Violence in the Male-Female Relationships of William Shakespeare's Hamlet

William Shakespeare's Hamlet epitomizes the violence that can arise in male-female relationships. The relationship between Hamlet and his mother Gertrude, and his first love Ophelia, are two perfect examples of the prominent violence between males and females in Hamlet. While some would argue that the conflict and aggression between Hamlet and his two leading ladies are purely a result of his growing madness, this paper asserts that these violent relationships are characterized by physical and emotional aggression, threats, controlling actions, and oppression that are a result of power struggles, jealousy, sexual tension, and a sense of betrayal.

Hamlet and Gertrude

At first glance, it seems that Hamlet is a son desperately lost and reeling from the recent death of his father, and the hasty marriage of his mother to his uncle Claudius. However, there is more to Hamlet and his mother than an angry and angst ridden son - mother relationship. Indeed, from the Act I, Scene I we catch a glimpse of Hamlet's bent up aggression toward his mother and her recent actions. "O God, a beast that wants a discourse of reason/ Would have mourned longer" (I.ii. 150-51). "O, most wicked speed: to post/ With such dexterity to incestuous sheets" (I.ii. 156-57). Hamlet is complaining about the swiftness with which his mother has chosen to remarry, chastising her for her insensitivity, and for her sexual indiscretion. While one could argue that Hamlet is merely trying to protect the honor of the family, and most specifically his father, it later becomes more clear that he has a more personal interest in the matter of his mother's sexuality. This point is an important portion of the story, because we are first seeing Hamlet's rage come through. This point also marks the beginning of the end of he and Ophelia's relationship. Although we soon learn that Ophelia was Hamlet's first love, the betrayal he feels due to his mother's sexual and emotional betrayal of his father, and himself, ruins any chance that he and Ophelia would ever work out. Hamlet's mother, Gertrude, ruins any hope of a healthy sexuality for Hamlet. Proof of this can be seen in Hamlet's dealings with Ophelia, most specifically in Act III when confronted by Ophelia he orders her to a nunnery and advises that if she will not, she should marry a fool, "...For wise men know well enough what monsters you make of them" (III.i.138-39). According to the Riverside Shakespeare, "monsters" is an allusion to "the notion that the husbands of unfaithful wives grew horns" (1209), but we can also read the passage in terms of the "monster" that Hamlet turns into in the face of his mother's infidelity, her incestuous relationship with Claudius. Furthermore, this refers to the power that women possess over men, and Hamlet, realizing this, sets himself apart from women altogether.

Another display of Hamlet's frustrated affections for his mother, as well as his anger for her, are tied up in his first soliloquy in which he refers to his "too too sallied flesh" (I.ii.129). Within this soliloquy, Hamlet refers to his body as tainted "...his very flesh corrupted, by what his mother has done, since his is bone of her bone and flesh of her flesh" (qtd. In Rosenblatt 1). Looking further in the text, we see that Hamlet is not only referring to himself in this statement, but also referencing the Biblical meaning of his statement and referring to Gertrude's betrayal of his father, the elder Hamlet. According to Rosenblatt, Hamlet is also referring to Gertrude's bond and duty to her former husband, and that he calls her back to this reality and references his former statement (2) later in saying, "My mother: father and mother is man and wife,/ man and wife is one flesh - so, my mother" (IV.iv. 51-52; qtd in Rosenblatt 2).

From this reference to both the bond between he and his mother, and the bond between his perished father and his mother, we can see the resentment Hamlet is holding on to. Not only does he remind Gertrude of her former husband and assert that she is betraying her bond and duties to him, but he also references a former statement which illustrates a strong grudge. Furthermore, by Hamlet referencing the Bible, he's bringing in reason beyond his own feelings for the resentment he holds against his mother. He does not allow his arguments to be merely based in emotion, but in religion as well.

One scene most illustrative of Hamlet's resentment and utter anger for the physical and emotional betrayal he feels his mother committed comes in Act III, Scene VI when Hamlet meets Gertrude in her room upon her bidding. As Hamlet enters her room he angrily demands, "Now, Mother, What's the matter" (III.vi. 8) Upon her answer that he has upset his father (Claudius), he responds, to her outrage, that it is his mother who has offended his father (the former King Hamlet). This is the first encounter we see in which Hamlet accuses his mother flat out of any wrong doing. Before this instance, Hamlet does a lot of alluding to the issue, but never quite puts it into clear words for Gertrude to take in.

Furthermore, the scene hints at very angry and incestuous feelings held by Hamlet for his mother. Although it is commonly played out on the stage in a bedroom, this scene was originally written to take place in Gertrude's closet, a very personal and intimate space. The tone hinted at by this setting was honed in on by Laurence Olivier in his screen adaptation of Hamlet when he staged this scene using silks and satins to portray the sexual undertones of the scene. Donaldson adds that there was also "phallic symbolism of (the) rapier and dagger" (1) asserting legitimacy in this Freudian interpretation of the text. Hamlet argues very passionately with his mother in this scene, threatening her, trying ever so hard to get her to follow his wishes. He argues "Peace, sit you down,/ And let me wring your heart, for so I shall/ If it be made of penetrable stuff" (III.iv. 34-6). Here he begs his mother listen to him, that she will come to see his side if her heart is not hard to the suffering of her son and her former husband. He goes on to chide her that her behavior

"...Blurs the grace and blush of modesty,/

Calls virtue hypocrite, takes off the rose/

From the fair forehead of an innocent love/

And sets a blister there, makes marriage vows/

As false as dieer' oath."

