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FACULTY OF EDUCATION AND BUSINESS STUDIES
Department of Humanities
Shakespeare’s Representation of Women
A Feminist Reading of Shakespeare’s Hamlet
Mathilda Samuelsson
2020
Student thesis, Bachelor degree, 15 HE

English
Upper Secondary Teacher Education Programme
English 61-90 HE
Supervisor: Iulian Cananau

Examiner: Maria Mårdberg
FACULTY OF EDUCATION AND BUSINESS STUDIES Department of
Humanities Shakespeare’s Representation of Women A Feminist Reading of
Shakespeare’s Hamlet
‫كلية التربية والدراسات التجارية قسم العلوم اإلنسانية تمثيل شكسبير للمرأة قراءة نسوية في مسرحية‬
‫هاملت لشكسبير‬
Mathilda Samuelsson 2020 Student thesis, Bachelor degree, 15 HE English

Upper Secondary Teacher Education Programme English 61-90 HE
Supervisor: Iulian Cananau Examiner: Maria Mårdberg
‫ سعادة برنامج تعليم معلمي اللغة‬15 ،‫ درجة البكالوريوس‬،‫ أطروحة الطالب‬2020 ‫ماتيلدا سامويلسون‬
:‫ يوليان كانانو الممتحنين‬:‫ سعادة المشرف‬90-61 ‫اإلنجليزية للمرحلة الثانوية العليا اللغة اإلنجليزية‬
‫ماريا ماردبيرج‬
@xFxBot ‫) | ُترجمت بواسطة‬1( ‫صفحة‬

Abstract
Shakespeare’s Hamlet (1609) is a nuanced play that illustrates revenge, madness, and
complex relationships. The essay aims to analyse the importance of the two female
characters in the play: Ophelia and Gertrude. By studying Ophelia and Gertrude, the
essay shows how Shakespeare portrays women in Hamlet. Furthermore, the study does
a feminist reading of the play to investigate how Ophelia’s and Gertrude’s actions and
behaviour are affected by the contemporary patriarchal society, and how it affects the
male characters’ choices.
In order to examine the ways in which Shakespeare portrays Ophelia and
Gertrude in the play, their characters are deconstructed. By deconstructing characters, it
allows them to have contradictory characteristics, such as rational yet irrational, or sane
yet mad. It is essential to consider several perspectives when doing a close reading of all
characters in the play, since every reason for their behaviour and actions have an
underlying meaning, which contributes to the complex and nuanced plot. Therefore, the
study, besides deconstruction, does a close reading of the play’s characters as a method
to investigate how Ophelia and Gertrude are portrayed in the play, and how their
behaviour and choices affect the other characters.
The results show that, at first, Ophelia and Gertrude are pictured as the
passive and silent gender under the obedience of male authority. However, beneath the
surface, Gertrude is a strong woman who tries, in clever ways, to rule for the state’s
interest and, unsuccessfully, tries to prevent Hamlet’s emotional decisions and thirst for
revenge to destroy the state. Ophelia has a relatively small part in the play, but her
presence clearly shows how women were interpreted in a contemporary patriarchal
society. For example, in the first half of the play, she takes the role as Hamlet’s
unmarried lover. After Hamlet rejects her for being unchaste, the murder of her father
Abstract Shakespeare’s Hamlet (1609) is a nuanced play that illustrates
revenge, madness, and complex relationships.
.‫) هي مسرحية دقيقة توضح االنتقام والجنون والعالقات المعقدة‬1609( ‫مجردة هاملت شكسبير‬
The essay aims to analyse the importance of the two female characters in the
play: Ophelia and Gertrude.
.‫ أوفيليا وجيرترود‬:‫يهدف المقال إلى تحليل أهمية الشخصيتين النسائيتين في المسرحية‬
By studying Ophelia and Gertrude, the essay shows how Shakespeare portrays
women in Hamlet.
.‫ يوضح المقال كيف يصور شكسبير النساء في هاملت‬،‫من خالل دراسة أوفيليا وجيرترود‬
Furthermore, the study does a feminist reading of the play to investigate how
Ophelia’s and Gertrude’s actions and behaviour are affected by the
contemporary patriarchal society, and how it affects the male characters’
choices.
‫ تقدم الدراسة قراءة نسوية للمسرحية لمعرفة مدى تأثر تصرفات أوفيليا وجيرترود‬،‫عالوة على ذلك‬
.‫ ومدى تأثيره على اختيارات الشخصيات الذكورية‬،‫وسلوكهما بالمجتمع األبوي المعاصر‬
In order to examine the ways in which Shakespeare portrays Ophelia and

Gertrude in the play, their characters are deconstructed.
‫ تم تفكيك‬،‫من أجل فحص الطرق التي يصور بها شكسبير أوفيليا وجيرترود في المسرحية‬
.‫شخصياتهما‬
By deconstructing characters, it allows them to have contradictory

characteristics, such as rational yet irrational, or sane yet mad.
‫ مثل عقالنية ولكنها غير‬،‫ فإنها تتيح لها أن تتمتع بخصائص متناقضة‬،‫ومن خالل تفكيك الشخصيات‬
.‫ أو عاقلة ولكنها مجنونة‬،‫عقالنية‬

It is essential to consider several perspectives when doing a close reading of
all characters in the play, since every reason for their behaviour and actions
have an underlying meaning, which contributes to the complex and nuanced
plot.
،‫من الضروري مراعاة عدة وجهات نظر عند القيام بقراءة قريبة لجميع الشخصيات في المسرحية‬
.‫ مما يساهم في الحبكة المعقدة والدقيقة‬،‫حيث أن كل سبب لسلوكهم وأفعالهم له معنى أساسي‬
Therefore, the study, besides deconstruction, does a close reading of the play’s
characters as a method to investigate how Ophelia and Gertrude are portrayed
in the play, and how their behaviour and choices affect the other characters.
‫ تقوم بقراءة متأنية لشخصيات المسرحية كوسيلة لبحث كيفية‬،‫ إلى جانب التفكيكية‬،‫ولذلك فإن الدراسة‬
‫ ومدى تأثير سلوكهما واختياراتهما على الشخصيات‬،‫تصوير أوفيليا وجيرترود في المسرحية‬
.‫األخرى‬
The results show that, at first, Ophelia and Gertrude are pictured as the passive
and silent gender under the obedience of male authority.
‫ تم تصوير أوفيليا وجيرترود على أنهما الجنس السلبي والصامت الخاضع‬،‫تظهر النتائج أنه في البداية‬
.‫لطاعة سلطة الذكور‬
However, beneath the surface, Gertrude is a strong woman who tries, in clever
ways, to rule for the state’s interest and, unsuccessfully, tries to prevent
Hamlet’s emotional decisions and thirst for revenge to destroy the state.
‫ وتحاول‬،‫ أن تحكم لصالح الدولة‬،‫ بطرق ذكية‬،‫ جيرترود امرأة قوية تحاول‬،‫ تحت السطح‬،‫ومع ذلك‬
.‫دون جدوى منع قرارات هاملت العاطفية وتعطشها لالنتقام لتدمير الدولة‬
Ophelia has a relatively small part in the play, but her presence clearly shows
how women were interpreted in a contemporary patriarchal society.
‫ لكن وجودها يظهر بوضوح كيف تم تفسير النساء في‬،‫تلعب أوفيليا دوًر ا صغيًر ا نسبًيا في المسرحية‬
.‫المجتمع األبوي المعاصر‬
For example, in the first half of the play, she takes the role as Hamlet’s
unmarried lover.
.‫ تلعب دور عشيقة هاملت غير المتزوجة‬،‫ في النصف األول من المسرحية‬،‫على سبيل المثال‬

After Hamlet rejects her for being unchaste, the murder of her father
‫ ُقتل والدها‬،‫بعد أن رفضها هاملت لكونها غير عفيفة‬

and the absence of her brother, she is portrayed as mad which, eventually, leads to her
suicide, or, possibly, unintentional death. Nevertheless, by deconstructing Ophelia’s
character, it shows that her madness is rational. By Hamlet, she is accused of being
unclean and unworthy of marriage. In addition, her father is murdered. Naturally, she is
grieving. Her suicide might be an action of independence, since she can, finally, make
her own decisions. However, when she is interpreted from a male point of view in a
patriarchy, she is irrational, emotional, and mad.
To conclude, Shakespeare portrays Gertrude and Ophelia as irrelevant,
emotional female characters. However, through a close reading and deconstruction, they
are women who try to take control of their lives, actions, and behaviour in different
ways in a contemporary patriarchal society. This research allows readers to interpret
female characters in several ways, and by a feminist reading of the play, understand that
an emotional and irrational woman might intentionally behave in that way for logical
reasons. The research also allows readers to see how women are forced to act and make
choices in a contemporary patriarchy to be able to influence societal structures.
Keywords: Shakespeare, Hamlet, Gertrude, Ophelia, Women, Feminism, Feminist
Criticism, Patriarchy, Femininity, Masculinity

and the absence of her brother, she is portrayed as mad which, eventually,
leads to her suicide, or, possibly, unintentional death.
‫وغياب شقيقها يتم تصويرها على أنها مجنونة مما يؤدي في النهاية إلى انتحارها أو ربما الموت غير‬
.‫المقصود‬
Nevertheless, by deconstructing Ophelia’s character, it shows that her madness

is rational.
.‫ يظهر أن جنونها عقالني‬،‫ من خالل تفكيك شخصية أوفيليا‬،‫ومع ذلك‬
By Hamlet, she is accused of being unclean and unworthy of marriage.

.‫ اتهمت بأنها غير نظيفة وال تستحق الزواج‬،‫بواسطة هاملت‬
In addition, her father is murdered.

.‫باإلضافة إلى مقتل والدها‬
Naturally, she is grieving.

.‫ هي حزينة‬،‫بطبيعة الحال‬
Her suicide might be an action of independence, since she can, finally, make
her own decisions.
.‫ حيث يمكنها أخيًر ا اتخاذ قراراتها بنفسها‬،‫قد يكون انتحارها عمًال استقاللًيا‬
However, when she is interpreted from a male point of view in a patriarchy,

she is irrational, emotional, and mad.
‫ فهي غير عقالنية وعاطفية‬،‫ عندما يتم تفسيرها من وجهة نظر ذكورية في النظام األبوي‬،‫ومع ذلك‬
.‫ومجنونة‬
To conclude, Shakespeare portrays Gertrude and Ophelia as irrelevant,

emotional female characters.
‫ يصور شكسبير جيرترود وأوفيليا كشخصيتين أنثويتين عاطفيتين ال عالقة لهما‬،‫في الختام‬
.‫بالموضوع‬

However, through a close reading and deconstruction, they are women who try
to take control of their lives, actions, and behaviour in different ways in a
contemporary patriarchal society.
‫ هن نساء يحاولن السيطرة على حياتهن وتصرفاتهن‬،‫لكن من خالل القراءة المتأنية والتفكيكية‬
.‫وسلوكهن بطرق مختلفة في مجتمع أبوي معاصر‬
This research allows readers to interpret female characters in several ways, and
by a feminist reading of the play, understand that an emotional and irrational
woman might intentionally behave in that way for logical reasons.
‫ ومن خالل القراءة النسوية‬،‫يسمح هذا البحث للقراء بتفسير الشخصيات النسائية بعدة طرق‬
.‫ يفهمون أن المرأة العاطفية وغير العقالنية قد تتصرف عمًد ا بهذه الطريقة ألسباب منطقية‬،‫للمسرحية‬
The research also allows readers to see how women are forced to act and make
choices in a contemporary patriarchy to be able to influence societal structures.
‫يتيح البحث أيًض ا للقراء رؤية كيف ُتجبر النساء على التصرف واتخاذ الخيارات في النظام األبوي‬
.‫المعاصر حتى يتمكن من التأثير على الهياكل المجتمعية‬
Keywords: Shakespeare, Hamlet, Gertrude, Ophelia, Women, Feminism,

Feminist Criticism, Patriarchy, Femininity, Masculinity
‫ السلطة‬،‫ النقد النسوي‬،‫ النسوية‬،‫ المرأة‬،‫ أوفيليا‬،‫ جيرترود‬،‫ هاملت‬،‫ شكسبير‬:‫الكلمات المفتاحية‬
‫ الذكورة‬،‫ األنوثة‬،‫األبوية‬

Table of Contents
1. Introduction ............................................................................................................................. 1
2. Theoretical framework .......................................................................................................... 3
2.1 Previous studies .......................................................................................................3
2.2 Theory ......................................................................................................................6
3. Analysis ................................................................................................................................. 12
3.1 Shakespeare’s display of women ...........................................................................12
3.2 The shaming of Ophelia and Gertrude ...................................................................14
3.3 Rationality vs irrationality .....................................................................................18
4. Conclusion............................................................................................................................. 23
5. Works cited............................................................................................................................ 26
Table of Contents 1.
.1 ‫جدول المحتويات‬
Introduction
.............................................................................................................................
1 2.
.................................................. ................................................. ‫مقدمة‬
.2 1 ...........................
Theoretical framework
.......................................................................................................... 3 2.1
Previous studies
....................................................................................................... 3 2.2 Theory
...................................................................................................................... 6 3.
........ .................................................. ........................................... ‫اإلطار النظري‬
........................................... ‫ الدراسات السابقة‬2.1 3
................................ ‫ النظرية‬2.2 3............... ..................................................
.63 .................................... ..................................................
Analysis
.................................................................................................................................
12 3.1 Shakespeare’s display of women
........................................................................... 12 3.2 The shaming of Ophelia
and Gertrude ................................................................... 14 3.3 Rationality vs
irrationality ..................................................................................... 18 4.
.................................................. ................................................. ‫تحليل‬
.............. ‫ عرض شكسبير للمرأة‬3.1 12 ..............................
‫ فضح أوفيليا وجيرترود‬3.2 12 ........... ..................................................
......... ‫ العقالنية مقابل الالعقالنية‬3.3 14 .................................... ..........................
.4 18 ................................ ..................................................

‫‪Conclusion................................................................................................................‬‬
‫‪23 5.‬‬
‫خاتمة‪.................................................. .................................................‬‬
‫‪.5 23 ...........................‬‬
‫‪Works cited‬‬
‫‪............................................................................................................................‬‬
‫‪26‬‬
‫األعمال المذكورة ‪.................................................. ...........................................‬‬
‫‪26 ...........................‬‬
‫صفحة (‪ُ | )4‬ترجمت بواسطة ‪@xFxBot‬‬

1. Introduction
The Tragedy of Hamlet, Prince of Denmark, displays twisted relationships and,
more importantly, revenge. The drama has been analysed from numerous angles and with
several theories: for instance, the truth behind Hamlet’s madness, or his connection to the
Oedipus complex. Another relevant aspect is the characters’ role in contemporary patriarchal
society and the meaning of details in Shakespeare’s choice of words in the play. Simple words
as ‘nunnery’ and ‘lap’ have a deeper meaning and a major role to the plot. Every choice
Hamlet makes, and every picture of male figures contributes to the societal structures that
shape the play. Hamlet’s madness and revenge are the foundation of the play since his
decisions are the ones that lead to mass death. However, his decisions can be argued to be
irrational and emotional. If he had thought of the people and the country that his revenge
would affect, unnecessary deaths could have been prevented, as well as Norway’s invasion of
Denmark. There are only two female characters in the play: Gertrude and Ophelia. Both
characters seem unimportant and merely play supporting roles. At first, they are illustrated as
weak, passive, and dependent. However, their choices and actions contribute greatly to the
plot. Gertrude is a strong woman who tries to control Hamlet and Claudius to help them make
the right choices, and rule as Queen for the state’s interest. She does not let her feelings
interfere with her behaviour. Ophelia is seduced by Hamlet who gives her his, supposedly,
true affections and the promise of love. Her brother Laertes, however, argues that Hamlet is
untrustworthy and will never prioritise her. Like Laertes, her father Polonius states that
Hamlet is selfish and unconcerned with her well-being. The paper proposes a feminist reading
of Hamlet and analyses the play’s central characters, Gertrude, Ophelia, Hamlet, Claudius,
Polonius, and Laertes, and their behaviour under the influence of a patriarchal society.
1
Introduction The Tragedy of Hamlet, Prince of Denmark, displays twisted
relationships and, more importantly, revenge.
.‫ االنتقام‬،‫ واألهم من ذلك‬،‫ عالقات ملتوية‬،‫ أمير الدنمارك‬،‫مقدمة تعرض مأساة هاملت‬
The drama has been analysed from numerous angles and with several theories:
for instance, the truth behind Hamlet’s madness, or his connection to the
Oedipus complex.
‫ الحقيقة وراء جنون‬،‫ على سبيل المثال‬:‫لقد تم تحليل الدراما من زوايا عديدة وباستخدام عدة نظريات‬
.‫ أو عالقته بعقدة أوديب‬،‫هاملت‬
Another relevant aspect is the characters’ role in contemporary patriarchal

society and the meaning of details in Shakespeare’s choice of words in the
play.
‫جانب آخر ذو صلة هو دور الشخصيات في المجتمع األبوي المعاصر ومعنى التفاصيل في اختيار‬
.‫شكسبير للكلمات في المسرحية‬
Simple words as ‘nunnery’ and ‘lap’ have a deeper meaning and a major role
to the plot.
.‫الكلمات البسيطة مثل "دير الراهبات" و"الحضن" لها معنى أعمق ودور رئيسي في الحبكة‬
Every choice Hamlet makes, and every picture of male figures contributes to
the societal structures that shape the play.
‫ وكل صورة لشخصيات ذكورية تساهم في الهياكل المجتمعية التي تشكل‬،‫كل خيار يتخذه هاملت‬
.‫المسرحية‬
Hamlet’s madness and revenge are the foundation of the play since his
decisions are the ones that lead to mass death.
.‫ ألن قراراته هي التي تؤدي إلى الموت الجماعي‬،‫إن جنون هاملت وانتقامه هما أساس المسرحية‬
However, his decisions can be argued to be irrational and emotional.

.‫ يمكن القول أن قراراته غير عقالنية وعاطفية‬،‫ومع ذلك‬

If he had thought of the people and the country that his revenge would affect,
unnecessary deaths could have been prevented, as well as Norway’s invasion
of Denmark.
‫ لكان من الممكن منع الوفيات غير‬،‫ولو كان قد فكر في الناس والبلد الذي سيؤثر عليه انتقامه‬
.‫ فضًال عن غزو النرويج للدنمارك‬،‫الضرورية‬
There are only two female characters in the play: Gertrude and Ophelia.
.‫ جيرترود وأوفيليا‬:‫ال يوجد سوى شخصيتين نسائيتين في المسرحية‬
Both characters seem unimportant and merely play supporting roles.

.‫تبدو كال الشخصيتين غير مهمتين وتلعبان فقط أدواًر ا داعمة‬
At first, they are illustrated as weak, passive, and dependent.

.‫ يتم تصويرهم على أنهم ضعفاء وسلبيون وتابعون‬،‫في البداية‬
However, their choices and actions contribute greatly to the plot.

.‫ فإن خياراتهم وأفعالهم تساهم بشكل كبير في المؤامرة‬،‫ومع ذلك‬
Gertrude is a strong woman who tries to control Hamlet and Claudius to help
them make the right choices, and rule as Queen for the state’s interest.
‫جيرترود امرأة قوية تحاول السيطرة على هاملت وكلوديوس لمساعدتهما على اتخاذ الخيارات‬
.‫ والحكم كملكة لمصلحة الدولة‬،‫الصحيحة‬
She does not let her feelings interfere with her behaviour.
.‫وال تسمح لمشاعرها بالتدخل في سلوكها‬
Ophelia is seduced by Hamlet who gives her his, supposedly, true affections
and the promise of love.
.‫تم إغراء أوفيليا من قبل هاملت الذي منحها عواطفه المفترضة الحقيقية ووعده بالحب‬
Her brother Laertes, however, argues that Hamlet is untrustworthy and will
never prioritise her.
.‫ يقول شقيقها ليرتس إن هاملت غير جديرة بالثقة ولن يعطيها األولوية أبًد ا‬،‫ومع ذلك‬

Like Laertes, her father Polonius states that Hamlet is selfish and unconcerned
with her well-being.
.‫ صرح والدها بولونيوس أن هاملت أنانية وغير مهتمة برفاهيتها‬،‫مثل ليرتس‬
The paper proposes a feminist reading of Hamlet and analyses the play’s
central characters, Gertrude, Ophelia, Hamlet, Claudius, Polonius, and Laertes,
and their behaviour under the influence of a patriarchal society.
،‫ وهي جيرترود‬،‫ وتحلل الشخصيات المحورية في المسرحية‬،‫تقترح الورقة قراءة نسوية لهاملت‬
.‫ وسلوكهم تحت تأثير المجتمع األبوي‬،‫ والرتيس‬،‫ وبولونيوس‬،‫ وكلوديوس‬،‫ وهاملت‬،‫وأوفيليا‬

Furthermore, the study will focus on the ways in which Shakespeare represents Ophelia and
Gertrude in the play.
2
Furthermore, the study will focus on the ways in which Shakespeare represents
Ophelia and Gertrude in the play.
.‫ ستركز الدراسة على الطرق التي يمثل بها شكسبير أوفيليا وجيرترود في المسرحية‬،‫عالوة على ذلك‬

2. Theoretical framework
2.1 Previous studies
Shakespeare is one of the greatest men in theatre and is described as an author
who has great “knowledge of the human heart” (Daiches 246). His plays and sonnets often
concentrate on male authority and dominance. In the Elizabethan era, women had little power
and property. They were not allowed an education and domestic disputes were regularly
solved by violence (Rackin 7). Since men were the core in society, and women ‘the other’, it
might have been irrelevant to write works where the focus is on women. Nevertheless, Rackin
also argues that Shakespeare’s plays always have been relatable and inviting for women,
which has contributed to women’s empowerment (Rackin 72). The statement that women are
empowered by Shakespeare’s depiction of women is questionable. Several female characters
are described as passive and subordinate. They are not, clearly, revolting against male
dominance and male authority. However, the assertion that women can identify with female
characters is comprehensible. Gender bias is visible in Shakespeare’s plays where women are
usually assigned the roles of wives and daughters. Women can relate to subordination and
lack of authority in their own lives. The women in his plays can inspire subsequent
generations of women to raise their voice against oppression and injustice. Nevertheless, what
contributes to feminism and equality is how the plays are read and from what perspective the
plays are analysed.
Feminist critics consider Shakespeare’s works in relation to female oppression
and male anxiety (Rackin 16). Male anxiety can be based on men’s fear of powerful women.
However, it can be problematic to investigate his works from this point of view since they are
created from a male point of view and with male terms (Rackin 16). Literature is often
misogynistic. Donovan argues that men are the basis in every literature, and women are
always ‘the other’ (Donovan 4,5). Moreover, he states that literature is always written from a
3
Theoretical framework 2.1 Previous studies Shakespeare is one of the greatest
men in theatre and is described as an author who has great “knowledge of the
human heart” (Daiches 246).
‫ دراسات سابقة يعد شكسبير واحًد ا من أعظم رجال المسرح ويوصف بأنه مؤلف‬2.1 ‫اإلطار النظري‬
.)Daiches 246( "‫يتمتع "بمعرفة كبيرة بالقلب البشري‬
His plays and sonnets often concentrate on male authority and dominance.
.‫غالًبا ما تركز مسرحياته وسوناتاته على سلطة الرجل وهيمنته‬
In the Elizabethan era, women had little power and property.

