Ofelia's Madness Essay

While Hamlet’s “mad” behavior starts out as an “antic disposition,” his mental state deteriorates. Does Hamlet truly go “mad,” or is all of his wackiness an act?

The first thing Offred finally works the nerve up to steal is a daffodil from one of Serena Joy's arrangements. Even Jezebel's, where the Commander takes the Offred, is decorated with flowers. Flowers are also used to disguise things that are ugly or terrifying; the narrator compares the bloody mouth of a hanged man, for example, to the red tulips in Serena Joy's garden. Flowers are often considered symbols of beauty or fertility. In The Handmaid's Tale, they're given special attention as objects that can bloom and grow at a time when few women can. From a technical standpoint, flowers are also the part of a plant that holds the reproductive organs. They're constant reminders of the fertility that most women lack. It seems the older Wives are seeking to hang onto their attractiveness and fertility by decorating themselves with flowers and tending gardens: "Many of the Wives have such gardens, it's something for them to order and maintain and care for" (12). Serena Joy takes a bizarre pleasure in mutilating flowers. Perhaps these are attacks Serena Joy would like to make on the Handmaid, who can be seen as a flower living in her

Laertes also brings revenge and betrayal out of Hamlet. Though an enemy, Laertes is a foil to Hamlet. Laertes helps in the development of Hamlet through the similarities they share. These include anger over the death of their fathers, and desire to exact revenge. Betrayal is also relevant because Laertes betrays Claudius in the end, revealing his plan to kill Hamlet. Hamlet betrays his father by verbally abusing his mother, against the wishes of his father. The differences between the two men are very strong. Hamlet would not kill Claudius in the church because he was praying. Laertes, however stated that he would kill Hamlet in a church, praying or not. Another difference is that Hamlet cannot be a man of action and a man of thought at the same time. He does not use his mind when he acts. He just acts. When he is pondering something, he is unable to act out his thoughts, and keeps quiet. Laertes, however, is able to act while thinking. He finds out that Hamlet killed his father and immediately devises a plan to kill him. This flaw makes Hamlet dangerous to himself, and is ultimately his downfall.

If he gave her any personal praise, as a woman of distinct qualities (one who was vital to the farm's survival), he might be empowering her. Thus, he keeps his praise for her superficial skills, growing flowers. In this way, Henry frustrates Elisa by not seeing into her true character. The flowers represent Elisa trying to find some way of escaping from her frustrated and repressed husband, not from her own sexual frustration.

When Laertes learns that Hamlet has killed his father, he immediately goes along with the king's plan to kill Hamlet. Laertes agrees to "be ruled" by the King so that Hamlet "shall not choose but fall; / And for his death no wind if blame shall breathe, / But even his mother shall…call it accident" (4.7. 69, 65-68). Laertes has lost all form of conscience because of his anger towards Hamlet, he even wants "to cut [Hamlet's] throat i' the church" which is a grave offense that would surely send Laertes to Hell (4.7.127). Hamlet, on the other hand, spends much of his time plotting how he will gain his revenge. He has "heard / That guilty creatures sitting at a play…have proclaimed their malefactions…/ Before mine uncle, I'll observe his looks…If ‘a do blench, / I know my course" (2.2.589-90, 593, 597.598-9). Hamlet chooses to show the King a play, very like that of Claudius' own murderous deed, in order to cause a reaction. When "the King rises" unexpectedly, Hamlet gains some evidence of the King's guilt, beyond the word of a ghost.

She can’t fully comprehend why she detests these flowers, and so all she knows is that they “did not make sense to her.” The child in her only has insight into her own world, and not into the worlds of others around her. Despite the marigolds being too troublesome for her to understand, she remains ignorant and does not try to seek any further meaning behind them. With Lizabeth in this naïve state, she has not yet felt the conflict between the child and the woman in her; she’s too ignorant at this point to attempt to develop an understanding for Miss Lottie and her flowers. After Lizabeth and the other kids launch the first attack on the marigolds, invoking great rage in Miss Lottie, Lizabeth feels a sudden urge to antagonize the old woman even further. Chanting vicious phrases at her, Lizabeth feels that she, “lost [her] head entirely, mad with the power of inciting such rage [in Miss Lottie].” Lizabeth has been taken over by a childish sense of pride after provoking Miss Lottie, showing her selfishness and lack of compassion. Being the child that she is, Lizabeth decides to further irritate Miss Lottie, only thinking about herself and how to ease her boredom. She is only concerned about her own little world. This sudden act of cruelty to Miss Lottie reveals

Laertes acts the most irrationally and rapidly. When Laertes discovers that his father was murdered, he becomes outraged and demonstrates his uncontrolled character as he storms into the castle of Denmark overthrowing the guards and demanding answers about his father's death and questionable funeral. "O thou vile king, give me my father!" (Act 4 Sc.5, 119-120). He is enraged that his father was not buried with his sword and that there was no memorial. When Laertes learns that Hamlet killed his father, he gives no thought to the damnation of his soul as he immediately makes a plan with Claudius to poison and kill Hamlet. Laertes' hatred

Laertes loses his family because of Hamlet’s actions. His father is killed by him and his sister kills herself because of her grief. Laertes and King Claudius begin to plot Hamlet’s murder, planning to poison him, by drink or wound, whichever comes first. However, the plan backfires on the both of them and Laertes dies from his own blade, but not before saying “The King, the King’s to blame.”