(III.iv. 40-5)

This scolding speaks not only of his mother's untoward acts, but can also of Hamlet's disgust for her lack of sexual discretion. His interest in his mother's sexuality cannot be mistaken here. There is a great deal of sexual aggression that is extremely significant, especially considering that Hamlet has just killed Polonius, an act that according to Freud would release sexual tension (Krims). Hamlet needs to gain sexual power over his mother in order to steal her away from Claudius, this is everything, especially since Gertrude seems so taken with sex and sexuality. Additionally, the romantic love Hamlet holds for his mother demands that he take her from Claudius' bed.

Aside from the sexual tension and aggression of this particular scene, Hamlet displays an alarming amount of violence toward his mother for the "bloody deed" of killing his father. Indeed, Hamlet exclaims in response to his mother's outcry to Polonius' murder, "A bloody deed! Almost as bad, good mother,/ As kill a king, and marry with his brother" (III.iv. 28-9). Whether or not Gertrude truly had a hand in the King Hamlet's killing is still up for debate, however, Hamlet certain accuses her of having a hand in it. Perhaps he is accusing her of conspiring against the former King, or perhaps he is merely alluding to her disrespect for his corpse only so recently put in the ground before she began bedding a new man. Either way, there is clear aggression in the tone and word choice Hamlet uses with his mother. From this we get a sense that not only in Hamlet angry, he is vying for power with Claudius. Hamlet needs his mother on his side in order to be able to exact revenge for his father's murder. We see Hamlet's clear power play in this famous bedroom scene in which he orders his mother "Come, come, and sit you down, you shall not boudge;/ You go not till I set you up a glass/ Where you may see the [inmost] part of you" (III.iv. 18-20). Hamlet struggles to make his mother obey him, he wants to control her actions and decisions, so much so that he threatens her to the point where she believes her life is in danger.

Hamlet and Ophelia

Poor Hamlet just cannot catch a break, and his first love, Ophelia, is the object of his second violent relationship. Hamlet's stormy relationship with Ophelia begins before the readers enters the story, however, it begins to turn upside down shortly after the play begins. This sudden change in their relationship status is spurred by the interference of several factors: Polonius and Laertes, the appearance of the ghost of the late King Hamlet; and Hamlet's grief over the death of his father, the swift remarriage of his mother, and his task for revenge. Each of these circumstances puts Ophelia at a disadvantageous fight for Hamlet's heart for which she ultimately loses.

Our first meeting with Ophelia reveals precious little about her, however, our second meeting is quite a bit more revealing. Laertes, her brother, is leaving for Paris to go back to school and orders she guard her heart, and her virginity, against the young Prince Hamlet. He explains that Hamlet's station does not allow him to extend real love to her. Ophelia listens, but tries to resist her brother's orders by joking with him

"But, good my brother,/

Do not, as some ungracious pastors do,/

Show me the steep and thorny way to heaven,/

Whiles, [like] a puff'd and reckless libertine, /

Himself the primrose path of dalliance treads,/

And reaks not his own rede."

(I.iii. 46-51).

While Ophelia seems to be just joking with her brother about following his own advice, it is also an attempt to stand up for herself and put herself on even footing with her brother. Unfortunately, Polonius, her father, also asserts that she quit her relationship with Hamlet saying "I would not, in plain terms, from this time forth/ Have you so slander any moment leisure/ As to give words or talk with the Lord Hamlet" (I.iii. 132-34). To this, Ophelia submits, and the first part of her self goes out the window. She is unable to gain control of her situation, and thus, she must give away her heart's desire to please her father and brother.

Along with a little bit of Ophelia's control goes Hamlet's affection for her. Ophelia follows her father's words to a tee and refuses Hamlet access to her. In return, Hamlet becomes infuriated and denies his love for Ophelia. Unfortunately, Hamlet's frustrations and anger with her are not all to blamed on her refusal to see him. Instead, Hamlet's mother Gertrude's marriage to King Claudius also comes into play. Not only has his first love, Ophelia, denied him, but his mother has betrayed him.

The first violent sparks between Hamlet and Ophelia begin to fly when Hamlet accosts her. Ophelia explains to her father in Act II,

"He took me by the wrist, and held me hard,/

Then goes he to length of all his arm,/

And with his other hand thus o'er his brow,/

He falls to such perusal of my face/

As 'a would draw it. Long stay'd he so."

(II.i. 84-88).