.‫ لم يكن للنساء سوى القليل من السلطة والممتلكات‬،‫في العصر اإلليزابيثي‬
They were not allowed an education and domestic disputes were regularly
solved by violence (Rackin 7).
.)7 ‫لم ُيسمح لهم بالتعليم وكانت النزاعات المنزلية ُتحل بانتظام عن طريق العنف (راكين‬
Since men were the core in society, and women ‘the other’, it might have been
irrelevant to write works where the focus is on women.
‫ فقد يكون من غير المناسب كتابة أعمال يتم‬،"‫ والنساء "اآلخر‬،‫وبما أن الرجال هم جوهر المجتمع‬
.‫التركيز فيها على النساء‬
Nevertheless, Rackin also argues that Shakespeare’s plays always have been
relatable and inviting for women, which has contributed to women’s
empowerment (Rackin 72).
‫ مما ساهم في‬،‫ ترى راكين أيًض ا أن مسرحيات شكسبير كانت دائًم ا جذابة وجذابة للنساء‬،‫ومع ذلك‬
.)72 ‫تمكين المرأة (راكين‬
The statement that women are empowered by Shakespeare’s depiction of

women is questionable.
.‫إن القول بأن المرأة تم تمكينها من خالل تصوير شكسبير للمرأة هو أمر مشكوك فيه‬
Several female characters are described as passive and subordinate.

.‫توصف العديد من الشخصيات النسائية بأنها سلبية وتابعة‬

They are not, clearly, revolting against male dominance and male authority.
.‫ومن الواضح أنهم ال يثورون ضد هيمنة الذكور وسلطتهم‬
However, the assertion that women can identify with female characters is
comprehensible.
.‫ فإن التأكيد على أن المرأة يمكن أن تتماثل مع الشخصيات النسائية هو أمر مفهوم‬،‫ومع ذلك‬
Gender bias is visible in Shakespeare’s plays where women are usually

assigned the roles of wives and daughters.
.‫يظهر التحيز الجنسي في مسرحيات شكسبير حيث يتم عادة تكليف النساء بأدوار الزوجات والبنات‬
Women can relate to subordination and lack of authority in their own lives.
.‫يمكن للمرأة أن تشعر بالتبعية وانعدام السلطة في حياتها الخاصة‬
The women in his plays can inspire subsequent generations of women to raise
their voice against oppression and injustice.
.‫يمكن للنساء في مسرحياته أن تلهم األجيال الالحقة من النساء لرفع أصواتهن ضد القمع والظلم‬
Nevertheless, what contributes to feminism and equality is how the plays are
read and from what perspective the plays are analysed.
‫ فإن ما يساهم في النسوية والمساواة هو كيفية قراءة المسرحيات ومن أي منظور يتم تحليل‬،‫ومع ذلك‬
.‫المسرحيات‬
Feminist critics consider Shakespeare’s works in relation to female oppression

and male anxiety (Rackin 16).
.)16 ‫يعتبر النقاد النسويون أعمال شكسبير مرتبطة باضطهاد اإلناث وقلق الذكور (راكين‬
Male anxiety can be based on men’s fear of powerful women.

.‫يمكن أن يرتكز قلق الذكور على خوف الرجال من النساء األقوياء‬

However, it can be problematic to investigate his works from this point of
view since they are created from a male point of view and with male terms
(Rackin 16).
‫ قد يكون من الصعب التحقيق في أعماله من وجهة النظر هذه ألنها تم إنشاؤها من وجهة‬،‫ومع ذلك‬
.)16 ‫نظر ذكورية وبمصطلحات ذكورية (راكين‬
Literature is often misogynistic.

.‫األدب غالًبا ما يكون كارًه ا للنساء‬
Donovan argues that men are the basis in every literature, and women are
always ‘the other’ (Donovan 4,5).
.)5 ،4 ‫ وأن النساء دائًم ا “اآلخر” (دونوفان‬،‫يرى دونوفان أن الرجال هم األساس في كل أدب‬
Moreover, he states that literature is always written from a 3

3 ‫ فهو يذكر أن األدب ُيكتب دائًم ا من الرقم‬،‫عالوة على ذلك‬

male perspective (Donovan 15). This is, of course, an exaggeration. Still, in Hamlet,
everything that occurs is mainly from Hamlet’s point of view. The plot is driven by his goal
of revenge and the consequences of his actions. Nevertheless, it is impossible to make an
objective reading of literature. Every reading is affected by contemporary culture and values,
which are applied to the reading. Thus, the reader often finds what is looked for (Rackin 18).
Rackin highlights that male characters are the majority in Shakespeare’s plays and female
characters are either few or less important with fewer lines than men. The women that appear
often play a domestic role and are typically ‘feminine’ (Rackin 49-50). Since there are only
two female characters, we may at first consider female characters as less significant. The play
can be investigated from several perspectives, and when it is interpreted from a feminist point
of view, there is a clear depiction of misogyny in contemporary patriarchal society. For
example, that Ophelia and Gertrude are portrayed as weak and irrelevant. However, if another
interpretation were used, for example, the lack of male authority, evidence would certainly be
found to confirm it. Rackin argues that history and information must be reinterpreted and
further investigated since it is ‘incomplete’. She says that “it constitutes only one of many
stories that could be told about women’s place in Shakespeare’s world, and I think we need to
consider the implications of its current hegemony” (Rackin 9).
In Hamlet, amongst other works, Shakespeare partly presents the contemporary
patriarchal society in the Elizabethan era. Both Ophelia and Gertrude, the only female roles in
the play, are obedient to the male figures. Ophelia is forced to be silent and listen to her
brother and father when they give her the orders to stay away from Hamlet. Even though she
is torn between her affection for Hamlet and her family, the decisions she must make are
under the control of men. According to Fischer, women are the unheard, silent sex, which is
reflected in Ophelia. She is often silent and does not know what to think or say (Fischer 3).
Even though Ophelia’s role is relatively small, her character is significant to understand the
4
male perspective (Donovan 15).
.)15 ‫منظور الذكور (دونوفان‬
This is, of course, an exaggeration.

.‫وهذا بالطبع مبالغة‬
Still, in Hamlet, everything that occurs is mainly from Hamlet’s point of view.
.‫ كل ما يحدث هو في األساس من وجهة نظر هاملت‬،‫ في هاملت‬،‫ومع ذلك‬
The plot is driven by his goal of revenge and the consequences of his actions.
.‫المؤامرة مدفوعة بهدفه في االنتقام وعواقب أفعاله‬
Nevertheless, it is impossible to make an objective reading of literature.

.‫ فمن المستحيل إجراء قراءة موضوعية لألدب‬،‫ومع ذلك‬
Every reading is affected by contemporary culture and values, which are

applied to the reading.
.‫تتأثر كل قراءة بالثقافة والقيم المعاصرة التي يتم تطبيقها على القراءة‬
Thus, the reader often finds what is looked for (Rackin 18).
.)18 ‫وهكذا يجد القارئ في كثير من األحيان ما يبحث عنه (راكين‬
Rackin highlights that male characters are the majority in Shakespeare’s plays
and female characters are either few or less important with fewer lines than
men.
‫يسلط راكين الضوء على أن الشخصيات الذكورية هي األغلبية في مسرحيات شكسبير وأن‬
.‫الشخصيات النسائية إما قليلة أو أقل أهمية مع سطور أقل من الرجال‬
The women that appear often play a domestic role and are typically ‘feminine’
(Rackin 49-50).Since there are only two female characters, we may at first
consider female characters as less significant.
‫ وبما‬.)50-49 ‫غالًبا ما تلعب النساء اللواتي يظهرن دوًر ا منزلًيا وعادة ما يكونن "أنثويات" (راكين‬
.‫ فقد نعتبر في البداية الشخصيات النسائية أقل أهمية‬،‫أن هناك شخصيتين أنثويتين فقط‬

The play can be investigated from several perspectives, and when it is
interpreted from a feminist point of view, there is a clear depiction of
misogyny in contemporary patriarchal society.
‫ هناك‬،‫ وعندما يتم تفسيرها من وجهة نظر نسوية‬،‫يمكن دراسة المسرحية من عدة وجهات نظر‬
.‫تصوير واضح لكراهية النساء في المجتمع األبوي المعاصر‬
For example, that Ophelia and Gertrude are portrayed as weak and irrelevant.
.‫ تم تصوير أوفيليا وجيرترود على أنهما ضعيفتان وغير ذي صلة‬،‫على سبيل المثال‬
However, if another interpretation were used, for example, the lack of male
authority, evidence would certainly be found to confirm it.
‫ فمن المؤكد أنه‬،‫ عدم وجود سلطة ذكورية‬،‫ على سبيل المثال‬،‫ إذا تم استخدام تفسير آخر‬،‫ومع ذلك‬
.‫سيتم العثور على أدلة تؤكده‬
Rackin argues that history and information must be reinterpreted and further
investigated since it is ‘incomplete’.
‫يرى راكين أنه يجب إعادة تفسير التاريخ والمعلومات وإجراء مزيد من التحقيق فيها ألنها "غير‬
."‫مكتملة‬
She says that “it constitutes only one of many stories that could be told about
women’s place in Shakespeare’s world, and I think we need to consider the
implications of its current hegemony” (Rackin 9).
،‫وتقول إنها "ال تشكل سوى واحدة من قصص كثيرة يمكن روايتها عن مكانة المرأة في عالم شكسبير‬
.)9 ‫وأعتقد أننا بحاجة إلى النظر في اآلثار المترتبة على هيمنتها الحالية" (راكين‬
In Hamlet, amongst other works, Shakespeare partly presents the

contemporary patriarchal society in the Elizabethan era.
‫ يقدم شكسبير جزئًيا المجتمع األبوي المعاصر في العصر‬،‫ من بين أعمال أخرى‬،‫في هاملت‬
.‫اإلليزابيثي‬
Both Ophelia and Gertrude, the only female roles in the play, are obedient to
themale figures.
.‫ مطيعة للشخصيات الذكورية‬،‫ األدوار النسائية الوحيدة في المسرحية‬،‫كل من أوفيليا وجيرترود‬

Ophelia is forced to be silent and listen to her brother and father when they
give her the orders to stay away from Hamlet.
.‫تضطر أوفيليا إلى التزام الصمت واالستماع ألخيها وأبيها عندما يأمرونها باالبتعاد عن هاملت‬
Even though she is torn between her affection for Hamlet and her family, the
decisions she must make are under the control of men.
‫ إال أن القرارات التي يجب عليها اتخاذها‬،‫على الرغم من أنها ممزقة بين محبتها لهاملت وعائلتها‬
.‫تكون تحت سيطرة الرجال‬
According to Fischer, women are the unheard, silent sex, which is reflected in
Ophelia.
.‫ وهو ما ينعكس في أوفيليا‬،‫ فإن المرأة هي الجنس الصامت غير المسموع‬،‫وفًقا لفيشر‬
She is often silent and does not know what to think or say (Fischer 3).
.)3 ‫غالًبا ما تكون صامتة وال تعرف ماذا تفكر أو تقول (فيشر‬
Even though Ophelia’s role is relatively small, her character is significant to

understand the 4
‫ إال أن شخصيتها مهمة لفهم األربعة‬،‫على الرغم من أن دور أوفيليا صغير نسبًيا‬

underlying meaning of the plot and the illustration of inequality and patriarchal structures in
the play. By analysing Ophelia, it is shown that men are in control in society since their
opinion is final, emotional women are diagnosed with hysteria and madness, and sexual
activities outside marriage is a sign of unchaste and damaged women. Her first real entrance
in the play is when Laertes persuades Ophelia to stay away from Hamlet’s lies. In addition to
Laertes' advice, Polonius forbids Ophelia to see Hamlet (Fischer 4).
Bloom argues that everything that occurred in Hamlet was because of Hamlet’s
reaction to his father’s death, so the play is based on Hamlet’s actions alone. If his reaction to
the King’s death had been lighter, no one would have died the way they did, and Ophelia
would not have become insane and committed suicide (Bloom 387). Furthermore, Bloom
considers Hamlet’s affection for Ophelia to be a lie since he did not show enough remorse
upon her death. The only love Hamlet felt was towards his father, and Ophelia was merely a
tool for Hamlet’s revenge (Bloom 408-409). The question of whether Hamlet loved Ophelia is
complex. On the one hand, Hamlet used Ophelia for his sexual satisfaction and left her when
he wanted to avenge his father. On the other hand, his feelings might have been sincere but
his drive for revenge was greater, which made him use her. It is, however, clear that Hamlet’s
greatest love was towards his father. Even though Ophelia’s part is not a big one, it is a vital
one. Without her, Hamlet’s plan for vengeance would not have been possible, or as effective
(Camden 247). Ophelia’s character is not only passive and weak but a helpful one. According
to Findlay, the name Ophelia means ‘helper’ (Findlay 311). She seems to want to help Hamlet
and her family. Because she is dependent on them, she is nothing without them. Therefore,
due to her loss of Hamlet, her father, and her brother, she becomes mad.
Gertrude’s name can be translated as ‘strength’ (Findlay 152). She is a Queen and
therefore must make decisions that favour the state and prioritise the state before her own
pleasures. To do this, she must marry Claudius to remain Queen, even though he betrayed the
5
underlying meaning of the plot and the illustration of inequality and
patriarchal structures in the play.
.‫المعنى الكامن وراء الحبكة وتوضيح عدم المساواة والهياكل األبوية في المسرحية‬
By analysing Ophelia, it is shown that men are in control in society since their
opinion is final, emotional women are diagnosed with hysteria and madness,
and sexual activities outside marriage is a sign of unchaste and damaged
women.
‫ ويتم‬،‫ يتبين أن الرجال هم المسيطرون على المجتمع ألن رأيهم نهائي‬،‫من خالل تحليل أوفيليا‬
‫ واألنشطة الجنسية خارج الزواج هي عالمة على‬،‫تشخيص النساء العاطفيات بالهستيريا والجنون‬
.‫المرأة غير العفيفة والمتضررة‬
Her first real entrance in the play is when Laertes persuades Ophelia to stay
away from Hamlet’s lies.
.‫أول دخول حقيقي لها في المسرحية كان عندما أقنع ليرتس أوفيليا باالبتعاد عن أكاذيب هاملت‬
In addition to Laertes' advice, Polonius forbids Ophelia to see Hamlet (Fischer

4).
.)4 ‫ منع بولونيوس أوفيليا من رؤية هاملت (فيشر‬،‫باإلضافة إلى نصيحة ليرتس‬
Bloom argues that everything that occurred in Hamlet was because of

Hamlet’s reaction to his father’s death, so the play is based on Hamlet’s
actions alone.
‫ لذا فإن المسرحية‬،‫ويرى بلوم أن كل ما حدث في هاملت كان بسبب رد فعل هاملت على وفاة والده‬
.‫مبنية على تصرفات هاملت وحده‬
If his reaction to the King’s death had been lighter, no one would have died the
way they did, and Ophelia would not have become insane and committed
suicide (Bloom 387).
‫ ولم تكن أوفيليا لتصاب بالجنون‬،‫ لما مات أحد بهذه الطريقة‬،‫لو كان رد فعله على وفاة الملك أخف‬
.)387 ‫وتنتحر (بلوم‬

Furthermore, Bloom considers Hamlet’s affection for Ophelia to be a lie since
he did not show enough remorse upon her death.
‫ يعتبر بلوم أن عاطفة هاملت تجاه أوفيليا كذبة ألنه لم ُيظهر ما يكفي من الندم عند‬،‫عالوة على ذلك‬
.‫وفاتها‬
The only love Hamlet felt was towards his father, and Ophelia was merely a
tool for Hamlet’s revenge (Bloom 408-409).
-408 ‫ وكانت أوفيليا مجرد أداة النتقام هاملت (بلوم‬،‫الحب الوحيد الذي شعر به هاملت كان تجاه والده‬
.)409
The question of whether Hamlet loved Ophelia is complex.

.‫مسألة ما إذا كان هاملت يحب أوفيليا معقدة‬
On the one hand, Hamlet used Ophelia for his sexual satisfaction and left her
when he wanted to avenge his father.
.‫ استخدم هاملت أوفيليا إلشباع رغباته الجنسية وتركها عندما أراد االنتقام لوالده‬،‫فمن ناحية‬
On the other hand, his feelings might have been sincere but his drive for
revenge was greater, which made him use her.
.‫ مما جعله يستغلها‬،‫ ربما كانت مشاعره صادقة ولكن دافعه لالنتقام كان أكبر‬،‫ومن ناحية أخرى‬
It is, however, clear that Hamlet’s greatest love was towards his father.
.‫ فمن الواضح أن حب هاملت األكبر كان تجاه والده‬،‫ومع ذلك‬
Even though Ophelia’s part is not a big one, it is a vital one.

.‫ إال أنه جزء حيوي‬،‫على الرغم من أن دور أوفيليا ليس كبيًر ا‬
Without her, Hamlet’s plan for vengeance would not have been possible, or as
effective (Camden 247).
.)247 ‫ أو فعالة (كامدن‬،‫ لم تكن خطة هاملت لالنتقام ممكنة‬،‫بدونها‬
Ophelia’s character is not only passive and weak but a helpful one.
.‫ بل إنها شخصية مفيدة أيًض ا‬،‫إن شخصية أوفيليا ليست سلبية وضعيفة فحسب‬

According to Findlay, the name Ophelia means ‘helper’ (Findlay 311).
.)Findlay 311( ”‫ فإن اسم أوفيليا يعني “المساعدة‬،‫وفًقا لفيندالي‬
She seems to want to help Hamlet and her family.

.‫يبدو أنها تريد مساعدة هاملت وعائلتها‬
Because she is dependent on them, she is nothing without them.

.‫ فهي ال شيء بدونهم‬،‫وألنها تعتمد عليهم‬
Therefore, due to her loss of Hamlet, her father, and her brother, she becomes
mad.
.‫ أصبحت مجنونة‬،‫ بسبب خسارتها لهاملت وأبيها وأخيها‬،‫لذلك‬
Gertrude’s name can be translated as ‘strength’ (Findlay 152).