Laertes meanwhile, had initially been a very noble youth, who is had presumeably been an honourable figure throughout most of the play. However, when his father is murdered, as he tries to seek revenge for honour, he instead becomes an instrument for Claudius evil plot. Thus, he becomes engaged in the immoral schemes of Claudius, and even though he does admit that such doings are against my conscience, he still conspires to end Hamlets life in a dishonest manner. Thus, as a result of his lapse in judgement, he, like the other villains in the play, is condemned to death. However, before his death, he is redeemed when he admits that he had been justly killed with my own treachery. Thus, in this case, his underlying integrity, in the end, is able to free him from heavens judgement, and a more honourable death is restored to him, as compared to the previously mentioned villains. Had Laertes taken his fathers advise and been true to oneself, he may have gained a more rewarding end. Thus, we are again able to

    In Shakespeare’s play, Hamlet, the characters of Laertes and Hamlet both display impulsive reactions when angered. Once Laertes discovers his father has been murdered, he immediately assumes the slayer is Claudius. As a result of Laertes' speculation, he instinctively moves to avenge Polonius' death. "To hell, allegiance! Vows, to the blackest devil! Conscience and grace, to the profoundest pit! I dare damnation: to this point I stand, that both worlds I give to negligence, let come what comes; only I'll be revenged most thoroughly for my father." Act 4 Scene 5 lines 128-134 provide insight into Laertes' mind, displaying his desire for revenge at any cost.

There is however evidence that Hamlet is actually mad. For example, Hamlet sees the ghost of his father when others do not, but this could also be seen as evidence to prove that he is not mad because there are others who did see the ghost as well. By using examples such as this, Shakespeare makes it difficult for the reader to distinguish Hamlet's actually insanity and feign of insanity if there even is one or

"The Chrysanthemums" introduces us to Elisa Allen, a woman who knows she has a gift for growing things, but it seems to be limited to her garden. Diligently working in her garden, Elisa watches as men come and go, living their lives unconfined, wondering what it must feel like to have that freedom. That emotion is revealed as Elisa gases at her husband and acquaintances talking, "she looked down toward the men by the tractor shed now and then." As she tills the soil for her chrysanthemums Elisa tills the thoughts in her head. The garden she so desperately maintained represents her world. A world that will only flourish if nourished. Emotional nourishment and stimulation is what Elisa lacked and longed for. The garden is limited in space to grow and so is her marriage. The garden is safe, non-threatening and so is her world. The garden contains many different elements that make it what it is, although unseen, and if the proper nourishment is not given it will die, as with Elisa.

Hamlet is trying to kill Claudius. Claudius has already taken a step forward by putting Laertes against Hamlet. "To thine own peace. If he be now returned, As checking at his voyage, and that he means No more to undertake it, I will work him To an exploit, now ripe in my devise, Under the which he shall not choose but fall. And for his death no wind of blame shall breathe, But even his mother shall uncharge the practice And call it accident." Laertes wrath towards  Hamlet is as much rage he has towards Claudius. Claudius already knows what is coming towards him, which is why he is using Laertes. Laertes believes that Claudius is being impartial that is why it's an ideal disarray for Hamlet. Hamlet has two powerful enemies on him and it makes it complicated to get justice on Claudius. It's not going to be easy for neither of the rivals.

Laertes goes off the death of his father and begins scheming with the king to have

Steinbeck uses chrysanthemum’s to symbolize Elisa’s strength and power in order to show how societal standards cause women to miss out on opportunities and become frustrated with the confinement of their expression. “[Elisa] was cutting down the old year's chrysanthemum stalks with a pair of short and powerful scissors. She looked down toward the men by the tractor shed now and then. Her face was eager and mature and handsome; even her work with the scissors was over-eager, over-powerful.” Chrysanthemum stalks require a great deal of force to be cut down, which is highlighted through Elisa’s use of “powerful scissors.” Ordinarily, flowers are portrayed as beautiful and delicate; however, chrysanthemums are sturdy and tough. Steinbeck chose specifically to use chrysanthemums because they symbolize the strength Elisa has; she is confident, empowered, and masculine, but all of her strength is confined within the standards of society just as the chrysanthemums are confined within the walls of her garden. Elisa, as a woman, is unable to express herself as strong, masculine, and proud because that was not the standard that women were held to during that time; her expression is confined to her work in the garden with her chrysanthemums, and it is frustrating for her to miss out on the opportunities that would showcase her strength and let it be appreciated by her husband and the mender because of the standard of delicacy and beauty that women are held to.