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Ryan Gallagher
AP Literature
13 March 2011
In perhaps one of the most riveting scenes from Shakespeare’s classic play,
Hamlet, protagonist Hamlet and Ophelia share an encounter that explores and brings into
question the essence of masculinity. Beyond the textual exterior of Hamlet’s blatant
bashing of Ophelia- the question of his genuine intentions is brought into light. Kenneth
Branagh’s 1996 cinematic version of Hamlet depicts Hamlet as more than a lover jaded
by the opposite sex, but perhaps a deeply troubled young man unable to overtly express
himself with the burden of revenge on his shoulders. The complexity of the scene
explores Hamlet’s sublime message of loath- not for Ophelia, but for himself. Jilted by
the cowardice he finds within himself, Hamlet puts on a façade of strength and resolve in
front of Ophelia (and her father) to counter his internal struggle to preserve what ever is
The scene opens with Hamlet- eyes wide open and glimmering with intrigue as the
sight of Ophelia catches his attention from across the room. He smiles, and slowly walks
over to the vision of his lady against the backdrop of a majestic foyer. As he approaches
Ophelia, the sweet melodramatic sounds of music warms up the movie picture- indicating
to the audience the undeniable romantic spark that ignites between Hamlet and Ophelia at
the sight of each other. As Hamlet and Ophelia stand face to face- their eyes gleaming
with softness for each other, Opelia asks, “How does your honor for this many a day
(90)?” A rather general “How do you do” question, but it was in the manner in which
Ophelia asked Hamlet, so soft and whispery- so intimate. The longing in Ophelia’s voice
is amplified rather ironically by the intimacy manifested in her speech. And if it wasn’t
already obvious that the two characters share a romantic bond- Hamlet answers Ophelia’s
(general) question with a few fumbles in his voice. Perhaps stricken by his feelings for
the lady, young Hamlet finds himself stuttering to give her a proper answer. The
exchange carried with a few awkward laughs are subtle implications of innocent ‘puppy
love’. To intensify the burning flames of romance further, Hamlet stops his fumbling
speech to reach out to Ophelia and hold her in a tight embrace- followed by a passionate
and romantic kiss. This opening act is symbolic- for it shows a more vulnerable side to
Hamlet- his apparent weakness for Ophelia. A weakness that later he tries to combat with
The scene takes a turn for the worst as Hamlet stuns Ophelia with complete flip of
smacks the item out of her hand. Stunned, Ophelia stands as Hamlet assumes a bitter and
nasty persona, he snaps at her, “Are you honest (102)?” and “Are you fair (104)?”- quick
interpretation of the text, on the surface Hamlet seems to be fuming- however his voice is
cracking, as if he were on the verge of tears. The hesitancy and discrepancy within
Hamlet’s voice and words allude to the suggestion that perhaps Hamlet is not being
entirely truthful with his sentiments towards Ophelia. Ophelia’s complete shock at the
belligerent nature of Hamlet’s speech indicates that this cruel side of Hamlet is something
that is completely new to her. As Hamlet continues with how Ophelia’s “beauty (110)”
has “transformed (111)” into “his likeness (112)”- suggesting how one’s beauty can
easily turn one into a ‘whore’ but it can be contrary to it eliciting goodness. Hamlet’s
rambling takes a dramatic pause as the scene is drowned out by powerful piano chords
that consume the silence. In the duration of the dramatic pause- Hamlet’s facial
expression resumes a gentler, more docile look as his voice cracks again confessing that
“I did love you once (114).” The continuing shifts in tone and action leads one to believe
that Hamlet is struggling to be cruel to Ophelia. Hamlet attempts to degrade her into
being a strumpet- but when confessions of his own affection toward her come out, he
truly desires. As the scene continues, the pang of pain plastered across Ophelia’s face
ignites waves of sympathy as she witnesses the love of her life completely rejecting her.
In the face of dejection, Ophelia stands silently stunned- an indication that her love for
Hamlet was real, something more substantial than a speculated fling, and that above
Continuing on his tirade of how he was never in love with Ophelia- Hamlet
begins to profusely articulate why he is completely wrong for her. Hamlet states that he is
“very proud, revengeful, ambitious, with more offenses at my beck than I have thoughts
to put them in (124-125).” All of those flawed qualities should more or less convince
Ophelia that she must not love him. While he rambles about his faults, Hamlet grabs
Ophelia- almost jolting her as he screams in her face. His actions implying as if he were
warning her- to shake some sense into her that he is indeed bad for her. His screams more
or less come across as more like ‘pleas’- pleas to please get away from him and perhaps
seek refuge “in a nunnery (120)”, anywhere but to be with him. He asks Ophelia “why
wouldst thou be a breeder of sinners (121)?” the question implying that if the two of them
were to ever wed, she would give birth to babies of sinners. On the surface, Hamlet
seems to insinuate that Ophelia is the sinner, but underneath it all, Hamlet is really
saying, “Do not fall in love with me, our babies would be sinners, like me.” If anything
the scene indicates that Hamlet’s malice towards Ophelia is derived from his concern for
her own welfare. However, Hamlet’s inability to fully convince Ophelia that indeed he no
feelings for her is demonstrated by the fickleness of his resolve to end things, at some
points he remains stern and at others his voice cracks as he is swept by his own emotions.
which makes Hamlet aware that he is being watched. At the realization that such an
intimate moment has been encroached upon by people he has disdain for, Hamlet
suddenly becomes emotionally distraught. As he cups his hand into his face- visibly
crying and trembling with anguish, he utters “farewell (132).” The farewell is the final
word of tenderness that Hamlet must reach Ophelia with before he must really be cruel to
her. Realizing that he must continue to act ‘mad’ so he could seek revenge on Claudius.
Hamlet’s emotionally fragile state is the final show of his vulnerability. As depicted in
the movie where Hamlet now must out on a ‘show of madness’ for Claudius and
Polonius, Hamlet starts belligerently screaming, dragging and pulling Ophelia (with
much violence) across the foyer, opening doors to find the King and Polonius. In a
dramatic scene Hamlet pushes Ophelia’s face against the final door in the foyer (knowing