.)Findlay 152( "‫يمكن ترجمة اسم جيرترود إلى "القوة‬
She is a Queen and therefore must make decisions that favour the state and
prioritise the state before her own pleasures.
‫ وبالتالي يجب عليها اتخاذ قرارات لصالح الدولة وتعطي األولوية للدولة قبل ملذاتها‬،‫إنها ملكة‬
.‫الخاصة‬
To do this, she must marry Claudius to remain Queen, even though he betrayed
the 5
‫ على الرغم من أنه خان الخمسة‬،‫ يجب عليها أن تتزوج كلوديوس لتظل ملكة‬،‫للقيام بذلك‬

King. Hamlet, however, accuses Gertrude to be lustful and weak when she marries Claudius.
A widow is a woman whose husband has died. The widow should mourn her husband and
should not think about marrying someone else. Hamlet is partly angry at Gertrude because she
remarried, and thus the memory of her dead husband fades (Findlay 445). Since Hamlet’s true
feelings are towards his father, he does not want the memories or the soul of his father to
disappear. Since the play is written and seen from a male point of view, she appears to be
weak from a patriarchal perspective (Findlay 152). In addition, as a woman, her identity is not
the Queen. She is a mother and a wife. Furthermore, when Hamlet goes to tell Gertrude that
Claudius murdered the King, she claims that he is mad. This can also be a sign of weakness
from Gertrude. Instead of raising her voice to protest against Claudius, she blames Hamlet for
his madness. However, another interpretation is that she protects Hamlet since he thinks with
his emotions and not his rational self (Findlay 153). Besides being a woman and a wife,
Gertrude is also an aunt and a widow. According to Findlay, an aunt is “an old woman and a
gossip, or, in a bawdy sense, a procuress or whore” (Findlay 19). Gertrude is legally Hamlet’s
aunt since she married his uncle Claudius, but he also refers to her as an aunt to show his
disgust with her sexuality and her remarriage (Findlay 20). Even though Gertrude encounters
loathing and hatred from Hamlet, her only son, she continues to be silent to protect him, and
the state, from destruction because of his lust for vengeance.
2.2 Theory
Feminist critics analyse how women are represented in literature and the political
reasons for gender roles. Barry writes that feminist critics investigate how women are
represented in literature, and whether women are different from men due to biology or social
constructions (Barry 140-1). Furthermore, feminist critics read literature as political in
relation to patriarchy and examine female roles as women characters are viewed as ‘the other’
6
King.
.‫مِلك‬
Hamlet, however, accuses Gertrude to be lustful and weak when she marries
Claudius.
.‫لكن هاملت يتهم جيرترود بالشهوانية والضعف عندما تزوجت كلوديوس‬
A widow is a woman whose husband has died.

.‫األرملة هي المرأة التي مات زوجها‬
The widow should mourn her husband and should not think about marrying
someone else.
.‫وعلى األرملة أن تنعي زوجها وال تفكر في الزواج من غيره‬
Hamlet is partly angry at Gertrude because she remarried, and thus the
memory of her dead husband fades (Findlay 445).
‫ وبالتالي تتالشى ذكرى زوجها المتوفى‬،‫هاملت غاضب جزئًيا من جيرترود ألنها تزوجت مرة أخرى‬
.)445 ‫(فيندلي‬
Since Hamlet’s true feelings are towards his father, he does not want the
memories or the soul of his father to disappear.
.‫ فهو ال يريد أن تختفي ذكريات والده أو روحه‬،‫وبما أن مشاعر هاملت الحقيقية هي تجاه والده‬
Since the play is written and seen from a male point of view, she appears to be
weak from a patriarchal perspective (Findlay 152).
‫ فإنها تبدو ضعيفة من وجهة نظر أبوية‬،‫وبما أن المسرحية مكتوبة ومرئية من وجهة نظر ذكورية‬
.)152 ‫(فيندالي‬
In addition, as a woman, her identity is not the Queen.

.‫ هويتها ليست الملكة‬،‫ كامرأة‬،‫باإلضافة إلى ذلك‬
She is a mother and a wife.

.‫هي األم والزوجة‬

Furthermore, when Hamlet goes to tell Gertrude that Claudius murdered the
King, she claims that he is mad.
.‫ ادعت أنه مجنون‬،‫ عندما ذهب هاملت ليخبر جيرترود أن كلوديوس قتل الملك‬،‫عالوة على ذلك‬
This can also be a sign of weakness from Gertrude.

.‫يمكن أن يكون هذا أيًض ا عالمة ضعف من جانب جيرترود‬
Instead of raising her voice to protest against Claudius, she blames Hamlet for
his madness.
.‫ فإنها تلوم هاملت على جنونه‬،‫وبدًال من أن ترفع صوتها لالحتجاج على كلوديوس‬
However, another interpretation is that she protects Hamlet since he thinks

with his emotions and not his rational self (Findlay 153).
.)153 ‫لكن تفسير آخر هو أنها تحمي هاملت ألنه يفكر بعواطفه وليس بذاته العقالنية (فيندالي‬
Besides being a woman and a wife, Gertrude is also an aunt and a widow.
.‫ فإن جيرترود هي أيًض ا عمة وأرملة‬،‫إلى جانب كونها امرأة وزوجة‬
According to Findlay, an aunt is “an old woman and a gossip, or, in a bawdy
sense, a procuress or whore” (Findlay 19).
‫ قوادة أو عاهرة" (فيندلي‬،‫ بالمعنى الفاجر‬،‫ أو‬،‫ فإن العمة هي "امرأة عجوز وثرثرة‬،‫وفًقا لفيندالي‬
.)19
Gertrude is legally Hamlet’s aunt since she married his uncle Claudius, but he
also refers to her as an aunt to show his disgust with her sexuality and her
remarriage (Findlay 20).
‫ لكنه يشير إليها‬،‫جيرترود هي عمة هاملت من الناحية القانونية منذ أن تزوجت من عمه كلوديوس‬
.)20 ‫أيًض ا على أنها عمة إلظهار اشمئزازه من حياتها الجنسية وزواجها مرة أخرى (فيندلي‬

Even though Gertrude encounters loathing and hatred from Hamlet, her only
son, she continues to be silent to protect him, and the state, from destruction
because of his lust for vengeance.
‫ إال أنها ال تزال‬،‫ ابنها الوحيد‬،‫على الرغم من أن جيرترود تواجه الكراهية والكراهية من هاملت‬
.‫ من الدمار بسبب شهوته لالنتقام‬،‫ والدولة‬،‫صامتة لحمايته‬
2.2 Theory Feminist critics analyse how women are represented in literature
and the political reasons for gender roles.
‫ النظرية يقوم النقاد النسويون بتحليل كيفية تمثيل المرأة في األدب واألسباب السياسية ألدوار‬2.2
.‫الجنسين‬
Barry writes that feminist critics investigate how women are represented in
literature, and whether women are different from men due to biology or social
constructions (Barry 140-1).
‫ وما إذا كانت النساء مختلفات‬،‫كتبت باري أن النقاد النسويين يبحثون في كيفية تمثيل المرأة في األدب‬
.)1-140 ‫عن الرجال بسبب البيولوجيا أو البناء االجتماعي (باري‬
Furthermore, feminist critics read literature as political in relation to patriarchy

and examine female roles as women characters are viewed as ‘the other’ 6
‫ يقرأ النقاد النسويون األدب باعتباره سياسًيا فيما يتعلق بالسلطة األبوية ويفحصون‬،‫عالوة على ذلك‬
6"‫األدوار النسائية حيث ُينظر إلى الشخصيات النسائية على أنها "اآلخر‬

(Barry 140). Barry also explains how feminist criticism has switched perspectives throughout
the years. For instance, in the 1970s, the focus was on men and inequality. In the 1980s, the
focus switched to the female character instead of the male character. Also, it focused on a
reconstruction of the picture of women. In turn, it has empowered women’s literature and
female authors (Barry 130). Bennett and Royle states that feminist criticism looks at the
complexity of gender differences. The literary text must be closely read to understand
patriarchal and hierarchal structures (Bennett and Royle 214). Ros Velasco argues that the
feminism available for those in first-world countries is Western feminism. Western feminism
looks at domestic violence, oppression, enslavement, and ignorance that the third-world
country endures. The first-world women are in general well-educated and free to own their
bodies, sexuality and, and decide their life choices (Ros Velasco 110). Nonetheless Ros
Velasco continues to summarise feminism as a struggle for equality in a patriarchal society
regardless of origin and culture. Every woman must create her own identity in a world
dominated and created by men, and all women must unite to fight the patriarchy (Ros Velasco
114-15).
Literature often shows that women are the emotional and passive gender in
literature, but female characters with a bigger role are often dynamic and contradict these
roles. Of course, there is a difference between literature written today where one is aware of
the fight for women’s empowerment, and literature written in the early 17th century. Even
though literature written in the early 17th century did not deliberately illustrate inequality in
contemporary society, it often shows women’s condition in patriarchy. Millett argues that,
within stereotypes and sex roles, there are differences between femininity and masculinity.
She explains that it is stated that women (‘femininity’) are domestic, virtuous, and passive.
While men (‘masculinity’) are ambitious, aggressive, and active (Millett 26). However,
Millett notes that these structures, where women are feminine and passive and men are active
7
(Barry 140).
.)140 ‫(الباري‬
Barry also explains how feminist criticism has switched perspectives

throughout the years.
.‫يشرح باري أيًض ا كيف غّير النقد النسوي وجهات النظر على مر السنين‬
For instance, in the 1970s, the focus was on men and inequality.
.‫ كان التركيز على الرجال وعدم المساواة‬،‫ في السبعينيات‬،‫على سبيل المثال‬
In the 1980s, the focus switched to the female character instead of the male
character.
.‫ تحول التركيز إلى الشخصية األنثوية بدًال من الشخصية الذكورية‬،‫وفي الثمانينيات‬
Also, it focused on a reconstruction of the picture of women.

.‫كما ركزت على إعادة بناء صورة المرأة‬
In turn, it has empowered women’s literature and female authors (Barry 130).
.)130 ‫ فقد مكنت األدب النسائي والمؤلفات (باري‬،‫وفي المقابل‬
Bennett and Royle states that feminist criticism looks at the complexity of
gender differences.
.‫يذكر بينيت ورويل أن النقد النسوي ينظر إلى مدى تعقيد االختالفات بين الجنسين‬
The literary text must be closely read to understand patriarchal and hierarchal
structures (Bennett and Royle 214).
.)214 ‫ويجب قراءة النص األدبي عن كثب لفهم البنى األبوية والهرمية (بينيت ورويل‬
Ros Velasco argues that the feminism available for those in first-world
countries is Western feminism.
‫تجادل روس فيالسكو بأن الحركة النسوية المتاحة ألولئك في دول العالم األول هي الحركة النسوية‬
.‫الغربية‬

Western feminism looks at domestic violence, oppression, enslavement, and
ignorance that the third-world country endures.
.‫تنظر النسوية الغربية إلى العنف المنزلي والقمع واالستعباد والجهل الذي تعاني منه دول العالم الثالث‬
The first-world women are in general well-educated and free to own their
bodies, sexuality and, and decide their life choices (Ros Velasco 110).
‫نساء العالم األول بشكل عام متعلمات جيًد ا ولديهن الحرية في امتالك أجسادهن وحياتهن الجنسية‬
.)110 ‫وتقرير خياراتهن في الحياة (روس فيالسكو‬
Nonetheless Ros Velasco continues to summarise feminism as a struggle for

equality in a patriarchal society regardless of origin and culture.
‫ تواصل روس فيالسكو تلخيص الحركة النسوية باعتبارها نضااًل من أجل المساواة في‬،‫ومع ذلك‬
.‫مجتمع أبوي بغض النظر عن األصل والثقافة‬
Every woman must create her own identity in a world dominated and created
by men, and all women must unite to fight the patriarchy (Ros Velasco 114-
15).
‫ ويجب على جميع‬،‫يجب على كل امرأة أن تخلق هويتها الخاصة في عالم يهيمن عليه ويخلقه الرجال‬
.)15-114 ‫النساء أن يتحدن لمحاربة النظام األبوي (روس فيالسكو‬
Literature often shows that women are the emotional and passive gender in
literature, but female characters with a bigger role are often dynamic and
contradict these roles.
‫ لكن الشخصيات النسائية ذات‬،‫غالًبا ما ُيظهر األدب أن المرأة هي الجنس العاطفي والسلبي في األدب‬
.‫الدور األكبر غالًبا ما تكون ديناميكية وتتناقض مع هذه األدوار‬
Of course, there is a difference between literature written today where one is

aware of the fight for women’s empowerment, and literature written in the
early 17th century.
‫ هناك فرق بين األدب المكتوب اليوم حيث يكون المرء على دراية بالنضال من أجل تمكين‬،‫بالطبع‬
.‫ واألدب المكتوب في أوائل القرن السابع عشر‬،‫المرأة‬

Even though literature written in the early 17th century did not deliberately
illustrate inequality in contemporary society, it often shows women’s condition
in patriarchy.
‫على الرغم من أن األدب المكتوب في أوائل القرن السابع عشر لم يوضح عمدا عدم المساواة في‬
.‫ فإنه غالبا ما يظهر حالة المرأة في النظام األبوي‬،‫المجتمع المعاصر‬
Millett argues that, within stereotypes and sex roles, there are differences
between femininity and masculinity.
.‫ هناك اختالفات بين األنوثة والذكورة‬،‫يرى ميليت أنه ضمن الصور النمطية وأدوار الجنس‬
She explains that it is stated that women (‘femininity’) are domestic, virtuous,
and passive.
.‫ وسلبيات‬،‫ وفاضالت‬،‫وتوضح أنه ُيذكر أن النساء ("األنوثة") منزليات‬
While men (‘masculinity’) are ambitious, aggressive, and active (Millett 26).
.)26 ‫بينما الرجال ("الذكورة") طموحون وعدوانيون ونشطون (ميليت‬
However, Millett notes that these structures, where women are feminine and
passive and men are active 7
‫ حيث تكون المرأة أنثوية وسلبية والرجال نشيطون‬،‫ يشير ميليت إلى أن هذه الهياكل‬،‫ومع ذلك‬

and masculine, are not based on biology (Millett 28). Khoshkam and Amiri agree and state
that gender is socially constructed. They refer to Judith Butler’s theory of performativity, that
one becomes a woman, or a man, based on one’s behaviour and adaption to gendered norms.
Gender is created in society and can, consequently, be changed or ended. However, Butler’s
theory assumes that, when born as a man or a woman, one has certain characteristics that
decide whether one is feminine or masculine (Khoshkam and Amiri 2).
There are many discussions about which characteristics belong to women and
constitute femininity and which belong to men and define masculinity. Khoshkam and Amiri
quote Judith Butler’s theory of performativity which argues that “gender reality is
performative which means, quite simply, that it is real only to the extent that it is performed”
(Khoshkam and Amiri 3). In other words, one’s gender identity is not created by the
biological gender, but by one’s behaviour and actions. However, it is not likely that one
suddenly changes identity and decides who one wants to be. One takes a role in life and either
acts like a man or a woman. Nonetheless, gender is based upon social structures that one
cannot escape (Khoshkam and Amiri 3). Khoshkam and Amiri argue that there is still a
distinction between masculinity and femininity, but the terms are rather used as adjectives or
adverbs where one might be a masculine woman or a feminine man (Khoshkam and Amiri 4).
Since the mid-1970s, feminist critics have focused on the deconstruction of
literature. Deconstruction was here a reaction towards essentialism, which was questioned.
Essentialism argues that there are clear differences between men and women, and one is either
a man or a woman. For instance, one is either passive or active, rational or irrational,
dependent or independent. It is not possible, according to essentialists, to be both passive and
active (Bennett and Royle 216). Deconstruction proposes a theory of contradiction. That is,
one can be a stereotypical woman and, at the same time, not be a stereotypical woman. One
can be a mother and a father, and one can be rational and irrational (Bennett and Royle 216-
8
and masculine, are not based on biology (Millett 28).
.)28 ‫ ال يعتمدان على علم األحياء (ميليت‬،‫والمذكر‬
Khoshkam and Amiri agree and state that gender is socially constructed.
.‫يتفق خوشكم وأميري ويصرحان بأن النوع االجتماعي مبني اجتماعًيا‬
They refer to Judith Butler’s theory of performativity, that one becomes a

woman, or a man, based on one’s behaviour and adaption to gendered norms.
‫ بناًء على‬، ‫ والتي تقول بأن المرء يصبح امرأة أو رجًال‬،‫ويشيرون إلى نظرية جوديث بتلر في األداء‬
.‫سلوكه وتكيفه مع المعايير الجنسانية‬
Gender is created in society and can, consequently, be changed or ended.

.‫ وبالتالي يمكن تغييره أو إنهاؤه‬،‫فالجنس مخلوق في المجتمع‬
However, Butler’s theory assumes that, when born as a man or a woman, one
has certain characteristics that decide whether one is feminine or masculine
(Khoshkam and Amiri 2).
‫ فإن لديه خصائص معينة تحدد‬،‫ تفترض نظرية بتلر أنه عندما يولد المرء كرجل أو امرأة‬،‫ومع ذلك‬
.)2 ‫ما إذا كان مؤنًثا أم مذكًر ا (خشكم وأميري‬
There are many discussions aboutwhich characteristics belong to women and

constitute femininity and which belong to men and define masculinity.
‫هناك نقاشات كثيرة حول ما هي الخصائص التي تخص المرأة وتشكل األنوثة وما هي الخصائص‬
.‫التي تخص الرجل وتحدد الرجولة‬
Khoshkam and Amiri quote Judith Butler’s theory of performativity which

argues that “gender reality is performative which means, quite simply, that it is
real only to the extent that it is performed” (Khoshkam and Amiri 3).
،‫يستشهد خوشكام وأميري بنظرية جوديث بتلر في األدائية التي تقول إن “الواقع الجندري هو أدائي‬
.)3 ‫ أنه حقيقي فقط بقدر ما يتم تنفيذه” (خشكام وأميري‬،‫ بكل بساطة‬،‫مما يعني‬

In other words, one’s gender identity is not created by the biological gender,
but by one’s behaviour and actions.
‫ ولكن عن طريق‬،‫ ال يتم إنشاء الهوية الجنسية للشخص عن طريق الجنس البيولوجي‬،‫بمعنى آخر‬
.‫سلوكه وأفعاله‬
However, it is not likely that one suddenly changes identity and decides who
one wants to be.
.‫ فمن غير المرجح أن يغير المرء هويته فجأة ويقرر من يريد أن يكون‬،‫ومع ذلك‬
One takes a role in life and either acts like a man or a woman.
.‫يأخذ المرء دوًر ا في الحياة ويتصرف كرجل أو امرأة‬
Nonetheless, gender is based upon social structures that one cannot escape
.)3 ‫ فإن الجندر يقوم على بنيات اجتماعية ال يمكن للمرء الهروب منها (خشكم وأميري‬،‫ومع ذلك‬
Khoshkam and Amiri argue that there is still a distinction between masculinity
and femininity, but the terms are rather used as adjectives or adverbs where
one might be a masculine woman or a feminine man (Khoshkam and Amiri 4).
‫ لكن المصطلحين يستخدمان‬،‫يرى خشكام وأميري أنه ال يزال هناك فرق بين الذكورة واألنوثة‬
.)4 ‫كصفات أو ظروف حيث يمكن أن يكون المرء امرأة مذكرًا أو رجًال مؤنثًا (خشكام وأميري‬
Since the mid-1970s, feminist critics have focused on the deconstruction of

literature.
.‫ ركز النقاد النسويون على تفكيك األدب‬،‫منذ منتصف السبعينيات‬
Deconstruction was here a reaction towards essentialism, which was

questioned.
.‫ التي كانت موضع تساؤل‬،‫لقد كانت التفكيكية هنا رد فعل تجاه الجوهرية‬
Essentialism argues that there are clear differences between men and women,
and one is either a man or a woman.
.‫ وأن أحدهما إما رجل أو امرأة‬،‫تقول الجوهرية أن هناك اختالفات واضحة بين الرجل والمرأة‬

For instance, one is either passive or active, rational or irrational, dependent or
independent.
. ‫ تابًع ا أو مستقًال‬،‫ عقالنًيا أو غير عقالني‬،‫ يكون المرء إما سلبًيا أو نشًط ا‬،‫على سبيل المثال‬
It is not possible, according to essentialists, to be both passive and active

(Bennett and Royle 216).
.)216 ‫ أن تكون سلبًيا ونشًط ا في نفس الوقت (بينيت ورويل‬،‫ وفًقا لألصوليين‬،‫ليس من الممكن‬
Deconstruction proposes a theory of contradiction.

.‫يقترح التفكيك نظرية التناقض‬
That is, one can be a stereotypical woman and, at the same time, not be a
stereotypical woman.
.‫ ال يمكن أن يكون امرأة نمطية‬،‫ وفي الوقت نفسه‬،‫أي أنه يمكن للمرء أن يكون امرأة نمطية‬
One can be a mother and a father, and one can be rational and irrational
(Bennett and Royle 216-
-216 ‫ ويمكن أن يكون عقالنًيا وغير عقالني (بينيت ورويل‬،‫يمكن للمرء أن يكون أًم ا وأًبا‬

17). It can be discussed which perspective and theory (e.g. deconstruction and essentialism)
are truly feminist. On the one hand, to identify what is feminine and masculine confirms
gender differences and contributes to the question of patriarchy and how to prevent it. On the
other hand, when a man or a woman is given an identity and characteristics because of their
biological gender, it contributes to the gender gap. To fight patriarchy, the distinction of
femininity and masculinity must be erased to allow men and women an opportunity to create
their own identity without considering feminine and masculine characteristics.
Women have often been a man’s property, though not as distinctively today in
first-world countries as in history, either as a wife or a daughter. Mills compares women to
slaves who must work for the family. Not only was the woman the property of her husband,
but also a property of her father before marriage. The father either accepted the marriage with
a certain man or denied it. It was up to him and not to the daughter he was to give away. After
the ‘I do’ at the altar, she was forced to go from one master to another (Mills 17). Similarly,
Léon writes “I give you my hand, for I am a woman. That is, I give you her hand, and in this
hand full of so many things, they have put a ring, and in the ring, a date. They take you by the
hand, they lure you, they kiss your hand, you become their property, for you are, they say,
their property” (Ros Velasco 18). Léon uses hands as an allegory for a man’s possession of
the woman within a marriage. Thus, when a woman gave her hand, she gave away her body
and soul for him to own (Ros Velasco 19). Lévi-Strauss talks about kinship structures and
kinship rules, where the male members of women’s families exchanged women. He argues
that, when an individual was born as a woman, she was born into a family where she was
exchanged as an object. The woman was, at first, a daughter and a sister. She was later
exchanged by the father, ‘the head of the family’, for the purpose of becoming a wife.
Although women had a significant role in the family, since she took care of the household and
gave birth to continue the generation, the most significant relationship was between men, for
9
It can be discussed which perspective and theory (e.g.
.‫يمكن مناقشة المنظور والنظرية (على سبيل المثال‬
deconstruction and essentialism) are truly feminist.

