesis here that women are seen as inferior in contradictory ways: as both obedient (including in their sexual self-control) and sexually out of control.  Second, while the paragraphs all make distinct points that relate back to the thesis, there's not much that tells us how one aspect of female inferiority relates to the other.  Are they really all different, or is there a logic that relates them?  Third, the writer should use more active voice and strong transitive verbs (rather than forms of the the verb "to be") in order to make the sentences more concise.
--rm


Analysis of the Role of Women in Shakespeare's Hamlet


There is no doubt that at the time of Shakespeare's success the world view of women's nature was accepted to be subordinate--both mentally and physically--to that of men in a patriarchal society. Many issues of gender and sexuality are expressed in the language of his plays, namely the The Tragedy of Hamlet, Prince of Denmark. The characters dialogues speak multitudes about the popular beliefs held about the nature of women and their relationship to sex, as well as perceptions of the female body. Upon further analysis of the language used in Hamlet, especially in regards to Ophelia, the sentiments about female inferiority in this time period are reinforced.

The notion of women's base, immoral nature was a direct contrast to the expectations of women's behavior in Hamlet. While women were thought to be deceptive and unfaithful, and susceptive to the pursuit of sexual pleasure, they were expected to be "chaste, silent, and obedient," as we discussed in class. Evidence of these expectations is found throughout Hamlet, most visibly in the character Ophelia.

Early on in the play, it is revealed that Hamlet has feelings for Ophelia and has been pursuing her. In Act 1, Scene 3 Laertes advises her not to give in to Hamlet's advances, describing her virginity in line 31 as her "chaste treasure" which she should not open. In the same scene, he more clearly outlines proper behavior saying that "The chariest maid is prodigal enough / If she unmask her beauty to the moon" (1.3.36-37). In plainer words the gloss and footnotes translate this into the "most careful, modest" woman will retain her virginity. Ophelia has a moral duty to restrain herself against both Hamlet's and her own feelings, and this dutifulness extends to her obedience to male superiors. Polonius speaks to Ophelia after Laertes and reinforces the things her brother has just expounded to her. She is most receptive to these admonishments. Ophelia vows to curb her feelings and behavior and tells Polonius that she "shall obey, my lord" (1.3.36). The fact that she addresses him as "lord" is further proof of her inferior position among men, especially her family. Ophelia is seen as a property of Polonius. At one point in the play he says, "I have a daughter--have whilst she is mine" meaning she belongs to him until marriage, at which time ownership is transferred to her husband (2.2.107). Women cannot escape second class status.

It is suggested throughout the text that women are inherently vulnerable to sexual desires and impropriety. Mentions of women are limited to negative references. For example, Claudius uses a metaphor likening false speech and behavior to that of a harlot's attempt to feign beauty through cosmetics (3.1.54). Another remark about prostitutes follows in the same act. Hamlet is speaking to Ophelia in a most hostile manner. He orders her to "get thee to a nunnery" (3.1.122). In the footnote this is explained as stressing two alternate meanings: 1.) to join a convent where she will be celibate, or 2.) to go to a brothel, for which "nunnery" was slang in Elizabethan English. Either interpretation supports the aforementioned claims that women should be virginal and pure and that women fall into promiscuous sexual behavior. A third statement in the same vein of thought actually ascribes the guilt more to a male but nonetheless calls a woman a whore. The passage literally says "he hath killed my king and whored my mother," referring to the actions of Claudius (5.2.65).

Later in the play, Ophelia becomes a symbol of virtue and morality. The text seems to suggest that Ophelia's ability to conquer her female nature and live an honorable life in the eyes of her peers (especially in regards to maintaining her chastity) contribute greatly to this veneration. After her death, Ophelia is praised by Gertrude, who laments her death as she strews flowers over her coffin, which she mournfully comments should have been scattered over her bridal bed. Ophelia is even given a proper holy burial, despite the fact that her drowning is questioned as a possible suicide (a sin in the eyes of the church). This was only possible through royal intervention and the fact that she was a woman of upper class. Laertes, perhaps the most distraught, goes so far as to proclaim "I tell thee, churlish priest, / A minist'ring angel shall my sister be / When thou liest howling" to a priest of all people (5.1.223-224).

The nature of women, not necessarily pertaining to virginity, but other alleged characteristics of femininity are also found in Hamlet. For one, it is suggested that women are fickle in their love, or emotionally imbalanced. During the performance of The Mousetrap Ophelia comments that the prologue was brief. In turn, Hamlet slights womankind in his quip, "As woman's love" (3.2.137-138). When Shakespeare writes that "For women's fear and love holds quantity / In neither aught, or in extremity" he indicates that women either don't love or fear at all, or they fear and love too much (3.2.151-152). This generalization of all women is regarded as a flaw. Disrespectful is also an attribute of women according to Hamlet as exemplified in his treatment of his mother. Queen Gertrude typifies a woman who shows the ultimate disregard for the memory of her late husband by marrying her brother within a short span of his death. Hamlet considers this a profane, traitorous, and callous display and reams her for it in Act 3, Scene 4 in a lengthy tirade.

As for the actual act of sex in Hamlet, there is definitely a double standard for women. In the scene where Hamlet barges in on Ophelia half nude and frightens her, the concern of the other characters is not the emotional damage sustained by Hamlet's intrusion on Ophelia, nor the threat he might have posed to her in this act, but instead the state of Hamlet's well-being. Her speech reveals that she is distressed that it occurred. The surrounding cast disregard this and go on to conclude that Hamlet has acted madly because Ophelia has "denied access" of herself to Hamlet (2.1.111). Hamlet is portrayed as sexually hungry and ready to act on these impulses, yet this is not a central issue. His promiscuity is seen as youthfulness. The only reason why Laertes and Polonius put a stop to their courting is because Ophelia is lower in rank than him and the match would be inappropriate. Polonius makes it clear to Ophelia that if she goes against his advice, she will bring shame to him stating frankly, "tender yourself more dearly…/ --you'll tender me a fool" (1.3.107-109).

References to women's bodies lie in the main attribute that distinguishes women from men--the vagina. In the provocative, sex-laden dialogue between Ophelia and Hamlet during the performance of The Mousetrap, Hamlet puns on the word cunt. He asks Ophelia if he should lay his head in her lap, and they discretely refer to her vagina as "nothing" (3.2.101-109). According to the footnotes, women's vagina were likened to zeroes. The word "cunt" however is an extremely vulgar word for the vagina that connotes a low, dirty understanding of its meaning. Another interesting point to note in Hamlet is when the Player King in The Mousetrap brings up Hymen, the goddess of marriage (3.2.143). It is interesting to note that the hymen is actually a piece of tissue that partly covers the opening of the vagina, which can be broken during sex. The hymen can be separated in other ways, but it is often thought to be associated primarily with the loss of virginity. As established numerous times in this essay, women were expected to remain virgins until marriage. So while it is questionable whether studies of anatomy were advanced enough to identify this body part by its proper name, it is still an interesting association.

In closing, the position of women's role as seen in Hamlet is definitely one of lower status. Female characters as well as women as a whole are often subject to the degradation of their male peers. Their nature is portrayed to be one of inherently deprived, untrustworthy, sexually promiscuous, and references to their bodies or their share in sex limited to lewd analogies. This is most clearly illustrated in Ophelia's treatment and role in the play. Hamlet, is however no exception. A closer reading of other Shakespearean plays will surely reveal other startling misconceptions held about the nature of women at Elizabethan times.