In hearing of Hamlet tossed appearance, and of his actions toward Ophelia, Polonius is convinced that Hamlet is a lost lover mourning and bewildered by his love shunning him. While we know this is not entirely true, Ophelia is left utterly and completely confused. Does Hamlet really love her? Why laid he his has on her in so violent a manner? And why was Hamlet so tossed in appearance? Had he lost sleep over the loss of her love? Not so, indeed Hamlet is in fact frustrated with Ophelia and all woman kind, and says as much after meeting in the hall.

As previously discussed in the section on Gertrude, Hamlet orders Ophelia to the nunnery. This comes after he adamantly and contradictorily confesses to both once loving her, and never loving her at all. In addition to being a confession to once holding sincere feelings for Ophelia, it is also a testament of the severity of recent events. Hamlet no longer trusts women, no longer holds any faith in them. During the play of Act III, Hamlet makes a joke of his relationship to Ophelia, claiming himself "your only jig-maker" (III.ii. 125). He goes on to ridicule Ophelia's feelings and person, as well as all women kind continually for their ability to quickly forget the men they once loved. In response to Ophelia's comment that the prologue is brief, Hamlet responds haughtily "As woman's love" (III.ii. 154). While this comment could be referring only to his mother, I believe it is also a reflection on Hamlet's feelings for Ophelia's quick change of mind concerning their relationship. Just like Gertrude, although for different reasons (unknown to Hamlet) she too "forgot" her man rather quickly, and after the offense suffered by his mother's wedding to Claudius shortly after his father's death an act of this sort was indeed serious. Hamlet himself criticizes Ophelia for her comment that his father died two months ago, not two weeks as Hamlet commented whilst looking to his mother. In response he spouts, "So long?" (III.ii. 129) in obvious mockery of the fact that two months is still much too short a time period to properly respect and grieve for a perished spouse.

As Hamlet continues to mock Ophelia, drawing from his anger over his mother's relationship, Ophelia falls deeper and deeper into complete humiliation. Hamlet truly overpowers her and takes her strength with it. She mocked. She is alone. However, she is never more alone than when Hamlet, her true love, murders her father. At this point, Ophelia has been dealt a fatal blow by Hamlet. Not only does he no longer love her, not only does he openly mock her, but he has also taken away the one person she had left to turn to, Polonius. At this point, we may say that while Laertes is still alive, he is rarely "there" for Ophelia. He comes too late back to Denmark, in which he finds his sister already mad and is shocked and appalled at her state. However, for much of the madness that she falls into, she is alone utterly and completely. Indeed, Hamlet has broken her.

During Act IV, Scene vii when the queen announces Ophelia's death, there is evidence of Hamlet's part in Ophelia's demise. Although she was long thought to have been driven mad purely by the death of her beloved father, her death bed seems to suggest otherwise. Madariaga suggests that the only logical reasoning for the Queen's succinct description of the flowers Ophelia fashioned was to hint at some sort of "sexual obsession" (72). It's also interesting to note the many artist interpretations of Ophelia during her final moments in life. One particular artist rendition by Elaine Showalter combines "virginal and vacant white" to contrast with Hamlet's traditionally dark garb, "Her flowers suggest the discordant double image of female sexuality as both innocent blossoming and whorish contamination...symbolically deflowering herself..." (qtd. in Pittsburg State University).

Clearly there is more to Hamlet than a noble mind overthrown. Hamlet is a youth tortured, betrayed, and jaded. The violence of his only two female relationships are a result of the deep emotional torment he experiences at the thought of revenge, infidelity, and denial. Hamlet sought to control Gertrude, to retain her affection for himself so as to secure a chance at revenge. To save her by making her repent for her actions. And he rebuked Ophelia for her rejection of him, and for the sins of all womankind. Tainted by the betrayal he witnessed in his mother, Hamlet also tainted any chance of a relationship with Ophelia, the one woman who actually loved him best. The need for power, for control, and for stability drove Hamlet to use his words like knives, to make the women closest to him see that they were wrong, sinners in need of returning to the flock.

Works Cited

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Hamlet. Dir. Laurence Olivier. Perf. Laurence Olivier, Peter Cushing, Eileen Herlie, Stanley Holloway, and Esmond Knight. Criterion, 2000.

Krims, Marvin, B. "Hamlet's Frailty." Free Associations. 7B (1997): 232-246.

Madariaga, Salvador. On Hamlet. Oxon, England: Frank Cass & Co. Ltd, 1964.

Mercade. Hamlet on Shakespeare's Philosophy of History. London: Williams and Norgate, 1875.

Pittsburg State University. "The Ophelia Page." 2006. 01 July 2009 .

Rosenblatt. Jason, P. "Aspects of the Incest Problem In Hamlet." Folger Shakespeare Library 29.3 (1978): 349 - 364. 01 July 2009 .

Rosenburg, Marvin. The Masks of Hamlet. New Jersey: Associated University Press, 1992.

Shakespeare, William. "The Tragedy of Hamlet, Prince of Denmark." The Riverside Shakespeare. Ed. Herschel Baker, Anne Barton, Frank Kermode, Harry Levin, Hallett Smith, Marie Edel. Boston: Houghton Mifflin Company, 1997. 1189-1234.