.‫التفكيكية واألساسية) نسوية حًقا‬
On the one hand, to identify what is feminine and masculine confirms gender
differences and contributes to the question of patriarchy and how to prevent it.
‫ فإن تحديد ما هو مؤنث وما هو مذكر يؤكد الفروق بين الجنسين ويساهم في طرح مسألة‬،‫فمن ناحية‬
.‫السلطة األبوية وكيفية الوقاية منها‬
On the other hand, when a man or a woman is given an identity and

characteristics because of their biological gender, it contributes to the gender
gap.
‫ فإن ذلك‬،‫ عندما ُيمنح الرجل أو المرأة هوية وخصائص بسبب جنسهما البيولوجي‬،‫ومن ناحية أخرى‬
.‫يساهم في الفجوة بين الجنسين‬
To fight patriarchy, the distinction of femininity and masculinity must be

erased to allow men and women an opportunity to create their own identity
without considering feminine and masculine characteristics.
‫ يجب محو التمييز بين األنوثة والذكورة إلتاحة الفرصة للرجال والنساء لخلق‬،‫لمحاربة النظام األبوي‬
.‫هويتهم الخاصة دون النظر إلى الخصائص األنثوية والذكورية‬
Women have often been a man’s property, though not as distinctively today in
first-world countries as in history, either as a wife or a daughter.
‫ على الرغم من أنها ليست مميزة اليوم في دول‬،‫لقد كانت المرأة في كثير من األحيان ملًك ا للرجل‬
.‫ سواء كزوجة أو ابنة‬،‫العالم األول كما كانت في التاريخ‬
Mills compares women to slaves who must work for the family.
.‫تقارن ميلز النساء بالعبيد الذين يجب أن يعملوا من أجل األسرة‬

Not only was the woman the property of her husband, but also a property of
her father before marriage.
.‫ بل كانت أيضًا ملكًا ألبيها قبل الزواج‬،‫ولم تكن المرأة ملكًا لزوجها فحسب‬
The father either accepted the marriage with a certain man or denied it.
.‫فإما أن يقبل األب الزواج من رجل معين أو يرفضه‬
It was up to him and not to the daughter he was to give away.

.‫ وليس لالبنة التي كان عليه أن يتخلى عنها‬،‫كان األمر متروًك ا له‬
After the ‘I do’ at the altar, she was forced to go from one master to another
(Mills 17).
.)17 ‫ ُأجبرت على االنتقال من معلم إلى آخر (مطاحن‬،‫بعد قول "أفعل" عند المذبح‬
Similarly, Léon writes “I give you my hand, for I am a woman.

.‫ ألنني امرأة‬،‫ “أعطيك يدي‬:‫ يكتب ليون‬،‫وبالمثل‬
That is, I give you her hand, and in this hand full of so many things, they have
put a ring, and in the ring, a date.
.‫ وفي الخاتم تاريًخ ا‬،‫ وضعوا خاتًم ا‬،‫ وفي هذه اليد المليئة بأشياء كثيرة‬،‫أي أنني أعطيك يدها‬
They take you by the hand, they lure you, they kiss your hand, you become
their property, for you are, they say, their property” (Ros Velasco 18).
‫ ملكهم” (روس‬،‫ كما يقولون‬،‫ ألنك‬،‫ وتصبح ملًك ا لهم‬،‫ ويقبلون يدك‬،‫ ويجذبونك‬،‫إنهم يمسكون بيدك‬
.)18 ‫فيالسكو‬
Léon uses hands as an allegory for a man’s possession of the woman within a
marriage.
.‫يستخدم ليون األيدي كرمز لحيازة الرجل للمرأة في إطار الزواج‬
Thus, when a woman gave her hand, she gave away her body and soul for him
to own (Ros Velasco 19).
.)19 ‫ فقد وهبت جسدها وروحها لكي يمتلكها (روس فيالسكو‬،‫ عندما قدمت المرأة يدها‬،‫وهكذا‬

Lévi-Strauss talks about kinship structures and kinship rules, where the male
members of women’s families exchanged women.
‫ حيث يتبادل الذكور من عائالت النساء‬،‫يتحدث ليفي شتراوس عن هياكل القرابة وقواعد القرابة‬
.‫النساء‬
He argues that, when an individual was born as a woman, she was born into a
family where she was exchanged as an object.
.‫ فإنها تولد في أسرة حيث يتم تبادلها كشيء‬،‫ويجادل بأنه عندما يولد الفرد كامرأة‬
The woman was, at first, a daughter and a sister.

.‫وكانت المرأة في البداية ابنة وأختا‬
She was later exchanged by the father, ‘the head of the family’, for the purpose
of becoming a wife.
.‫ بغرض أن تصبح زوجة‬،"‫ "رب األسرة‬،‫وقد تم استبدالها فيما بعد من قبل األب‬
Although women had a significant role in the family, since she took care of the
household and gave birth to continue the generation, the most significant
relationship was between men, for 9
‫ حيث أنها قامت برعاية المنزل وأنجبت لمواصلة‬،‫ورغم أن المرأة كان لها دور كبير في األسرة‬
9 ‫ إذ بلغت‬،‫ إال أن العالقة األكثر أهمية كانت بين الرجال‬،‫الجيل‬

instance, brothers-in-law or the relationship between the father and the future husband
(Mitchell 370-376). Mitchell elucidates that, in case the woman was ‘rebellious’ or refused to
obey her father’s orders, she was diagnosed with hysteria. It was unnatural for a woman to be
unaware of her natural place and to not listen to her father’s laws or rules. Therefore, she was
established to suffer from a disease (Mitchell 404).
Hysteria was often an explanation when women did not behave according to
gender stereotypes in patriarchy, for instance when they expressed sexual desires. It was
‘unwomanly’ for a woman to be openly sexual. Men chose women for marriage, and they
wanted them to be pure and to be devoted to their man. Millett argues that, for women, sex
and lust were associated with guilt, and it was not natural for them to have sexual drives. On
the one hand, women were objects to please men’s sexual desires. On the other hand, women
were to be moral, pure and virgins (Millett 54). Chastity was an important part of femininity.
Fletcher states that “the requirement of chastity was, as we have seen, the overriding measure
of female gender. Woman not only had to be chaste but had to be seen to be chaste: silence,
humility and modesty were the signifiers that she was so” (Rackin 10). Furthermore,
Shakespeare often focused on sexuality and its shame in his plays, for instance, women’s
uncontrollability. This is implied when he illustrates fidelity, adultery, and cuckoldry (Rackin
11). In addition, women were also diagnosed with hysteria when they contradicted men. The
theorists Szasz and Laing argue that insanity and mental illness did not exist. It was a myth to
control disturbing behaviour in women that followed with domestic and cultural oppression.
Disturbing behaviour was, for instance, when women tried to be in control (Neely 317). Grosz
explains hysteria and madness as a “rebellion against and rejection of the requirements of
femininity” (Devereux 38). When women wanted to be heard, men had to defend themselves,
and, subsequently, they diagnosed women with hysteria. However, there were not only
women that were branded as mad. Emotions and irrationality went hand in hand with hysteria,
10
instance, brothers-in-law or the relationship between the father and the future
husband (Mitchell 370-376).
.)376-370 ‫ األخوة في القانون أو العالقة بين األب وزوج المستقبل (ميتشل‬،‫على سبيل المثال‬
Mitchell elucidates that, in case the woman was ‘rebellious’ or refused to obey
her father’s orders, she was diagnosed with hysteria.
‫ فسيتم‬،‫ويوضح ميتشل أنه في حالة كانت المرأة "متمردة" أو رفضت االنصياع ألوامر والدها‬
.‫تشخيص إصابتها بالهستيريا‬
It was unnatural for a woman to be unaware of her natural place and to not
listen to her father’s laws or rules.
.‫وكان من غير الطبيعي أن تجهل المرأة مكانتها الطبيعية وال تستمع إلى قوانين أو قواعد والدها‬
Therefore, she was established to suffer from a disease (Mitchell 404).

.)404 ‫ولذلك ثبت أنها تعاني من مرض (ميتشل‬
Hysteria was often an explanation when women did not behave according to
gender stereotypes in patriarchy, for instance when they expressed sexual
desires.
‫غالًبا ما كانت الهستيريا تفسيًر ا عندما ال تتصرف النساء وفًقا للصور النمطية الجنسانية في النظام‬
.‫ على سبيل المثال عندما يعبرن عن رغباتهن الجنسية‬،‫األبوي‬
It was ‘unwomanly’ for a woman to be openly sexual.

.‫لقد كان من "غير األنثوي" أن تكون المرأة جنسية بشكل علني‬
Men chose women for marriage, and they wanted them to be pure and to be
devoted to their man.
.‫ وأرادوا أن تكون طاهرة ومخلصة لرجلهم‬،‫اختار الرجال النساء للزواج‬
Millett argues that, for women, sex and lust were associated with guilt, and it
was not natural for them to have sexual drives.
‫ ولم يكن من الطبيعي بالنسبة‬،‫ كان الجنس والشهوة مرتبطين بالذنب‬،‫يرى ميليت أنه بالنسبة للنساء‬
.‫لهن أن يكون لديهن دوافع جنسية‬

On the one hand, women were objects to please men’s sexual desires.
.‫ كانت النساء أداة إلرضاء رغبات الرجال الجنسية‬،‫فمن ناحية‬
On the other hand, women were to be moral, pure and virgins (Millett 54).
.)54 ‫ وعذارى (ميليت‬،‫ طاهرة‬،‫ كان على المرأة أن تكون أخالقية‬،‫ومن ناحية أخرى‬
Chastity was an important part of femininity.

.‫كانت العفة جزًء ا مهًم ا من األنوثة‬
Fletcher states that “the requirement of chastity was, as we have seen, the
overriding measure of female gender.
.‫ المقياس المهيمن لجنس األنثى‬،‫ كما رأينا‬،‫يقول فليتشر أن “متطلبات العفة كانت‬
Woman not only had to be chaste but had to be seen to be chaste: silence,
humility and modesty were the signifiers that she was so” (Rackin 10).
‫ الصمت‬:‫ بل كان يجب أن ُينظر إليها على أنها عفيفة‬،‫لم يكن على المرأة أن تكون عفيفة فحسب‬
.)10 ‫والتواضع والتواضع هي الدالالت التي تدل على أنها كذلك” (راكين‬
Furthermore, Shakespeare often focused on sexuality and its shame in his

plays, for instance, women’s uncontrollability.
،‫ على سبيل المثال‬،‫ غالًبا ما ركز شكسبير على الحياة الجنسية وعارها في مسرحياته‬،‫عالوة على ذلك‬
.‫عدم القدرة على السيطرة على المرأة‬
This is implied when he illustrates fidelity, adultery, and cuckoldry (Rackin

11).
.)11 ‫وهذا واضح عندما يوضح اإلخالص والزنا والديوثة (راكين‬
In addition, women were also diagnosed with hysteria when they contradicted
men.
.‫ تم تشخيص إصابة النساء أيًض ا بالهستيريا عندما عارضن الرجال‬،‫باإلضافة إلى ذلك‬
The theorists Szasz and Laing argue that insanity and mental illness did not
exist.
.‫ بأن الجنون والمرض العقلي غير موجودين‬Ling‫ و‬Szasz ‫يجادل المنظران‬

It was a myth to control disturbing behaviour in women that followed with
domestic and cultural oppression.
.‫لقد كانت أسطورة للسيطرة على السلوك المزعج لدى النساء الذي يتبعه االضطهاد المنزلي والثقافي‬
Disturbing behaviour was, for instance, when women tried to be in control

(Neely 317).
.)317 ‫ عندما حاولت النساء السيطرة على األمور (نيلي‬،‫ على سبيل المثال‬،‫كان السلوك المزعج‬
Grosz explains hysteria and madness as a “rebellion against and rejection of

the requirements of femininity” (Devereux 38).
‫يشرح غروس الهستيريا والجنون على أنهما "تمرد على متطلبات األنوثة ورفضها" (ديفيروكس‬
.)38
When women wanted to be heard, men had to defend themselves, and,

subsequently, they diagnosed women with hysteria.
‫ قاموا‬،‫ وبالتالي‬،‫ كان على الرجال أن يدافعوا عن أنفسهم‬،‫عندما أرادت النساء أن ُيسمع صوتهن‬
.‫بتشخيص إصابة النساء بالهستيريا‬
However, there were not only women that were branded as mad.
.‫ لم تكن هناك نساء فقط تم وصفهن بالجنون‬،‫ومع ذلك‬
Emotions and irrationality went hand in hand with hysteria,

،‫العواطف والالعقالنية تسير جنبا إلى جنب مع الهستيريا‬

which could also be manifested in men. Even though men were, allegedly, rational because of
their gender, if they followed their emotions, they were irrational and therefore hysteric.
11
which could also be manifested in men.
.‫والتي يمكن أن تظهر أيًض ا عند الرجال‬
Even though men were, allegedly, rational because of their gender, if they
followed their emotions, they were irrational and therefore hysteric.
،‫ إال أنهم إذا اتبعوا عواطفهم‬،‫ كانوا عقالنيين بسبب جنسهم‬،‫ كما ُيزعم‬،‫على الرغم من أن الرجال‬
.‫كانوا غير عقالنيين وبالتالي هستيريين‬

3. Analysis
3.1 Shakespeare’s portrayal of women
Women in Hamlet are often referred to as weak. When Laertes cries at Ophelia’s grave, he
says that “when these are gone,/The woman will be out” (Shakespeare 5.7.187-88). Thus,
when his crying ends, he will no longer be a woman. Here, Laertes acts like a feminine man,
since crying and being emotional are viewed as feminine characteristics (Millett 26). Social
constructions, e.g. the contemporary patriarchy, contributes to the statement that it is not
masculine to be emotional (Khoshkam and Amiri 3). Emotions and vulnerability are
considered feminine, but sentiments are not automatically applied to gender. Whether one is a
woman and feminine or a man and masculine is decided at birth. However, according to
Butler’s performativity, one’s characteristics are not necessarily decided by gender but by
social constructions. Thus, a man can change and become more feminine than masculine
(Khoshkam and Amiri 2). The masculine reaction for Laertes when Ophelia died would be to
mourn, but not to weep. Therefore, Laertes explains that the feminine characteristics within
him will disappear when he ends his weeping. Many men in the play act because of their
emotions, even though it is considered feminine to be irrational. Hamlet seeks revenge
because of his father’s death and Claudius murders Hamlet’s father for his gain. Hamlet also
implies that Gertrude is weak for marrying Claudius by saying “frailty, thy name is woman”
(Shakespeare 1.2.146). Hamlet suggests that one reason for her weakness is her gender. He is
also angry at her for destroying the image of his father. Since she remarries, the memory of
the former King will vanish. The only acceptable role for her to take is the mourning widow.
There should not be a choice for her to make, that remarriage is in question since she should
honour her dead husband and still take him into consideration.
Gertrude’s role is dynamic and complex. Since the play is viewed from a male
point of view, she is firstly a wife and then a mother, and never a Queen. At first, the focus is
12
Analysis 3.1 Shakespeare’s portrayal of women Women in Hamlet are often
referred to as weak.
.‫ تصوير شكسبير للنساء غالًبا ما ُيشار إلى النساء في هاملت على أنهن ضعيفات‬3.1 ‫التحليل‬
When Laertes cries at Ophelia’s grave, he says that “when these are gone,/The
woman will be out” (Shakespeare 5.7.187-88).
‫ ستخرج المرأة" (شكسبير‬،‫ قال إنه "عندما يرحل هؤالء‬،‫عندما بكى ليرتس عند قبر أوفيليا‬
.)88-187.7.5
Thus, when his crying ends, he will no longer be a woman.

.‫ لن يكون امرأة‬،‫ عندما ينتهي بكاؤه‬،‫وهكذا‬
Here, Laertes acts like a feminine man, since crying and being emotional are
viewed as feminine characteristics (Millett 26).
‫ حيث ُينظر إلى البكاء واالنفعال على أنهما من الخصائص األنثوية‬،‫يتصرف ليرتس هنا كرجل أنثوي‬
.)26 ‫(ميليت‬
Social constructions, e.g.

.‫ على سبيل المثال‬،‫اإلنشاءات االجتماعية‬
the contemporary patriarchy, contributes to the statement that it is not

masculine to be emotional (Khoshkam and Amiri 3).
‫وتساهم السلطة األبوية المعاصرة في القول بأنه ليس من الرجولة أن تكون عاطفيا (خشكم وأميري‬
.)3
Emotions and vulnerability are considered feminine, but sentiments are not
automatically applied to gender.
.‫ لكن المشاعر ال تنطبق تلقائًيا على الجنس‬،‫تعتبر العواطف والضعف أنثوية‬
Whether one is a woman and feminine or a man and masculine is decided at

birth.
.‫يتم تحديد ما إذا كان الشخص امرأة ومؤنًثا أو رجًال ومذكًر ا عند الوالدة‬

However, according to Butler’s performativity, one’s characteristics are not
necessarily decided by gender but by social constructions.
‫ فإن خصائص الفرد ال يتم تحديدها بالضرورة حسب الجنس ولكن من‬،‫ وفًقا ألدائية بتلر‬،‫ومع ذلك‬
.‫خالل البناء االجتماعي‬
Thus, a man can change and become more feminine than masculine
.)2 ‫وهكذا يمكن للرجل أن يتغير ويصبح أكثر أنوثة من المذكر (خشكم واألميري‬
The masculine reaction for Laertes when Ophelia died would be to mourn, but
not to weep.
.‫ ولكن ليس البكاء‬،‫رد الفعل الذكوري لليرتيس عندما ماتت أوفيليا هو الحداد‬
Therefore, Laertes explains that the feminine characteristics within him will
disappear when he ends his weeping.
.‫لذلك يوضح ليرتس أن الصفات األنثوية بداخله ستختفي عندما يتوقف عن البكاء‬
Many men in the play act because of their emotions, even though it is
considered feminine to be irrational.
‫ على الرغم من أن هذا يعتبر أنثوًيا غير‬،‫يتصرف العديد من الرجال في المسرحية بسبب عواطفهم‬
.‫عقالني‬
Hamlet seeks revenge because of his father’s death and Claudius murders
Hamlet’s father for his gain.
.‫يسعى هاملت لالنتقام بسبب وفاة والده ويقتل كلوديوس والد هاملت لتحقيق مكاسبه‬
Hamlet also implies that Gertrude is weak for marrying Claudius by saying
“frailty, thy name is woman” (Shakespeare 1.2.146).
"‫ اسمك امرأة‬،‫ "يا ضعف‬:‫يشير هاملت أيًض ا إلى أن جيرترود ضعيفة في الزواج من كلوديوس بقوله‬
.)1.2.146 ‫(شكسبير‬
Hamlet suggests that one reason for her weakness is her gender.
.‫يقترح هاملت أن أحد أسباب ضعفها هو جنسها‬

He is also angry at her for destroying the image of his father.
.‫كما أنه غاضب منها ألنها دمرت صورة والده‬
Since she remarries, the memory of the former King will vanish.
.‫ سوف تختفي ذكرى الملك السابق‬،‫منذ أن تزوجت مرة أخرى‬
The only acceptable role for her to take is the mourning widow.
.‫الدور الوحيد المقبول لها هو دور األرملة الحداد‬
There should not be a choice for her to make, that remarriage is in question
since she should honour her dead husband and still take him into
consideration.
‫ حيث يجب عليها أن تكرم‬،‫ ألن الزواج مرة أخرى هو موضع تساؤل‬،‫ال ينبغي أن يكون لها خيار‬
.‫زوجها المتوفى وتأخذه بعين االعتبار‬
Gertrude’s role is dynamic and complex.

