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• W2301799156 abstract "The purpose of the present paper is to make a reflection about Ophelia, her madness being the central issue. Mine is an attempt to provide the reasons which might explain her final collapse. The initial assumption upon which I build my essay is that Ophelia can really be analysed as an “apparent” human character. I am far from viewing her merely as a convergence of social, cultural and economic influences. This perspective denies the possibility “that Shakespeare’s characters are susceptible of analysis as people” and instead tries to bring out “a series of specific cultural issues of the early modern period” in order to show the ways “in which ‘femaleness’ was significant in a network of possibilities for categorising and discriminating experience” (Jardine 1983: 6). My critical procedure starts in Hamlet. This is an assumption that is no longer taken for granted in light of recent literary criticism, which often ends in the text simply to confirm the political stance that has already been made (Bloom 1998: 8-9). From the text I will move to those contexts I consider relevant for its full understanding: among them myself, my own personal vital existence, my human experience, for I am convinced that the best way to fully understand Ophelia, as she is described in the text, is to read it closely and ask myself the timeless questions that she poses. My view is that one which professor Lopez-Pelaez, scholar and friend, described with some degree of mistrust as “a kind of psychological realism, a characterbased criticism at the service of a supposedly timeless and unchanging human nature” (1997: 69), a method which, he admits, “seems to have been more resistant to theory” (1997: 70) . I do not know whether or not Shakespeare “invented the human as we continue to know it” (Bloom 1998: xviii); what he certainly did was to grasp, as Chaucer or the Gawain-poet had also done before him, that which makes us authentically human: that which, “according to Johnson, justly imitates essential human nature, which is a universal and not a social phenomenon” (Bloom 1998: 3). I feel comforted when reminded that Ophelia, Macbeth or Horatio are creations of personality which are similar to myself in essence, moods and attitudes, rather than mere products of the history, culture and ideology that conditions them (Wofford 1994: 212-13) (See Barbeito 1989, Dollimore 1989 and 1990, Dollimore and Sinfield 1992, Drakakis 1991, Greenblatt 1984 and Sinfield. 1992). To me, historicised approaches to Shakespeare do help us to understand many of the responses and views of his characters, but they fail to explain their" @default.
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• W2301799156 date "1999-01-01" @default.
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• W2301799156 title "The Fismonger's Daughter Goes Crazy. I: the Domineering Father, the Mad Lover, and the Dead Mother" @default.
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