.‫دور جيرترود ديناميكي ومعقد‬
Since the play is viewed from a male point of view, she is firstly a wife and
then a mother, and never a Queen.
.‫ ولم تكن ملكة أبًد ا‬،‫ فهي في البداية زوجة ثم أم‬،‫وبما أن المسرحية ُينظر إليها من وجهة نظر ذكورية‬
At first, the focus is 12

12 ‫ كان التركيز‬،‫في البداية‬

on her betrayal and her remarriage. Thus, she was first the wife of the King, and then the wife
of his brother. When Hamlet becomes mad, however, her character is a mother. She must
reason with her son and, somehow, take care of him. Gertrude deviates from the role of a
stereotypical nurturing mother. She does not abandon her place as Queen to help Hamlet in
his revenge, as a mother might have done. Instead, she tries to focus on what is best for the
state and does not let her feelings control her actions. Nevertheless, as a mother, she protects
Hamlet from himself. When Hamlet tries to convince his mother with what Claudius has done
(and, accidentally, murders Polonius), Gertrude calls him mad. Hamlet’s madness would
justify his accusations towards Claudius and the murder of Polonius. So, for his own
protection, Gertrude discards his accusations, even though she is aware of the truth.
Gertrude’s character must be deconstructed to be understood. On the surface, she appears to
be stereotypically feminine: weak, passive, and dependent. She marries her brother-in-law
because she must have a King by her side to remain a Queen. Nonetheless, the play also
shows a strong, rational woman who takes the role of an emotional and weak woman for the
state’s best. By deconstructing Gertrude’s character, she can be explained as irrational yet
rational, feminine yet masculine (Bennett and Royle 216). However, it can be argued whether
she is truly emotional and typically feminine, or if she acts like a passive woman to gain
everyone’s trust and not draw attention or suspicion to herself. If she shows her real voice and
her independence it might make her more untrustworthy. Consequently, if the irrational men
would have all control, she would not have been able to try to avoid the following chaos.
However, Hamlet’s actions created chaos, but Gertrude at least tried to prevent it and she
managed to predict the devastation that followed by his behaviour.
Ophelia is portrayed as a dependent woman who is partly controlled by her father
and brother. At Ophelia’s first real entrance, Laertes demands her to stay away from Hamlet.
She is a woman who is temporary for him, and she should be more realistic and realise that.
13
on her betrayal and her remarriage.
.‫على خيانتها وزواجها مرة أخرى‬
Thus, she was first the wife of the King, and then the wife of his brother.
.‫ ثم زوجة أخيه‬،‫وهكذا كانت في البداية زوجة الملك‬
When Hamlet becomes mad, however, her character is a mother.

.‫ تصبح شخصيتها أًم ا‬،‫لكن عندما يغضب هاملت‬
She must reason with her son and, somehow, take care of him.
.‫يجب عليها أن تتفاهم مع ابنها وأن تعتني به بطريقة ما‬
Gertrude deviates from the role of a stereotypical nurturing mother.

.‫تنحرف جيرترود عن دور األم الحاضنة النمطية‬
She does not abandon her place as Queen to help Hamlet in his revenge, as a
mother might have done.
.‫ كما كان من الممكن أن تفعل األم‬،‫إنها ال تتخلى عن مكانتها كملكة لمساعدة هاملت في انتقامه‬
Instead, she tries to focus on what is best for the state and does not let her
feelings control her actions.
.‫ تحاول التركيز على ما هو أفضل للدولة وال تدع مشاعرها تتحكم في تصرفاتها‬،‫وبدال من ذلك‬
Nevertheless, as a mother, she protects Hamlet from himself.

.‫ فهي كأم تحمي هاملت من نفسه‬،‫ومع ذلك‬
When Hamlet tries to convince his mother with what Claudius has done (and,
accidentally, murders Polonius), Gertrude calls him mad.
‫ وصفته جيرترود‬،)‫عندما يحاول هاملت إقناع والدته بما فعله كلوديوس (وبالخطأ قتل بولونيوس‬
.‫بالجنون‬
Hamlet’s madness would justify his accusations towards Claudius and the
murder of Polonius.
.‫إن جنون هاملت من شأنه أن يبرر اتهاماته لكلوديوس وقتل بولونيوس‬

So, for his own protection, Gertrude discards his accusations, even though she
is aware of the truth.
.‫ على الرغم من أنها تدرك الحقيقة‬،‫ تتجاهل جيرترود اتهاماته‬،‫ من أجل حمايته‬،‫لذلك‬
Gertrude’s character must be deconstructed to be understood.

.‫يجب تفكيك شخصية جيرترود حتى يتم فهمها‬
On the surface, she appears to be stereotypically feminine: weak, passive, and

dependent.
.‫ وتابعة‬،‫ وسلبية‬،‫ ضعيفة‬:‫ تبدو أنثوية بشكل نمطي‬،‫ظاهرًيا‬
She marries her brother-in-law because she must have a King by her side to
remain a Queen.
.‫تزوجت من صهرها ألنه يجب أن يكون هناك ملك بجانبها لتظل ملكة‬
Nonetheless, the play also shows a strong, rational woman who takes the role
of an emotional and weak woman for the state’s best.
‫ تظهر المسرحية أيًض ا امرأة قوية وعقالنية تأخذ دور المرأة العاطفية والضعيفة لمصلحة‬،‫ومع ذلك‬
.‫الدولة‬
By deconstructing Gertrude’s character, she can be explained as irrational yet

rational, feminine yet masculine (Bennett and Royle 216).
‫ وأنثوية‬،‫ يمكن تفسيرها على أنها غير عقالنية ولكنها عقالنية‬،‫من خالل تفكيك شخصية جيرترود‬
.)216 ‫وذكورية في نفس الوقت (بينيت ورويل‬
However, it can be argued whether she is truly emotional and typically

feminine, or if she acts like a passive woman to gain everyone’s trust and not
draw attention or suspicion to herself.
‫ أو إذا كانت تتصرف كامرأة سلبية‬،‫ يمكن القول ما إذا كانت عاطفية حًقا وأنثوية عادًة‬،‫ومع ذلك‬
.‫لكسب ثقة الجميع وعدم لفت االنتباه أو الشك إلى نفسها‬

If she shows her real voice and her independence it might make her more
untrustworthy.
.‫إذا أظهرت صوتها الحقيقي واستقالليتها فقد يجعلها ذلك غير جديرة بالثقة‬
Consequently, if the irrational men would have all control, she would not have
been able to try to avoid the following chaos.
‫ لما كانت قادرة على محاولة تجنب الفوضى‬،‫ لو كان للرجال غير العقالنيين السيطرة الكاملة‬،‫وبالتالي‬
.‫التالية‬
However, Hamlet’s actions created chaos, but Gertrude at least tried to prevent
it and she managed to predict the devastation that followed by his behaviour.
‫ لكن جيرترود حاولت على األقل منعها وتمكنت من التنبؤ‬،‫ خلقت تصرفات هاملت الفوضى‬،‫ومع ذلك‬
.‫بالدمار الذي أعقب سلوكه‬
Ophelia is portrayed as a dependent woman who is partly controlled by her

father and brother.
.‫يتم تصوير أوفيليا على أنها امرأة تابعة يتحكم فيها والدها وشقيقها جزئًيا‬
At Ophelia’s first real entrance, Laertes demands her to stay away from
Hamlet.
.‫ يطلب منها ليرتس االبتعاد عن هاملت‬،‫عند أول دخول حقيقي ألوفيليا‬
She is a woman who is temporary for him, and she should be more realistic
and realise that.
.‫ وعليها أن تكون أكثر واقعية وتدرك ذلك‬،‫فهي امرأة مؤقتة بالنسبة له‬

Furthermore, he explains Ophelia’s natural behaviour, that “it fits your wisdom so far to
believe it” (Shakespeare 1.3.25). Thus, since Ophelia is a woman, she is not intelligent
enough to perceive Hamlet’s lies. She is too foolish to understand his real intentions with her.
Laertes is right to suggest that she should avoid him. In the end, Hamlet leaves her for being
unchaste and unclean. In addition, Polonius forbids Ophelia to see Hamlet. Polonius tries to
explain it to her as if she is a child. “Marry, I will teach you. Think yourself a baby. That you
have ta’en these tenders for true pay” (Shakespeare 1.3.105-6). Ophelia is confused since she
believes Hamlet’s affection but must take her brother’s and father’s advice into account.
According to Polonius, Ophelia is not important enough for Hamlet to want to claim her.
Also, Polonius states that Hamlet “springes to catch woodcocks” (Shakespeare 1.3.115),
which means that he lays a trap for Ophelia with empty vows (Shakespeare 205).
Furthermore, Polonius speaks to the King about Hamlet’s letters and behaviour towards his
daughter. Polonius says that “I have a daughter – have while she is mine- Who in her duty and
obedience, mark, Hath given me this” (Shakespeare 2.2.106-8). Not only does he want to stop
Ophelia from being naïve, but he thinks about her and their family’s reputation. Ophelia
cannot be intimate with a prince, and certainly not as unmarried. On the one hand, Laertes and
Polonius are controlling Ophelia’s decisions, but on the other hand, they try to help her from
making vast mistakes.
3.2 The shaming of Ophelia and Gertrude
Both Ophelia and Gertrude are shamed in the play in several ways, mainly by
Hamlet. Gertrude is accused to be wretched and evil by Hamlet when she remarries and
shamed for her betrayal of the former King. For instance, when Hamlet has killed Polonius,
he says “a bloody deed. Almost as bad, good mother,/As kill a king and marry with his
brother” (Shakespeare 3.4.29-30). Hamlet indicates that her betrayal is worse than murder. He
14
Furthermore, he explains Ophelia’s natural behaviour, that “it fits your wisdom
so far to believe it” (Shakespeare 1.3.25).
‫ "إنه يناسب حكمتك حتى اآلن أن تصدق‬: ‫ قائًال‬،‫ فهو يشرح سلوك أوفيليا الطبيعي‬،‫عالوة على ذلك‬
.)1.3.25 ‫ذلك" (شكسبير‬
Thus, since Ophelia is a woman, she is not intelligent enough to perceive

Hamlet’s lies.
.‫ فهي ليست ذكية بما يكفي إلدراك أكاذيب هاملت‬،‫ بما أن أوفيليا امرأة‬،‫وهكذا‬
She is too foolish to understand his real intentions with her.

.‫إنها حمقاء جًد ا بحيث ال يمكنها فهم نواياه الحقيقية معها‬
Laertes is right to suggest that she should avoid him.

.‫ليرتس محقة في اقتراحها أن تتجنبه‬
In the end, Hamlet leaves her for being unchaste and unclean.
.‫ يتركها هاملت لكونها غير عفيفة وغير نظيفة‬،‫في النهاية‬
In addition, Polonius forbids Ophelia to see Hamlet.

.‫ يمنع بولونيوس أوفيليا من رؤية هاملت‬،‫باإلضافة إلى ذلك‬
Polonius tries to explain it to her as if she is a child.

.‫يحاول بولونيوس أن يشرح لها األمر وكأنها طفلة‬
“Marry, I will teach you.

.‫"تزوجي وأنا سأعلمك‬
Think yourself a baby.

.‫اعتبر نفسك طفال‬
That you have ta’en these tenders for true pay” (Shakespeare 1.3.105-6).
.)6-1.3.105 ‫إنك قد قدمت هذه العطاءات مقابل األجر الحقيقي” (شكسبير‬

Ophelia is confused since she believes Hamlet’s affection but must take her
brother’s and father’s advice into account.
‫ لكن عليها أن تأخذ نصيحة أخيها وأبيها بعين‬،‫تشعر أوفيليا بالحيرة ألنها تصدق محبة هاملت‬
.‫االعتبار‬
According to Polonius, Ophelia is not important enough for Hamlet to want to

claim her.
.‫ أوفيليا ليست مهمة بما فيه الكفاية لكي يرغب هاملت في المطالبة بها‬،‫وفقا لبولونيوس‬
Also, Polonius states that Hamlet “springes to catch woodcocks” (Shakespeare

1.3.115), which means that he lays a trap for Ophelia with empty vows
(Shakespeare 205).
‫ مما يعني أنه‬،)1.3.115 ‫ يذكر بولونيوس أن هاملت «ينبثق ليصطاد طيور الحطب» (شكسبير‬،‫أيًض ا‬
.)205 ‫نصب فًخ ا ألوفيليا بنذور فارغة (شكسبير‬
Furthermore, Polonius speaks to the King about Hamlet’s letters and behaviour
towards his daughter.
.‫ يتحدث بولونيوس إلى الملك عن رسائل هاملت وسلوكه تجاه ابنته‬،‫عالوة على ذلك‬
Polonius says that “I have a daughter – have while she is mine- Who in her
duty and obedience, mark, Hath given me this” (Shakespeare 2.2.106-8).
‫ أعطتني هذا” (شكسبير‬،‫ مارك‬،‫ “لدي ابنة – وهي لي – والتي في واجبها وطاعتها‬:‫يقول بولونيوس‬
.)8-2.2.106
Not only does he want to stop Ophelia from being naïve, but he thinks about
her and their family’s reputation.
.‫ بل يفكر فيها وبسمعة عائلتها‬،‫فهو ال يريد أن يمنع أوفيليا من أن تكون ساذجة فحسب‬
Ophelia cannot be intimate with a prince, and certainly not as unmarried.

.‫ وبالتأكيد ليست غير متزوجة‬،‫ال يمكن ألوفيليا أن تكون حميمة مع األمير‬

On the one hand, Laertes and Polonius are controlling Ophelia’s decisions, but
on the other hand, they try to help her from making vast mistakes.
‫ لكن من ناحية أخرى يحاوالن مساعدتها‬،‫ يتحكم ليرتس وبولونيوس في قرارات أوفيليا‬،‫من ناحية‬
.‫على ارتكاب أخطاء فادحة‬
3.2 The shaming of Ophelia and Gertrude Both Ophelia and Gertrude are
shamed in the play in several ways, mainly by Hamlet.
‫ خاصة من‬،‫ فضح أوفيليا وجيرترود يتم فضح كل من أوفيليا وجيرترود في المسرحية بعدة طرق‬3.2
.‫قبل هاملت‬
Gertrude is accused to be wretched and evil by Hamlet when she remarries and
shamed for her betrayal of the former King.
‫يتهم هاملت جيرترود بأنها بائسة وشريرة عندما تتزوج مرة أخرى وتشعر بالعار بسبب خيانتها للملك‬
.‫السابق‬
For instance, when Hamlet has killed Polonius, he says “a bloody deed.
.‫ «عمل دموي‬:‫ قال‬،‫ عندما قتل هاملت بولونيوس‬،‫على سبيل المثال‬
Almost as bad, good mother,/As kill a king and marry with his brother”
(Shakespeare 3.4.29-30).
.)30-3.4.29 ‫مثل قتل ملك والزواج من أخيه” (شكسبير‬/‫األم الطيبة تقريًبا بنفس القدر من السوء‬
Hamlet indicates that her betrayal is worse than murder.

.‫يشير هاملت إلى أن خيانتها أسوأ من القتل‬
He 14
14 ‫هو‬

constantly implies what a horrible mother and woman she is. Of course, this is easily done
when he is not aware of the real reason for her remarriage. In this conversation, he continues
to shame her for her actions. However, while Hamlet accuses her of being evil, he still
wonders why she married Claudius:
You cannot call it love, for at your age
The heyday in the blood is tame, it’s humble,
And waits upon the judgment. And what judgment
Would step from this to this? Sense sure you have,
Else could you not have motion. (Shakespeare 3.4.69-73)
Clearly, Gertrude did not marry Claudius for love or affection. Still, what possible rational
reason would make her marry a fool? She is reasonable and wise, but it does not make sense to
Hamlet that she goes from the honourable King to his brother. Furthermore, Hamlet mocks
Ophelia by saying that she only has sense inasmuch as she has motion. She does not have sense
as a wise, sensible person:
Nay, but to live
In the rank sweat of an enseamed bed,
Stew’d in corruption, honeying and making love
Over the nasty sty! (Shakespeare 3.4.92-5)
The shaming of Ophelia is about the consequences of her sexuality. Since it is
taboo for women to show sexual desires in public, she is judged when she gives Hamlet her
affection. Instead, to follow the norm in the patriarchal society, she should hide her lust.
Ophelia should be chaste and virtuous, which she was not (Millett 54). “The chariest maid is
prodigal enough. If she unmask her beauty to the moon.” (Shakespeare 1.3.36-7). Laertes
15
constantly implies what a horrible mother and woman she is.
.‫يشير باستمرار إلى مدى كونها أًم ا وامرأة فظيعة‬
Of course, this is easily done when he is not aware of the real reason for her
remarriage.
.‫وبالطبع يتم ذلك بسهولة عندما ال يكون على علم بالسبب الحقيقي لزواجها مرة أخرى‬
In this conversation, he continues to shame her for her actions.

.‫في هذه المحادثة يواصل فضحها بسبب أفعالها‬
However, while Hamlet accuses her of being evil, he still wonders why she
married Claudius: You cannot call it love, for at your age The heyday in the
blood is tame, it’s humble, And waits upon the judgment.
‫ ال‬:‫ ال يزال يتساءل عن سبب زواجها من كلوديوس‬،‫ فبينما يتهمها هاملت بأنها شريرة‬،‫ومع ذلك‬
.‫ وتنتظر الحكم‬،‫ ومتواضعة‬،‫ فإن ذروة الدم مروضة‬،‫ ألنه في مثل سنك‬،‫يمكنك أن تسمي ذلك حًبا‬
And what judgment Would step from this to this?

‫وما الحكم الذي سيخطو من هذا إلى هذا؟‬
Sense sure you have, Else could you not have motion.
.‫ وإال فلن يكون لديك حركة‬،‫تأكد من وجودك‬
(Shakespeare 3.4.69-73) Clearly, Gertrude did not marry Claudius for love or
affection.
.‫) من الواضح أن جيرترود لم تتزوج من كلوديوس من أجل الحب أو المودة‬73-3.4.69 ‫(شكسبير‬
Still, what possible rational reason would make her marry a fool?
‫ ما هو السبب العقالني المحتمل الذي قد يجعلها تتزوج بأحمق؟‬،‫ومع ذلك‬
She is reasonable and wise, but it does not make sense to Hamlet that she goes
from the honourable King to his brother.
.‫ لكن ليس من المنطقي بالنسبة لهاملت أن تنتقل من الملك المحترم إلى أخيه‬،‫إنها عاقلة وحكيمة‬

Furthermore, Hamlet mocks Ophelia by saying that she only has sense
inasmuch as she has motion.
.‫ يسخر هاملت من أوفيليا بقوله إن لديها إحساًس ا فقط بقدر ما لديها من حركة‬،‫عالوة على ذلك‬
She does not have sense as a wise, sensible person: Nay, but to live In the rank
sweat of an enseamed bed, Stew’d in corruption, honeying and making love
Over the nasty sty!
،‫ ولكن أن تعيش في عرق مرتب على سرير مخيط‬،‫ كال‬:‫ليس لديها أي حس كشخص حكيم وعاقل‬
!‫ وممارسه الحب على جديلة قذرة‬،‫ معسولة‬،‫مطهية في الفساد‬
(Shakespeare 3.4.92-5) The shaming of Ophelia is about the consequences of

her sexuality.
.‫) إن فضح أوفيليا يتعلق بعواقب حياتها الجنسية‬5-3.4.92 ‫(شكسبير‬
Since it is taboo for women to show sexual desires in public, she is judged
when she gives Hamlet her affection.
‫ يتم الحكم عليها عندما‬،‫نظًر ا ألنه من المحرم على المرأة إظهار رغباتها الجنسية في األماكن العامة‬
.‫تمنح هاملت عاطفتها‬
Instead, to follow the norm in the patriarchal society, she should hide her lust.
.‫ عليها أن تخفي شهوتها‬،‫ لكي تتبع القاعدة السائدة في المجتمع األبوي‬،‫وبدًال من ذلك‬
Ophelia should be chaste and virtuous, which she was not (Millett 54).
.)54 ‫ وهو ما لم تكن عليه (ميليت‬،‫يجب أن تكون أوفيليا عفيفة وفاضلة‬
“The chariest maid is prodigal enough.

.‫"الخادمة األكثر خيًر ا مسرفة بما فيه الكفاية‬
If she unmask her beauty to the moon.” (Shakespeare 1.3.36-7).

.)7-1.3.36 ‫" (شكسبير‬.‫إذا كشفت جمالها للقمر‬
Laertes 15
15 ‫الرتيس‬

explains that when a woman shows her real beauty, that is, her sexuality, she is damaged.
Even the most perfect, virtuous woman will be disgraced if she portrays her sexual desires.
Ophelia must remain innocent, reject Hamlet, and not give in to her desires, otherwise, she
will be damaged and unclean. Polonius continues to speak of Ophelia’s unhealthy affection,
saying that, “when the blood burns, how prodigal the soul” (Shakespeare 1.3.116). The ‘blood
burns’ when one is lustful and desires something. When a woman’s blood burns, she is
prodigal, thus, wasteful, and damaged. The word ‘prodigal’ is repeated to enhance the
importance of chastity in Ophelia. Nevertheless, the worst shaming on Ophelia is by Hamlet,
which begins in Act III scene I, when Ophelia comes to speak with him about his said
affections. Hamlet, however, begins to question her fairness and honesty. He argues “that if
you be honest and fair/your honesty should admit no discourse to your beauty” (Shakespeare
3.1.107-8), which indicates that if Ophelia had truly been a gracious woman, she would not
have let her sexuality decide for her. Instead, she would have repressed her lust and dealt with
it alone. Furthermore, Hamlet tells Ophelia that “I did love you once” (Shakespeare 3.1.115).
Perhaps he loved her when she was innocent and pure, and when she gave in to her sexual
desires and believed in his affection for her, she became damaged. Ophelia is no longer a
beautiful, precious woman but a wasteful one. Hamlet continues his sexual shaming by
ordering Ophelia to go to a nunnery. It is explained that “a nunnery was sometimes used
sarcastically for a house of unchaste women” (Shakespeare 282). Hamlet’s suggestion about
the nunnery is used to mock Ophelia and her sexual drives. Furthermore, he asks her where
her father is, as he should have an eye on her and not let her be with a man unmarried. Even
though Hamlet is the one who manipulated Ophelia and encouraged her desires, she is the one
who is ashamed and the one to blame. Hamlet indicates that Ophelia’s unchastity and sins
make her evil, and men should stay away from her. “Or if thou wilt needs marry, marry a fool;
16
explains that when a woman shows her real beauty, that is, her sexuality, she is
damaged.
.‫ فإنها تتضرر‬،‫ أي حياتها الجنسية‬،‫يوضح أنه عندما تظهر المرأة جمالها الحقيقي‬
Even the most perfect, virtuous woman will be disgraced if she portrays her
sexual desires.
.‫حتى المرأة األكثر كماًال وفضيلة سوف تتعرض للعار إذا صورت رغباتها الجنسية‬
Ophelia must remain innocent, reject Hamlet, and not give in to her desires,
otherwise, she will be damaged and unclean.
‫ وإال فإنها ستتضرر وتصبح‬،‫ وال تستسلم لرغباتها‬،‫ وترفض هاملت‬،‫يجب أن تظل أوفيليا بريئة‬
.‫نجسة‬
Polonius continues to speak of Ophelia’s unhealthy affection, saying that,

“when the blood burns, how prodigal the soul” (Shakespeare 1.3.116).
‫ كم تسرف‬،‫ «عندما يحترق الدم‬: ‫ قائاًل‬،‫يستمر بولونيوس في الحديث عن عاطفة أوفيليا غير الصحية‬
.)١.٣.١١٦ ،‫الروح» (شكسبير‬
The ‘blood burns’ when one is lustful and desires something.

.‫"يحترق الدم" عندما يكون المرء شهوانًيا ويرغب في شيء ما‬
When a woman’s blood burns, she is prodigal, thus, wasteful, and damaged.
.‫ ومتضررة‬،‫ وبالتالي مسرفة‬،‫عندما يحترق دم المرأة فهي مسرفة‬
The word ‘prodigal’ is repeated to enhance the importance of chastity in

Ophelia.
.‫تكررت كلمة "االسراف" لتعزيز أهمية العفة في أوفيليا‬
Nevertheless, the worst shaming on Ophelia is by Hamlet, which begins in Act

III scene I, when Ophelia comes to speak with him about his said affections.
‫ عندما‬،‫ الذي يبدأ في المشهد األول من الفصل الثالث‬،‫ فإن أسوأ فضح ألوفيليا هو هاملت‬،‫ومع ذلك‬
.‫تأتي أوفيليا للتحدث معه عن مشاعره المذكورة‬
Hamlet, however, begins to question her fairness and honesty.

.‫لكن هاملت يبدأ في التشكيك في نزاهتها وصدقها‬

He argues “that if you be honest and fair/your honesty should admit no
discourse to your beauty” (Shakespeare 3.1.107-8), which indicates that if
Ophelia had truly been a gracious woman, she would not have let her sexuality
decide for her.
‫فإن صدقك يجب أال يسمح بأي حديث عن جمالك" (شكسبير‬/‫يجادل "إذا كنت صادًقا وعادًال‬
‫ لما سمحت لحياتها الجنسية أن‬،‫ مما يشير إلى أنه لو كانت أوفيليا امرأة كريمة حًقا‬،)8-3.1.107
.‫ لها‬.‫تقرر‬
Instead, she would have repressed her lust and dealt with it alone.
.‫ كانت ستقمع شهوتها وتتعامل معها بمفردها‬،‫وبدًال من ذلك‬
Furthermore, Hamlet tells Ophelia that “I did love you once” (Shakespeare
3.1.115).
.)3.1.115 ‫ يقول هاملت ألوفيليا "لقد أحببتك ذات مرة" (شكسبير‬،‫عالوة على ذلك‬
Perhaps he loved her when she was innocent and pure, and when she gave in
to her sexual desires and believed in his affection for her, she became
damaged.
‫ وعندما استسلمت لرغباتها الجنسية وآمنت بمحبته لها‬،‫وربما أحبها عندما كانت بريئة وطاهرة‬
.‫تضررت‬
Ophelia is no longer a beautiful, precious woman but a wasteful one.

.‫ بل امرأة مسرفة‬،‫لم تعد أوفيليا امرأة جميلة وثمينة‬
Hamlet continues his sexual shaming by ordering Ophelia to go to a nunnery.

.‫يواصل هاملت فضحه الجنسي عندما يأمر أوفيليا بالذهاب إلى دير للراهبات‬
It is explained that “a nunnery was sometimes used sarcastically for a house of

unchaste women” (Shakespeare 282).
.)282 ‫ويوضح أن "دير الراهبات كان يستخدم أحياًنا بشكل ساخر لبيت نساء غير عفيفات" (شكسبير‬

Hamlet’s suggestion about the nunnery is used to mock Ophelia and her sexual
drives.
.‫يتم استخدام اقتراح هاملت بشأن الدير للسخرية من أوفيليا ودوافعها الجنسية‬
Furthermore, he asks her where her father is, as he should have an eye on her
and not let her be with a man unmarried.
.‫ وعليه أن يراقبها وال يتركها مع رجل غير متزوج‬،‫ يسألها أين والدها‬،‫عالوة على ذلك‬
Even though Hamlet is the one who manipulated Ophelia and encouraged her
desires, she is the one who is ashamed and the one to blame.
.‫ إال أنها هي التي تخجل وتلوم‬،‫ورغم أن هاملت هو من تالعب بأوفيليا وشجع رغباتها‬
Hamlet indicates that Ophelia’s unchastity and sins make her evil, and men
should stay away from her.
.‫ ويجب على الرجال االبتعاد عنها‬،‫يشير هاملت إلى أن عفة أوفيليا وخطاياها تجعلها شريرة‬
“Or if thou wilt needs marry, marry a fool; 16

16 ‫«أو إذا أردت أن تتزوج فتزوج األحمق؛‬

for wise men know well enough what monsters you make of them. To a nunnery, go – and
quickly too. Farewell” (Shakespeare 3.1.139-42).
Hamlet speaks of every woman when he says that they make monsters out of men
in the quote above and refer to them as ‘you’. When a woman receives self-pleasure within
the relationship, she is manipulative and evil, which tear men into pieces. Moreover, Hamlet
shames Ophelia in public and indicates that she is a bad woman:
Ham. [lying down at Ophelia’s feet] Lady, shall I lie in your lap?
Oph. No, my lord.
Ham. I mean, my head upon your lap. (Shakespeare 3.2.110-13)
To lay in one’s lap is to lay intimately and sexually (Shakespeare 295).
Furthermore, Hamlet shames her and says “do you think I meant country matters?”
(Shakespeare 3.2.115), which means sexual intercourse. Thus, he talks about their previous
intercourse and that they were intimate together. Now, when Hamlet has ordered Ophelia to
get to a nunnery and has told her that she is damaged, he shames her for thinking about him
lying in his lap as something sexual. Hamlet demonstrates that he has the power in the
conversation. If she were to reveal that she knows what he implies, she shows her unchaste
self.
17
for wise men know well enough what monsters you make of them.
.‫ألن الحكماء يعرفون جيًد ا ما هي الوحوش التي تصنعها منهم‬
To a nunnery, go – and quickly too.

.‫ وبسرعة أيًض ا‬،‫اذهبي إلى دير الراهبات‬
Farewell” (Shakespeare 3.1.139-42).

.)42-3.1.139 ‫الوداع” (شكسبير‬
Hamlet speaks of every woman when he says that they make monsters out of
men in the quote above and refer to them as ‘you’.
‫يتحدث هاملت عن كل امرأة عندما يقول إنهم يصنعون الوحوش من الرجال في االقتباس أعاله‬
."‫ويشيرون إليهم بـ "أنت‬
When a woman receives self-pleasure within the relationship, she is

manipulative and evil, which tear men into pieces.
.‫ مما يمزق الرجل إرًبا‬،‫ فهي متالعبة وشريرة‬،‫عندما تحصل المرأة على المتعة الذاتية في العالقة‬
Moreover, Hamlet shames Ophelia in public and indicates that she is a bad
woman: Ham.
.‫ هاملت‬:‫ فإن هاملت يخجل أوفيليا علًنا ويشير إلى أنها امرأة سيئة‬،‫عالوة على ذلك‬
[lying down at Ophelia’s feet] Lady, shall I lie in your lap?

‫ هل يجب أن أستلقي في حجرك؟‬،‫(مستلقية عند قدمي أوفيليا) سيدتي‬
Oph.
.‫أوه‬
No, my lord.
.‫ال يا سيدي‬
Ham.
.‫لحم خنزير‬

I mean, my head upon your lap.
.‫أعني رأسي في حضنك‬
(Shakespeare 3.2.110-13) To lay in one’s lap is to lay intimately and sexually

(Shakespeare 295).
‫) االستلقاء في حضن المرء يعني االستلقاء بشكل حميم وجنسي (شكسبير‬13-3.2.110 ‫(شكسبير‬
.)295
Furthermore, Hamlet shames her and says “do you think I meant country
matters?” (Shakespeare 3.2.115), which means sexual intercourse.
‫ "هل تعتقدين أنني قصدت شؤون البلد؟" (شكسبير‬:‫ فإن هاملت يخجلها ويقول‬،‫عالوة على ذلك‬
.‫ وهو ما يعني الجماع‬،)3.2.115
Thus, he talks about their previous intercourse and that they were intimate
together.
.‫وهكذا يتحدث عن اتصالهما السابق وأنهما كانا حميمين مًع ا‬
Now, when Hamlet has ordered Ophelia to get to a nunnery and has told her
that she is damaged, he shames her for thinking about him lying in his lap as
something sexual.
‫ فإنه يخجلها ألنها‬،‫ عندما أمر هاملت أوفيليا بالذهاب إلى دير الراهبات وأخبرها أنها متضررة‬،‫اآلن‬
.‫فكرت في استلقاءه في حضنه كشيء جنسي‬
Hamlet demonstrates that he has the power in the conversation.

.‫يوضح هاملت أنه يتمتع بالقوة في المحادثة‬
If she were to reveal that she knows what he implies, she shows her unchaste
self.
.‫ فإنها تظهر نفسها غير العفيفة‬،‫فإذا كشفت أنها تعرف ما يعنيه‬

3.3 Rationality vs irrationality
Irrationality can be connected to an emotional or, in the Elizabethan era, hysterical behaviour
(Devereux 38). Rationality is related to logical behaviour. Many rational and irrational acts,
and their consequences, are shown in Hamlet. Gertrude is an example of someone who makes
logical decisions. On the contrary, Ophelia and Hamlet are examples of the chaos that follow
with irrational and emotional behaviour. As a Queen, Gertrude must act by the state’s interest.
Thus, she cannot make decisions for her own interest, or the state will be more damaged than
it already is by the death of the King and the Prince’s madness. Gertrude’s rational acts are
not always explicit. For example, she tries to prevent Hamlet to avenge Claudius by
explaining that death is natural since she is aware of the consequences:
Good Hamlet, cast thy nighted color off,
And let thine eye look like a friend on Denmark.
Do not forever with thy vailèd lids
Seek for thy noble father in the dust.
Thou know’st ’tis common. All that lives must die,
Passing through nature to eternity. (Shakespeare 1.2.68-73)
Gertrude seeks to convince Hamlet that he should befriend Claudius and forget his
father’s death. After all, it was Hamlet’s personal strive for revenge that caused multiple
deaths and Norway’s successful invasion. Gertrude tries her best to control the state
considering her circumstances, not being able to rule and act in an openly ‘masculine’ way,
which is difficult under male dominance. Shakespeare illustrates a non-traditional woman
who must be deconstructed to be understood. She struggles with the balance to be a ruler, a
woman, a mother, and a wife.
Like Gertrude, Ophelia is also a complex character who must be deconstructed.
Her choices and madness follow an irrational pattern, but her reaction to subjection is sane
18
3.3 Rationality vs irrationality Irrationality can be connected to an emotional
or, in the Elizabethan era, hysterical behaviour (Devereux 38).
‫ العقالنية مقابل الالعقالنية يمكن أن ترتبط الالعقالنية بسلوك عاطفي أو هستيري في العصر‬3.3
.)Devereux 38( ‫اإلليزابيثي‬
Rationality is related to logical behaviour.

.‫العقالنية مرتبطة بالسلوك المنطقي‬
Many rational and irrational acts, and their consequences, are shown in
Hamlet.
.‫تظهر العديد من األفعال العقالنية وغير العقالنية وعواقبها في هاملت‬
Gertrude is an example of someone who makes logical decisions.

.‫جيرترود هي مثال للشخص الذي يتخذ قرارات منطقية‬
On the contrary, Ophelia and Hamlet are examples of the chaos that follow
with irrational and emotional behaviour.
‫ فإن أوفيليا وهاملت هما مثاالن على الفوضى التي تتبع السلوك غير العقالني‬،‫على العكس من ذلك‬
.‫والعاطفي‬
As a Queen, Gertrude must act by the state’s interest.

.‫ يجب على جيرترود أن تتصرف وفًقا لمصلحة الدولة‬،‫كملكة‬
Thus, she cannot make decisions for her own interest, or the state will be more
damaged than it already is by the death of the King and the Prince’s madness.
‫ وإال فإن الدولة ستتضرر أكثر مما هي عليه‬،‫ ال يمكنها اتخاذ قرارات لمصلحتها الخاصة‬،‫وبالتالي‬
.‫بالفعل بوفاة الملك وجنون األمير‬
Gertrude’s rational acts are not always explicit.

.‫أفعال جيرترود العقالنية ليست واضحة دائًم ا‬

For example, she tries to prevent Hamlet to avenge Claudius by explaining
that death is natural since she is aware of the consequences: Good Hamlet, cast
thy nighted color off, And let thine eye look like a friend on Denmark.
‫ تحاول منع هاملت من االنتقام لكلوديوس من خالل توضيح أن الموت أمر طبيعي‬،‫على سبيل المثال‬
.‫ ودع عينك تبدو كصديق على الدنمارك‬،‫ ألقي لونك الليلي‬،‫ هاملت الطيب‬:‫ألنها تدرك العواقب‬
Do not forever with thy vailèd lids Seek for thy noble father in the dust.
.‫ال تبحث إلى األبد مع أغطية رأسك عن أبيك الكريم في التراب‬
Thou know’st ’tis common.

.‫أنت تعلم أنه أمر شائع‬
All that lives must die, Passing through nature to eternity.

.‫ ويمر عبر الطبيعة إلى األبد‬،‫كل ما في الحياة يجب أن يموت‬
(Shakespeare 1.2.68-73) Gertrude seeks to convince Hamlet that he should

befriend Claudius and forget his father’s death.
‫) تسعى جيرترود إلى إقناع هاملت بأنه يجب أن يصادق كلوديوس وينسى وفاة‬73-1.2.68 ‫(شكسبير‬
.‫والده‬
After all, it was Hamlet’s personal strive for revenge that caused multiple
deaths and Norway’s successful invasion.
‫ كان سعي هاملت الشخصي لالنتقام هو الذي تسبب في مقتل العديد من األشخاص‬،‫بعد كل شيء‬
.‫وغزو النرويج الناجح‬
Gertrude tries her best to control the state considering her circumstances, not
being able to rule and act in an openly ‘masculine’ way, which is difficult
under male dominance.
‫ وعدم قدرتها على الحكم‬،‫تحاول جيرترود قصارى جهدها للسيطرة على الدولة بالنظر إلى ظروفها‬
.‫ وهو أمر صعب في ظل هيمنة الذكور‬،‫والتصرف بطريقة "ذكورية" علنية‬

Shakespeare illustrates a non-traditional woman who must be deconstructed to
be understood.
.‫يصور شكسبير امرأة غير تقليدية يجب تفكيكها حتى يتم فهمها‬
She struggles with the balance to be a ruler, a woman, a mother, and a wife.
.‫إنها تكافح من أجل التوازن لتكون حاكمة وامرأة وأم وزوجة‬
Like Gertrude, Ophelia is also a complex character who must be

deconstructed.
.‫ أوفيليا هي أيًض ا شخصية معقدة يجب تفكيكها‬،‫مثل جيرترود‬
Her choices and madness follow an irrational pattern, but her reaction to
subjection is sane 18
‫ لكن رد فعلها على الخضوع عاقل‬،‫اختياراتها وجنونها يتبعان نمًط ا غير عقالني‬

and rational. Ophelia is thought to have become mad after constant oppression in the play
from Laertes, Polonius, and Hamlet. Her madness appears in act IV scene V when Ophelia
begins to sing and speak nonsense, which is first discovered by the Queen and King. The
King presumes that she has become mad due to the death of her father and the loss of Hamlet,
and her brother is not near to comfort her. Claudius argues that Ophelia is “divided from
herself and fair judgment” (Shakespeare 4.5.85), now when the men in her life have left.
Furthermore, Ophelia is characterised as a helper, and with no one to help, she is fragmented.
Ophelia’s behaviour, acts, and reactions can be argued to be both irrational and sane. Firstly,
her character is immediately viewed as weak and irresponsible. She has an affair with a Prince
outside of marriage, and even though he is equally responsible, she and her family’s
reputation are at risk. Both Ophelia and Hamlet only think of themselves and their desire and
ignore the possible consequences of their relationship. Her reaction to her loss, her madness,
is on the surface hysteria and insanity. Ophelia is too weak to be alone now that Laertes,
Polonius, and Hamlet have disappeared. The meaning of her life is now unclear. On the other
hand, Ophelia’s madness is a sane reaction to her loss and oppression, for instance, when she
sings about Hamlet’s behaviour towards her:
Young men will do’t if they come to’t
By cock, they are to blame.
Quoth she, ‘Before you tumbled me,
You promis’d me to wed.’
He answers
(sings) ‘So would I a done, by yonder sun,
And thou hadst not come to my bed.’ (Shakespeare 4.5.60-6)
Hamlet seduced Ophelia, clarified his affection towards her, and promised to marry her.
However, after their intercourse, he claims that she is damaged and unchaste. The less
19
and rational.
.‫وعقالنية‬
Ophelia is thought to have become mad after constant oppression in the play
from Laertes, Polonius, and Hamlet.
.‫ُيعتقد أن أوفيليا أصيبت بالجنون بعد القمع المستمر في المسرحية من ليرتس وبولونيوس وهاملت‬
Her madness appears in act IV scene V when Ophelia begins to sing and speak
nonsense, which is first discovered by the Queen and King.
‫ وهو‬،‫يظهر جنونها في الفصل الرابع المشهد الخامس عندما تبدأ أوفيليا في الغناء والتحدث بالهراء‬
.‫األمر الذي اكتشفته الملكة والملك ألول مرة‬
The King presumes that she has become mad due to the death of her father and
the loss of Hamlet, and her brother is not near to comfort her.
.‫ ولم يقترب شقيقها من مواساتها‬،‫يفترض الملك أنها أصيبت بالجنون بسبب وفاة والدها وفقدان هاملت‬
Claudius argues that Ophelia is “divided from herself and fair judgment”
(Shakespeare 4.5.85), now when the men in her life have left.
‫ اآلن بعد‬،)٨٥ .٥ .٤ ‫يجادل كلوديوس بأن أوفيليا «منفصلة عن نفسها وعن الحكم العادل» (شكسبير‬
.‫أن رحل الرجال الموجودون في حياتها‬
Furthermore, Ophelia is characterised as a helper, and with no one to help, she

is fragmented.
.‫ فهي مجزأة‬،‫ ومع عدم وجود من يساعدها‬،‫ تتميز أوفيليا بأنها مساعدة‬،‫عالوة على ذلك‬
Ophelia’s behaviour, acts, and reactions can be argued to be both irrational and
sane.
.‫يمكن القول أن سلوك أوفيليا وأفعالها وردود أفعالها غير عقالنية وعقالنية‬
Firstly, her character is immediately viewed as weak and irresponsible.

.‫ ُينظر إلى شخصيتها على الفور على أنها ضعيفة وغير مسؤولة‬،‫أوًال‬

She has an affair with a Prince outside of marriage, and even though he is
equally responsible, she and her family’s reputation are at risk.
‫ وعلى الرغم من أنه يتحمل نفس القدر من‬،‫لديها عالقة غرامية مع أمير خارج نطاق الزواج‬
.‫ إال أنها وسمعتها وعائلتها في خطر‬،‫المسؤولية‬
Both Ophelia and Hamlet only think of themselves and their desire and ignore
the possible consequences of their relationship.
.‫ ويتجاهالن العواقب المحتملة لعالقتهما‬،‫ال يفكر كل من أوفيليا وهاملت إال في نفسيهما وفي رغبتهما‬
Her reaction to her loss, her madness, is on the surface hysteria and insanity.
.‫ هو هستيريا وجنون ظاهري‬،‫ جنونها‬،‫رد فعلها على خسارتها‬
Ophelia is too weak to be alone now that Laertes, Polonius, and Hamlet have
disappeared.
.‫أوفيليا أضعف من أن تكون بمفردها بعد اختفاء ليرتس وبولونيوس وهاملت‬
The meaning of her life is now unclear.

.‫معنى حياتها غير واضح اآلن‬
On the other hand, Ophelia’s madness is a sane reaction to her loss and
oppression, for instance, when she sings about Hamlet’s behaviour towards
her: Young men will do’t if they come to’t By cock, they are to blame.
،‫ على سبيل المثال‬،‫ فإن جنون أوفيليا هو رد فعل عاقل على خسارتها وقمعها‬،‫ومن ناحية أخرى‬
.‫ فهم المالمون‬،‫ الشباب لن يفعلوا إذا لم يأتوا عن طريق الديك‬:‫عندما تغني عن سلوك هاملت تجاهها‬
Quoth she, ‘Before you tumbled me, You promis’d me to wed.’ He answers
(sings) ‘So would I a done, by yonder sun, And thou hadst not come to my
bed.’ (Shakespeare 4.5.60-6) Hamlet seduced Ophelia, clarified his affection
towards her, and promised to marry her.
‫ وأنت لم‬،‫ بهذه الشمس‬،‫" يجيب (يغني) "هكذا كنت سأفعل‬.‫ وعدتني بالزواج‬،‫ "قبل أن تهزمني‬:‫قالت‬
‫) قام هاملت بإغراء أوفيليا وتوضيح محبته لها ووعدها‬6 )-4.5.60 ‫" (شكسبير‬.‫تأتي إلى سريري‬
.‫بالزواج منها‬

However, after their intercourse, he claims that she is damaged and unchaste.
.‫إال أنه بعد الجماع يدعي أنها متضررة وغير عفيفة‬
The less 19
19 ‫أقل‬

emotional and hysterical way to react to Hamlet’s betrayal and behaviour is to be angry and
possibly mad. However, since Ophelia is presented as a woman, her reaction is stereotypically
regarded as irrational and hysteric. According to Ophelia, his actions are due to his gender,
that all men are to be blamed. Hamlet’s behaviour might be classified as masculine, but it is
not necessarily the nature of all men to regard women in a stereotypical manner. It is rather
due to social constructions which create a norm that, as a man, one should dismiss women
that are portrayed as unchaste.
Ophelia is diagnosed with hysteria when she begins to sing. Ophelia’s madness is
a reaction to her brother’s, father’s, and Hamlet’s dominance and the contemporary
patriarchal structure as well as her sadness due to her loss. But since she is a woman, her
behaviour is dismissed as disturbing (Neely 317). Although, it is believed that Ophelia implies
something with her songs and that everything is not irrational:
She speaks much of her father, says she hears
There’s tricks i' th' world, and hems, and beats her heart,
Spurns enviously at straws, speaks things in doubt
That carry but half sense. Her speech is nothing,
Yet the unshaped use of it doth move
The hearers to collection. They aim at it,
And botch the words up fit to their own thoughts, (Shakespeare 4.5.4-10)
In other words, the Gentleman states that Ophelia speaks much of her father and
his death, and, as argued by previous characters, that his death is the reason why she has
become mad. Nevertheless, the Gentleman also says that her speech partly makes sense. It
could be that, after some thoughts, one would understand her underlying meaning with her
songs. She imagines the death of her father, and the death of Hamlet. However, the
Gentleman claims that her speech might be insignificant and ‘nothing’, yet, other people
20
emotional and hysterical way to react to Hamlet’s betrayal and behaviour is to
be angry and possibly mad.
.‫الطريقة العاطفية والهستيرية للرد على خيانة هاملت وسلوكه هي أن تكون غاضًبا وربما مجنوًنا‬
However, since Ophelia is presented as a woman, her reaction is

stereotypically regarded as irrational and hysteric.
.‫ فإن رد فعلها يعتبر نمطًيا غير عقالني وهستيري‬،‫ بما أن أوفيليا تم تقديمها كامرأة‬،‫ومع ذلك‬
According to Ophelia, his actions are due to his gender, that all men are to be
blamed.
.‫ ويجب إلقاء اللوم على جميع الرجال‬،‫ فإن أفعاله ترجع إلى جنسه‬،‫وفًقا ألوفيليا‬
Hamlet’s behaviour might be classified as masculine, but it is not necessarily

the nature of all men to regard women in a stereotypical manner.
‫ ولكن ليس من طبيعة جميع الرجال بالضرورة‬،‫قد يتم تصنيف سلوك هاملت على أنه سلوك ذكوري‬
.‫أن ينظروا إلى النساء بطريقة نمطية‬
It is rather due to social constructions which create a norm that, as a man, one
should dismiss women that are portrayed as unchaste.
‫ أنه ينبغي للمرء أن يستبعد‬،‫ كرجل‬،‫بل يرجع ذلك إلى البنيات االجتماعية التي تخلق قاعدة مفادها‬
.‫النساء الالتي يتم تصويرهن على أنهن غير عفيفات‬
Ophelia is diagnosed with hysteria when she begins to sing.

.‫تم تشخيص إصابة أوفيليا بالهستيريا عندما بدأت في الغناء‬
Ophelia’s madness is a reaction to her brother’s, father’s, and Hamlet’s

dominance and the contemporary patriarchal structure as well as her sadness
due to her loss.
‫جنون أوفيليا هو رد فعل لهيمنة أخيها وأبيها وهاملت والبنية األبوية المعاصرة وكذلك حزنها بسبب‬
.‫خسارتها‬

But since she is a woman, her behaviour is dismissed as disturbing (Neely
317).
.)317 ‫ فإن سلوكها يتم رفضه باعتباره مزعًج ا (نيلي‬،‫ولكن بما أنها امرأة‬
Although, it is believed that Ophelia implies something with her songs and
that everything is not irrational: She speaks much of her father, says she hears
There’s tricks i' th' world, and hems, and beats her heart, Spurns enviously at
straws, speaks things in doubt That carry but half sense.
‫ فهي‬:‫على الرغم من أنه ُيعتقد أن أوفيليا تشير إلى شيء ما في أغانيها وأن كل شيء ليس غير عقالني‬
‫ وتحتقر‬،‫ وتضرب قلبها‬،‫ وتطوقها‬،"‫ وتقول إنها تسمع "هناك حيل في العالم‬،‫تتحدث كثيًر ا عن والدها‬
.‫ يتحدث بأشياء موضع شك ال تحمل سوى نصف معنى‬،‫القش بحسد‬
Her speech is nothing, Yet the unshaped use of it doth move The hearers to
collection.
.‫ ومع ذلك فإن استخدامه غير المشكل يدفع السامعين إلى التحصيل‬،‫كالمها ال شيء‬
They aim at it, And botch the words up fit to their own thoughts, (Shakespeare
4.5.4-10)
)10-4.5.4 ‫ ويفسدون الكلمات بما يتناسب مع أفكارهم الخاصة (شكسبير‬،‫إنهم يهدفون إلى ذلك‬
In other words, the Gentleman states that Ophelia speaks much of her father
and his death, and, as argued by previous characters, that his death is the
reason why she has become mad.
‫ وكما جادلت الشخصيات‬،‫ يذكر الرجل المحترم أن أوفيليا تتحدث كثيًر ا عن والدها ووفاته‬،‫بمعنى آخر‬
.‫ فإن وفاته هي السبب وراء إصابتها بالجنون‬،‫السابقة‬
Nevertheless, the Gentleman also says that her speech partly makes sense.
.‫ يقول السيد أيًض ا إن خطابها منطقي جزئًيا‬،‫ومع ذلك‬
It could be that, after some thoughts, one would understand her underlying
meaning with her songs.
.‫ أن يفهم المرء معناها األساسي من خالل أغانيها‬،‫ بعد بعض األفكار‬،‫من الممكن‬

She imagines the death of her father, and the death of Hamlet.
.‫ وموت هاملت‬،‫تتخيل وفاة والدها‬
However, the Gentleman claims that her speech might be insignificant and
‘nothing’, yet, other people 20
20 ‫ فإن األشخاص اآلخرين‬،‫ ومع ذلك‬،"‫ يدعي السيد أن كالمها قد يكون تافًه ا و"ال شيء‬،‫ومع ذلك‬

interpret her words as it fits them. So, Ophelia’s madness is open for interpretation, both for
the characters in the play and the readers. On a societal level in the play, she is mad with
hysteria. On an individual level, Ophelia is mad with grief because of her father’s death and
Hamlet’s rejection. These assumptions are only made by the nearest characters in the play,
such as Gertrude and Claudius. It must also be considered that the play is focused on Hamlet
and the consequences of his actions. Thus, Ophelia’s reasons for her madness are left
indefinite. As Hamlet’s madness can be interpreted to be false to deceive the King, Ophelia’s
madness could as well be faked, and her suicide could be an accident.
Ophelia’s death can be interpreted in several ways. Firstly, it is not established
whether her suicide was deliberate or not. Her madness might have driven her to the water,
unknowing that she would drown. Secondly, the characters in the play believe that she
drowned herself due to her sorrows. Her sorrows were too severe to live with. Thirdly, her
death, or suicide, (however one decides to interpret her death), is an escape from her sorrows,
her loss, and her mental health. Yet again, Ophelia allows her irrational emotions to determine
her actions. It is not in her mind that she will survive and fight the sadness. Nevertheless, it
must be remembered that men are in the centre of attention and that the play is, often,
interpreted from a male point of view (Donovan 15). Instead of focusing on Ophelia’s sorrows
and her perspective of the past events, Hamlet and Laertes fight on her grave of who loved her
the most. For instance, Hamlet tries to display his sorrows by crying that no one loved her
more than he:
‘Swounds, show me what thou’t do.
Woo’t weep, woo’t fight, woo’t fast, woo’t tear thyself,
woo’t bring up easel, eat a crocodile?
I’ll do it. Dost come here to whine.
to outface me with leaping in her grave? (Shakespeare 5.1.269-73)
21
interpret her words as it fits them.
.‫تفسير كلماتها بما يناسبها‬
So, Ophelia’s madness is open for interpretation, both for the characters in the
play and the readers.
.‫ سواء بالنسبة لشخصيات المسرحية أو للقراء‬،‫لذا فإن جنون أوفيليا مفتوح للتأويل‬
On a societal level in the play, she is mad with hysteria.

.‫ فهي غاضبة من الهستيريا‬،‫على المستوى المجتمعي في المسرحية‬
On an individual level, Ophelia is mad with grief because of her father’s death
and Hamlet’s rejection.
.‫ تغضب أوفيليا من الحزن بسبب وفاة والدها ورفض هاملت‬،‫على المستوى الفردي‬
These assumptions are only made by the nearest characters in the play, such as
Gertrude and Claudius.
‫ مثل جيرترود‬،‫هذه االفتراضات تم وضعها فقط من قبل الشخصيات األقرب في المسرحية‬
.‫وكلوديوس‬
It must also be considered that the play is focused on Hamlet and the
consequences of his actions.
.‫ويجب أيًض ا مراعاة أن المسرحية تركز على هاملت وعواقب أفعاله‬
Thus, Ophelia’s reasons for her madness are left indefinite.

.‫وهكذا تظل أسباب جنون أوفيليا غير محددة‬
As Hamlet’s madness can be interpreted to be false to deceive the King,

Ophelia’s madness could as well be faked, and her suicide could be an
accident.
‫ فمن الممكن أن يكون جنون أوفيليا‬،‫وبما أن جنون هاملت يمكن تفسيره على أنه كاذب لخداع الملك‬
.‫ ويمكن أن يكون انتحارها مجرد حادث‬،‫مزيًفا‬
Ophelia’s death can be interpreted in several ways.

.‫يمكن تفسير موت أوفيليا بعدة طرق‬

Firstly, it is not established whether her suicide was deliberate or not.
.‫ لم يثبت ما إذا كان انتحارها متعمدًا أم ال‬،‫أوًال‬
Her madness might have driven her to the water, unknowing that she would
drown.
.‫ دون أن تعلم أنها ستغرق‬،‫ربما دفعها جنونها إلى الماء‬
Secondly, the characters in the play believe that she drowned herself due to her
sorrows.
.‫ تعتقد شخصيات المسرحية أنها أغرقت نفسها بسبب أحزانها‬:‫ثانيًا‬
Her sorrows were too severe to live with.

.‫كانت أحزانها شديدة جًد ا بحيث ال يمكن التعايش معها‬
Thirdly, her death, or suicide, (however one decides to interpret her death), is
an escape from her sorrows, her loss, and her mental health.
‫ وصحتها‬،‫ وفقدانها‬،‫ هو هروب من أحزانها‬،)‫ أو انتحارها (مهما كان تفسير موتها‬،‫ موتها‬،‫ثالثًا‬
.‫النفسية‬
Yet again, Ophelia allows her irrational emotions to determine her actions.
.‫ تسمح أوفيليا لمشاعرها غير العقالنية بالتحكم في تصرفاتها‬،‫مرة أخرى‬
It is not in her mind that she will survive and fight the sadness.
.‫وال يخطر في بالها أنها ستنجو وتحارب الحزن‬
Nevertheless, it must be remembered that men are in the centre of attention

and that the play is, often, interpreted from a male point of view (Donovan
15).
‫ يجب أن نتذكر أن الرجال هم في مركز االهتمام وأن المسرحية غالًبا ما يتم تفسيرها من‬،‫ومع ذلك‬
.)15 ‫وجهة نظر ذكورية (دونوفان‬

Instead of focusing on Ophelia’s sorrows and her perspective of the past
events, Hamlet and Laertes fight on her grave of who loved her the most.
‫ يتقاتل هاملت والرتيس على قبرها‬،‫بدًال من التركيز على أحزان أوفيليا ومنظورها لألحداث الماضية‬
.‫حول من أحبها أكثر‬
For instance, Hamlet tries to display his sorrows by crying that no one loved
her more than he: ‘Swounds, show me what thou’t do.
‫ "أيها‬:‫ يحاول هاملت إظهار أحزانه بالصراخ قائًال إنه ال أحد يحبها أكثر منه‬،‫على سبيل المثال‬
."‫ أرني ما ال تفعله‬،‫الجراح‬
Woo’t weep, woo’t fight, woo’t fast, woo’t tear thyself, woo’t bring up easel,
eat a crocodile?
‫ تأكل تمساًح ا؟‬،‫ ال تحضر حامل الحامل‬،‫ ال تمزق نفسك‬،‫ ال تسرع‬،‫ ال تقاتل‬،‫ال تبكي‬
I’ll do it.
.‫سأفعل ذلك‬
Dost come here to whine.

.‫دوست يأتي إلى هنا لألنين‬
to outface me with leaping in her grave?

‫لتواجهني بالقفز في قبرها؟‬
(Shakespeare 5.1.269-73) 21
21 )73-5.1.269 ‫(شكسبير‬

He expresses to Laertes that he will not mourn as Hamlet will and that Laertes will not
sacrifice himself for her as Hamlet will. Everyone assumes that she drowned herself due to
her sorrows. But, since the play is mainly focused on men, it is difficult to know for sure. The
play leaves us with the questions whether Ophelia’s death was rational or irrational and if she
committed suicide or died accidentally. Both her madness and death can be interpreted in
many ways, from many different perspectives.
22
He expresses to Laertes that he will not mourn as Hamlet will and that Laertes
will not sacrifice himself for her as Hamlet will.
‫أعرب ليرتس أنه لن يحزن كما سيفعل هاملت وأن ليرتس لن يضحي بنفسه من أجلها كما سيفعل‬
.‫هاملت‬
Everyone assumes that she drowned herself due to her sorrows.

.‫الجميع يفترض أنها غرقت نفسها بسبب أحزانها‬
But, since the play is mainly focused on men, it is difficult to know for sure.
.‫ فمن الصعب معرفة ذلك على وجه اليقين‬،‫ولكن بما أن المسرحية تركز بشكل أساسي على الرجال‬
The play leaves us with the questions whether Ophelia’s death was rational or
irrational and if she committed suicide or died accidentally.
‫ وما إذا كانت‬،‫تتركنا المسرحية أمام أسئلة حول ما إذا كان موت أوفيليا عقالنًيا أم غير عقالني‬
.‫انتحرت أو ماتت عن طريق الخطأ‬
Both her madness and death can be interpreted in many ways, from many
different perspectives.
.‫ ومن وجهات نظر مختلفة‬،‫يمكن تفسير جنونها وموتها بعدة طرق‬

4. Conclusion
Gertrude and Ophelia are the only female characters in Hamlet, and therefore the
only women to study in order to examine Shakespeare’s representation of women.
Deconstruction is important to interpret the play from a feminist point of view. Both Ophelia
and Gertrude are both irrational but rational, weak but strong, dependent but independent.
Literature in general was written and interpreted from a male point of view, and Hamlet is an
example of such a text. When seen in this light, Gertrude is rather a mother and a wife than a
ruling Queen. The focus is primarily on her betrayal and her choice to marry the King’s
murderer. According to Cavendish (Rackin 72), many women say that they can identify with
the women in the play and that Shakespeare was able to write as if he was a woman himself.
To understand Gertrude, one must firstly look at her position as a mother. A mother’s
responsibility is to protect and take care of her children, at least in the Elizabethan era when
women had little property. Gertrude must thus prevent Hamlet from making something
foolish, that is, to accuse Claudius publicly for murdering the former King. To protect
Hamlet, she denounced him as mad. Accordingly, no one believed his accusations, and he was
not punished. Furthermore, Gertrude allowed Hamlet to shame her and insult her, without
defending herself. She might seem to be a weak and emotional character, but she had rational
reasons for her behaviour and reactions. To save Hamlet’s reputation and to prevent chaos in
the state, she was forced to look like a fool who was manipulated by Claudius. However, to
further understand her character, one must also look at her position as Queen. The main power
is often the King. He is the one who protects and maintains the country. However, in this
scenario, the King is irrational and dangerous for the state. His choices and actions will harm
the safety of the country. Consequently, Gertrude must be able to act and think rationally and
make decisions that favour the state. As Hamlet and Claudius do, Gertrude cannot let her
emotions interfere with her role as Queen. The real struggle is, however, to implicitly lead
23
Conclusion Gertrude and Ophelia are the only female characters in Hamlet,
and therefore the only women to study in order to examine Shakespeare’s
representation of women.
‫ وبالتالي المرأتان‬،‫ جيرترود وأوفيليا هما الشخصيتان األنثويتان الوحيدتان في هاملت‬:‫االستنتاج‬
.‫الوحيدتان اللتان تمت دراستهما من أجل فحص تمثيل شكسبير للمرأة‬
Deconstruction is important to interpret the play from a feminist point of view.

.‫التفكيك مهم لتفسير المسرحية من وجهة نظر نسوية‬
Both Ophelia and Gertrude are both irrational but rational, weak but strong,
dependent but independent.
‫ تابعان لكن‬،‫ ضعيفان لكن قويان‬،‫كل من أوفيليا وجيرترود كالهما غير عقالنيين ولكنهما عقالنيان‬
.‫مستقالن‬
Literature in general was written and interpreted from a male point of view,
and Hamlet is an example of such a text.
.‫ وهاملت مثال على هذا النص‬،‫األدب بشكل عام كان يكتب ويفسر من وجهة نظر ذكورية‬
When seen in this light, Gertrude is rather a mother and a wife than a ruling
Queen.
.‫ فإن جيرترود هي أم وزوجة أكثر من كونها ملكة حاكمة‬،‫عندما ينظر إليها في هذا الضوء‬
The focus is primarily on her betrayal and her choice to marry the King’s
murderer.
.‫ينصب التركيز في المقام األول على خيانتها واختيارها الزواج من قاتل الملك‬
According to Cavendish (Rackin 72), many women say that they can identify
with the women in the play and that Shakespeare was able to write as if he was
a woman himself.
‫ تقول العديد من النساء إنهن يستطعنالتماهي مع النساء في المسرحية‬،)72 ‫وفًقا لكافنديش (راكين‬
.‫وأن شكسبير كان قادًر ا على الكتابة كما لو كان هو نفسه امرأة‬

To understand Gertrude, one must firstly look at her position as a mother.
.‫ يجب على المرء أوًال أن ينظر إلى وضعها كأم‬،‫لفهم جيرترود‬
A mother’s responsibility is to protect and take care of her children, at least in

the Elizabethan era when women had little property.
‫ على األقل في العصر اإلليزابيثي عندما كانت ممتلكات‬،‫إن مسؤولية األم هي حماية ورعاية أطفالها‬
.‫النساء قليلة‬
Gertrude must thus prevent Hamlet from making something foolish, that is, to
accuse Claudius publicly for murdering the former King.
‫ أي اتهام كلوديوس علًنا بقتل الملك‬،‫وبالتالي يجب على جيرترود منع هاملت من ارتكاب أي حماقة‬
.‫السابق‬
To protect Hamlet, she denounced him as mad.

.‫ نددت به ووصفته بالجنون‬،‫ولحماية هاملت‬
Accordingly, no one believed his accusations, and he was not punished.

.‫ ولم تتم معاقبته‬،‫ لم يصدق أحد اتهاماته‬،‫وعليه‬
Furthermore, Gertrude allowed Hamlet to shame her and insult her, without
defending herself.
.‫ دون أن تدافع عن نفسها‬،‫ سمحت جيرترود لهاملت بإهانتها وإهانتها‬،‫عالوة على ذلك‬
She might seem to be a weak and emotional character, but she had rational
reasons for her behaviour and reactions.
.‫ لكن لديها أسباب عقالنية لتصرفاتها وردود أفعالها‬،‫قد تبدو شخصية ضعيفة وعاطفية‬
To save Hamlet’s reputation and to prevent chaos in the state, she was forced
to look like a fool who was manipulated by Claudius.
‫ اضطرت إلى أن تبدو وكأنها حمقاء تم التالعب بها من‬،‫إلنقاذ سمعة هاملت ومنع الفوضى في الدولة‬
.‫قبل كلوديوس‬

However, to further understand her character, one must also look at her
position as Queen.
.‫ يجب على المرء أيًض ا أن ينظر إلى موقعها كملكة‬،‫ لفهم شخصيتها بشكل أكبر‬،‫ومع ذلك‬
The main power is often the King.

.‫القوة الرئيسية غالبا ما تكون الملك‬
He is the one who protects and maintains the country.

.‫فهو الذي يحمي الوطن ويحافظ عليه‬
However, in this scenario, the King is irrational and dangerous for the state.
.‫ الملك غير عقالني وخطير على الدولة‬،‫لكن في هذا السيناريو‬
His choices and actions will harm the safety of the country.
.‫واختياراته وأفعاله ستضر بسالمة البالد‬
Consequently, Gertrude must be able to act and think rationally and make
decisions that favour the state.
‫ يجب أن تكون جيرترود قادرة على التصرف والتفكير بعقالنية واتخاذ القرارات التي تصب‬،‫وبالتالي‬
.‫في صالح الدولة‬
As Hamlet and Claudius do, Gertrude cannot let her emotions interfere with
her role as Queen.
.‫ ال تستطيع جيرترود أن تدع عواطفها تتدخل في دورها كملكة‬،‫كما يفعل هاملت وكلوديوس‬
The real struggle is, however, to implicitly lead 23

‫ ضمنًيا‬23 ‫لكن النضال الحقيقي هو قيادة‬

both Hamlet and Claudius in the right direction to make rational decisions, and not explicitly
show her intentions.
Ophelia is portrayed as a typically weak and passive character. Her role is not
independent, and in every scene, she is related to someone else. In her first entrance, she is
with her brother who tells her to not trust Hamlet’s affections. Secondly, she is with her father
who obeys her to stay away from Hamlet. Furthermore, her role is only important to support
Hamlet’s role. She is a good tool to convince everyone that he is mad, by rejecting and
insulting her. Perhaps when she committed suicide, she was independent and could decide for
herself. On the other hand, her suicide is said, by the other characters, to happen because of
her father’s death, the loss of Hamlet and her brother’s absence. It shows that Ophelia must
have a reason to help others to live. She might seem irrational and emotional when she
follows her desires to be with Hamlet and committing suicide, but it is not all that strange.
When one is rejected and shamed by a lover who murdered one’s father, it is only rational and
normal to react as Ophelia does. It would probably be strange if she did not react strongly,
even if that would be the most prideful thing to do. Since Shakespeare only included two
female characters in the play, it could be interpreted that these women are important to the
plot. At the first view, however, Ophelia and Gertrude might seem passive and insignificant,
but they contribute greatly to the male characters’ decisions. Gertrude tries to control Hamlet
and Claudius from murdering one another (even though she fails), and Ophelia gives the plot
depth by showing another side of Hamlet. At this point in time, literature was often written
and read from a male point of view, which might be the reason why Ophelia and Gertrude
were not centred; even though their characters were important. Even though they both died, it
might have been an act of independence. Did Gertrude intentionally drink from the poisoned
cup to kill herself, since she predicted the chaos that followed? Did Ophelia intentionally
commit suicide to show her strength to decide for herself? They might have been accidents,
24
both Hamlet and Claudius in the right direction to make rational decisions, and
not explicitly show her intentions.
.‫ وعدم إظهار نواياها صراحة‬،‫كل من هاملت وكلوديوس في االتجاه الصحيح التخاذ قرارات عقالنية‬
Ophelia is portrayed as a typically weak and passive character.

.‫يتم تصوير أوفيليا على أنها شخصية ضعيفة وسلبية‬
Her role is not independent, and in every scene, she is related to someone else.
.‫ وفي كل مشهد ترتبط بشخص آخر‬، ‫دورها ليس مستقًال‬
In her first entrance, she is with her brother who tells her to not trust Hamlet’s
affections.
.‫ كانت مع شقيقها الذي قال لها أال تثق بمشاعر هاملت‬،‫في أول دخول لها‬
Secondly, she is with her father who obeys her to stay away from Hamlet.
.‫ هي مع والدها الذي يأمرها باالبتعاد عن هاملت‬،‫ثانًيا‬
Furthermore, her role is only important to support Hamlet’s role.

.‫ فإن دورها مهم فقط لدعم دور هاملت‬،‫عالوة على ذلك‬
She is a good tool to convince everyone that he is mad, by rejecting and

insulting her.
.‫ وذلك من خالل رفضها وإهانتها‬،‫إنها أداة جيدة إلقناع الجميع بأنه مجنون‬
Perhaps when she committed suicide, she was independent and could decide
for herself.
.‫ربما عندما انتحرت كانت مستقلة ويمكنها أن تقرر بنفسها‬
On the other hand, her suicide is said, by the other characters, to happen
because of her father’s death, the loss of Hamlet and her brother’s absence.
‫ تقول الشخصيات األخرى إن انتحارها حدث بسبب وفاة والدها وفقدان هاملت‬،‫ومن ناحية أخرى‬
.‫وغياب شقيقها‬

It shows that Ophelia must have a reason to help others to live.
.‫إنه يوضح أن أوفيليا يجب أن يكون لديها سبب لمساعدة اآلخرين على العيش‬
She might seem irrational and emotional when she follows her desires to be
with Hamlet and committing suicide, but it is not all that strange.
‫ لكن األمر ليس‬،‫قد تبدو غير عقالنية وعاطفية عندما تتبع رغباتها في أن تكون مع هاملت وتنتحر‬
.‫غريًبا تماًم ا‬
When one is rejected and shamed by a lover who murdered one’s father, it is
only rational and normal to react as Ophelia does.
‫ فمن العقالني والطبيعي أن يكون رد‬،‫عندما يتعرض المرء للرفض والعار من قبل عاشق قتل والده‬
.‫فعله كما تفعل أوفيليا‬
It would probably be strange if she did not react strongly, even if that would be
the most prideful thing to do.
‫ حتى لو كان ذلك هو الشيء األكثر فخًر ا الذي يجب القيام‬،‫ربما سيكون األمر غريًبا إذا لم تتفاعل بقوة‬
.‫به‬
Since Shakespeare only included two female characters in the play, it could be
interpreted that these women are important to the plot.
‫ فيمكن تفسير ذلك على أن هاتين‬،‫نظًر ا ألن شكسبير ضّم ن شخصيتين نسائيتين فقط في المسرحية‬
.‫المرأتين مهمتان في الحبكة‬
At the first view, however, Ophelia and Gertrude might seem passive and
insignificant, but they contribute greatly to the male characters’ decisions.
‫ لكنهما تساهمان بشكل كبير‬،‫ قد تبدو أوفيليا وجيرترود للوهلة األولى سلبيتين وغير مهمتين‬،‫ومع ذلك‬
.‫في قرارات الشخصيات الذكورية‬
Gertrude tries to control Hamlet and Claudius from murdering one another
(even though she fails), and Ophelia gives the plot depth by showing another
side of Hamlet.
،)‫تحاول جيرترود السيطرة على هاملت وكلوديوس من قتل بعضهما البعض (على الرغم من فشلها‬
.‫وتعطي أوفيليا عمق الحبكة من خالل إظهار جانب آخر من هاملت‬

At this point in time, literature was often written and read from a male point of
view, which might be the reason why Ophelia and Gertrude were not centred;
even though their characters were important.
‫ وهو ما قد يكون‬،‫ كان األدب ُيكتب وُيقرأ في كثير من األحيان من وجهة نظر ذكورية‬،‫في هذا الوقت‬
.‫السبب وراء عدم تركيز أوفيليا وجيرترود؛ على الرغم من أن شخصياتهم كانت مهمة‬
Even though they both died, it might have been an act of independence.
.‫ ربما كان ذلك بمثابة عمل من أعمال االستقالل‬،‫على الرغم من أنهما ماتا‬
Did Gertrude intentionally drink from the poisoned cup to kill herself, since
she predicted the chaos that followed?
‫ إذ تنبأت بالفوضى التي أعقبت ذلك؟‬،‫هل شربت جيرترود من الكأس المسموم عمدا لتقتل نفسها‬
Did Ophelia intentionally commit suicide to show her strength to decide for
herself?
‫هل انتحرت أوفيليا عمدا لتظهر قوتها في اتخاذ القرار بنفسها؟‬
They might have been accidents, 24

24 ،‫ربما كانت حوادث‬

but they might as well have been suicides to give the play depth and illustrate self-reliance.
Nevertheless, Shakespeare’s representation of men and women in society is yet discussable
and relatable today, and this is one of the reasons why Hamlet is still relevant today.
25
but they might as well have been suicides to give the play depth and illustrate
self-reliance.
.‫لكنها ربما كانت أيًض ا حاالت انتحار إلضفاء العمق على المسرحية وتوضيح االعتماد على الذات‬
Nevertheless, Shakespeare’s representation of men and women in society is

yet discussable and relatable today, and this is one of the reasons why Hamlet
is still relevant today.
‫ فإن تمثيل شكسبير للرجال والنساء في المجتمع ال يزال قابًال للمناقشة ويمكن االرتباط به‬،‫ومع ذلك‬
.‫ وهذا أحد األسباب التي تجعل هاملت ال يزال ذا أهمية حتى يومنا هذا‬،‫اليوم‬

5. Works cited
Amiri, Mehdi and Khoshkam, Sara. “Gender Identity and Gender Performativity in
Shakespeare’s Selected Plays: Macbeth, Hamlet and Merry Wives of Windsor.” Advances in
Language and Literary Studies, vol. 8, no. 4, Aug. 2017, pp. 1-7. ISSN: 2203-4714.
Barry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory.
Manchester, Manchester University Press, 2017.
Bennett, Andrew and Royle, Nicholas. An Introduction to Literature, Criticism and Theory.
Routledge, Abingdon, Oxon, 2016.
Bloom, Harold. Shakespeare: The Invention of the Human. New York, Riverhead, 1998.
Camden, Carroll. “On Ophelia's Madness.” Shakespeare Quarterly, vol. 15, no. 2, 1964, pp.
247–255. JSTOR, www.jstor.org/stable/2867895.
Daiches, David. A Critical History of English Literature Vol. 2. London, Secker & Warburg,
1969.
Devereux, Cecily. “Hysteria, Feminism, and Gender Revisited: The Case of the Second
Wave.” English Studies in Canada, vol. 40, no. 1, Mar. 2014, pp. 19–45. EBSCOhost,
doi:10.1353/esc.2014.0004.
Donovan, Josephine, editor. Feminist Literary Criticism: Explorations in Theory. Lexington,

Ky., University Press of Kentucky, 1989.
Findlay. Alison. Women in Shakespeare: A Dictionary. Continuum, London, 2010.
Fischer, Sandra K. “Hearing Ophelia: Gender and Tragic Discourse in

‘Hamlet.’” Renaissance and Reformation / Renaissance Et Réforme, vol. 14, no. 1, 1990, pp.
1–10. JSTOR, www.jstor.org/stable/43444750.
Millett, Kate. Sexual Politics. N.Y., Garden City, 1970.
Mill, John Stuart. The Subjection of Women. The Floating Press, Auckland, 2017.
Mitchell, Juliet. Psychoanalysis and Feminism. London, Pantheon, 1974.

26
Works cited Amiri, Mehdi and Khoshkam, Sara.
.‫استشهدت األعمال باألميري والمهدي وخوشكم وسارة‬
“Gender Identity and Gender Performativity in Shakespeare’s Selected Plays:

Macbeth, Hamlet and Merry Wives of Windsor.” Advances in Language and
Literary Studies, vol.
‫ ماكبث وهاملت وزوجات وندسور‬:‫“الهوية الجنسية واألداء الجندري في مسرحيات شكسبير المختارة‬
.‫ المجلد‬،‫ التقدم في الدراسات اللغوية واألدبية‬.”‫المرحات‬
8, no.
.‫ ال‬،8
4, Aug. 2017, pp.

.‫ ص‬،2017 ‫ أغسطس‬4
Barry, Peter.
.‫ بيتر‬،‫باري‬
Beginning Theory: An Introduction to Literary and Cultural Theory.

.‫ مقدمة للنظرية األدبية والثقافية‬:‫نظرية البداية‬
Manchester, Manchester University Press, 2017.

.2017 ،‫ مطبعة جامعة مانشستر‬،‫مانشستر‬
Bennett, Andrew and Royle, Nicholas.

.‫ نيكوالس‬،‫ أندرو ورويل‬،‫بينيت‬
An Introduction to Literature, Criticism and Theory.

.‫مقدمة في األدب والنقد والنظرية‬
Routledge, Abingdon, Oxon, 2016.

.2016 ،‫ أوكسون‬،‫ أبينجدون‬،‫روتليدج‬
Bloom, Harold.
.‫ هارولد‬،‫بلوم‬

Shakespeare: The Invention of the Human.
.‫ اختراع اإلنسان‬:‫شكسبير‬
New York, Riverhead, 1998.

.1998 ،‫ ريفرهيد‬،‫نيويورك‬
Camden, Carroll.
.‫ كارول‬،‫كامدن‬
“On Ophelia's Madness.” Shakespeare Quarterly, vol.

.‫ المجلد‬،‫""عن جنون أوفيليا"" شكسبير الفصلية‬
15, no.
.‫ ال‬،15
2, 1964, pp.
.‫ ص‬،1964 ،2
JSTOR, www.jstor.org/stable/2867895.
.www.jstor.org/stable/2867895 ،‫جستور‬
Daiches, David.
.‫ ديفيد‬،‫دايتشيس‬
A Critical History of English Literature Vol.

.‫تاريخ نقدي لألدب اإلنجليزي المجلد‬
London, Secker & Warburg, 1969.

.1969 ،‫ سيكر وواربورغ‬،‫لندن‬
Devereux, Cecily.
.‫ سيسيلي‬،‫ديفرو‬

“Hysteria, Feminism, and Gender Revisited: The Case of the Second Wave.”
English Studies in Canada, vol.
‫" دراسات اللغة اإلنجليزية في‬.‫ حالة الموجة الثانية‬:‫"إعادة النظر في الهستيريا والنسوية والجنس‬
.‫ المجلد‬،‫كندا‬
40, no.
.‫ ال‬،40
1, Mar.
.‫ مارس‬1
2014, pp.
.‫ ص‬،2014
EBSCOhost, doi:10.1353/esc.2014.0004.
.esc.2014.0004/10.1353:‫ دوى‬،EBSCOhost
Donovan, Josephine, editor.

.‫ محرر‬،‫ جوزفين‬،‫دونوفان‬
Feminist Literary Criticism: Explorations in Theory.

.‫ استكشافات في النظرية‬:‫النقد األدبي النسوي‬
Lexington, Ky., University Press of Kentucky, 1989.

.1989 ،‫ مطبعة جامعة كنتاكي‬،‫ كنتاكي‬،‫ليكسينغتون‬
Findlay.
.‫فيندالي‬
Alison.
.‫أليسون‬
Women in Shakespeare: A Dictionary.

.‫ قاموس‬:‫المرأة في شكسبير‬

Continuum, London, 2010.
.2010 ،‫ لندن‬،‫األستمرارية‬
Fischer, Sandra K. “Hearing Ophelia: Gender and Tragic Discourse in

‘Hamlet.’” Renaissance and Reformation / Renaissance Et Réforme, vol.
‫ النهضة‬.”‫ النوع االجتماعي والخطاب المأساوي في هاملت‬:‫ “سماع أوفيليا‬.‫ ساندرا ك‬،‫فيشر‬
.‫ المجلد‬،‫ النهضة واإلصالح‬/ ‫واإلصالح‬
14, no.
.‫ ال‬،14
1, 1990, pp.
.‫ ص‬،1990 ،1
JSTOR, www.jstor.org/stable/43444750.
.www.jstor.org/stable/43444750 ،‫جستور‬
Millett, Kate.
.‫ كيت‬،‫ميليت‬
Sexual Politics.
.‫السياسة الجنسية‬
N.Y., Garden City, 1970.

.1970 ،‫ جاردن سيتي‬،‫نيويورك‬
Mill, John Stuart.

.‫ جون ستيوارت‬،‫ميل‬
The Subjection of Women.

.‫خضوع المرأة‬
The Floating Press, Auckland, 2017.

.2017 ،‫ أوكالند‬،‫الصحافة العائمة‬

Mitchell, Juliet.
.‫ جولييت‬،‫ميتشل‬
Psychoanalysis and Feminism.

.‫التحليل النفسي والنسوية‬
London, Pantheon, 1974.

.1974 ،‫ بانثيون‬،‫لندن‬

Neely, Carol Thomas. “‘Documents in Madness’: Reading Madness and Gender in
Shakespeare's Tragedies and Early Modern Culture.” Shakespeare Quarterly, vol. 42, no. 3,
1991, pp. 315–338.
Shakespeare, William. Hamlet. Edited by Harold Jenkins, London, Meuthen, 1982.
Rackin, Phyllis. Shakespeare and Women. Oxford University Press, New York, 2005.
Ros Velasco, Josefa. Feminism: Past, Present and Future Perspectives. Nova Science
Publishers, Inc, 2017. Ebook Collection (EBSCOhost).
27
Neely, Carol Thomas.
.‫ كارول توماس‬،‫نيلي‬
“‘Documents in Madness’: Reading Madness and Gender in Shakespeare's

Tragedies and Early Modern Culture.” Shakespeare Quarterly, vol.
‫" شكسبير‬.‫ قراءة الجنون والجنس في مآسي شكسبير والثقافة الحديثة المبكرة‬:"‫""وثائق في الجنون‬
.‫ المجلد‬،‫الفصلية‬
42, no.
.‫ ال‬،42
3, 1991, pp.
.‫ ص‬،1991 ،3
Shakespeare, William.
.‫ وليم‬،‫شكسبير‬
Hamlet.
.‫قرية‬
Edited by Harold Jenkins, London, Meuthen, 1982.

.1982 ،‫ ميوثين‬،‫ لندن‬،‫حرره هارولد جنكينز‬
Rackin, Phyllis.
.‫ فيليس‬،‫راكين‬
Shakespeare and Women.

.‫شكسبير والنساء‬
Oxford University Press, New York, 2005.

.2005 ،‫ نيويورك‬،‫مطبعة جامعة أكسفورد‬
Ros Velasco, Josefa.

.‫ جوزيفا‬،‫روس فيالسكو‬

Feminism: Past, Present and Future Perspectives.
.‫ وجهات نظر الماضي والحاضر والمستقبل‬:‫النسوية‬
Nova Science Publishers, Inc, 2017.

.2017 ،‫ وشركة‬،‫نوفا ساينس للنشر‬
Ebook Collection (EBSCOhost).

.)EBSCOhost( ‫مجموعة الكتب اإللكترونية‬

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FACULTY OF EDUCATION AND BUSINESS STUDIES

Shakespeare’s Representation of Women

A Feminist Reading of Shakespeare’s Hamlet

Student thesis, Bachelor degree, 15 HE

Supervisor: Iulian Cananau

Mathilda Samuelsson 2020 Student thesis, Bachelor degree, 15 HE English

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male characters’ choices.

In order to examine the ways in which Shakespeare portrays Ophelia and

Gertrude in the play, their characters are deconstructed. By deconstructing characters, it

behaviour and choices affect the other characters.

presence clearly shows how women were interpreted in a contemporary patriarchal

In order to examine the ways in which Shakespeare portrays Ophelia and

By deconstructing characters, it allows them to have contradictory

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suicide, or, possibly, unintentional death. Nevertheless, by deconstructing Ophelia’s

patriarchy, she is irrational, emotional, and mad.

To conclude, Shakespeare portrays Gertrude and Ophelia as irrelevant,

ways in a contemporary patriarchal society. This research allows readers to interpret

choices in a contemporary patriarchy to be able to influence societal structures.

Keywords: Shakespeare, Hamlet, Gertrude, Ophelia, Women, Feminism, Feminist

Criticism, Patriarchy, Femininity, Masculinity

Nevertheless, by deconstructing Ophelia’s character, it shows that her madness

By Hamlet, she is accused of being unclean and unworthy of marriage.

In addition, her father is murdered.

Naturally, she is grieving.

However, when she is interpreted from a male point of view in a patriarchy,

To conclude, Shakespeare portrays Gertrude and Ophelia as irrelevant,

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Keywords: Shakespeare, Hamlet, Gertrude, Ophelia, Women, Feminism,

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2. Theoretical framework .......................................................................................................... 3

2.1 Previous studies .......................................................................................................3

2.2 Theory ......................................................................................................................6

3.1 Shakespeare’s display of women ...........................................................................12

3.2 The shaming of Ophelia and Gertrude ...................................................................14

3.3 Rationality vs irrationality .....................................................................................18

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Another relevant aspect is the characters’ role in contemporary patriarchal

However, his decisions can be argued to be irrational and emotional.

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Both characters seem unimportant and merely play supporting roles.

At first, they are illustrated as weak, passive, and dependent.

However, their choices and actions contribute greatly to the plot.

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Gertrude in the play.

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Shakespeare is one of the greatest men in theatre and is described as an author

empowered by Shakespeare’s depiction of women is questionable. Several female characters

plays are analysed.

Feminist critics consider Shakespeare’s works in relation to female oppression

In the Elizabethan era, women had little power and property.

The statement that women are empowered by Shakespeare’s depiction of

Several female characters are described as passive and subordinate.

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Gender bias is visible in Shakespeare’s plays where women are usually

Feminist critics consider Shakespeare’s works in relation to female oppression

Male anxiety can be based on men’s fear of powerful women.

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