Ophelia: No Longer The Classic “Damsel in Distress”

 

      

        Shakespeare’s Play Hamlet is a bloody tragedy, as it always is. Many classic character archetypes, such as the hero, the mentor, the villain, the trickster, and the ruler, were born from this drama, and one of the most interesting ones is the “Damsel in Distress.” 

Ophelia is the “Damsel in Distress” of the Hamlet tragedy—at least, that has been said for decades, except not anymore. Lisa Klein wrote the novel Ophelia, which was later adapted into a movie in 2018. The movie follows the story of Hamlet from Ophelia’s perspective, deconstructing the general perspective of Ophelia’s character as the damsel in distress.

Before that, we had to understand what a damsel in distress is and why the classic version of Ophelia is classified as one.

What is the Damsel in Distress?

Along with the title, this character is depicted as a clueless young lady who is vulnerable, dependent, and in need of rescue, as it is written in many traditional European fairy tales, “Damsel in Distress’  is attributed to a situation where a princess is in trouble and is waiting for a prince or knight to come to her rescue. For instance, we can see this in the characters  Princess Fiona in “Shrek,” Snow White in “Snow White and The Seven Dwarfs,” and Aurora in “Sleeping Beauty.”

Joseph Campbell discusses the characteristics of the “damsel in distress” primarily in his influential 1949 book The Hero with a Thousand Faces. In this work, Campbell examines the universal patterns in myths and stories across cultures, identifying common archetypes, including the damsel in distress.

 He highlights that this character often embodies the passive aspect of femininity, representing a figure in need of rescue by the hero. Here are some of the significant of “Damsel in Distress,” according to Joseph Campbel;

Features of the “Damsel in Distress”

First, The Passive Role. The damsel typically does not take action to save herself; instead, she is portrayed as vulnerable and dependent on the hero for salvation. This passivity reflects a broader theme in mythology, where female characters often serve as objects of desire rather than active participants in their own stories.

In the play, Ophelia’s identity is intertwined with the men in her life. She serves as Polonius’s obedient daughter and is a tool for his political and personal manoeuvres. Whereas as the romantic interest of Hamlet, Ophelia’s value is portrayed by his perception of her. When Hamlet turns against her, calling her a “breeder of sinners” and urging her to “get thee to a nunnery,” her emotional stability crumbles. This depicts that Ophelia’s being is dependent on a male character.

Second, The Symbol of Innocence and Vulnerability. Campbell notes that the damsel often symbolizes purity and innocence, making her plight more compelling and rescue more urgent. Her character is designed to evoke sympathy and motivate the hero’s journey.

Elaine Showalter notes that Ophelia’s symbolic associations with flowers and water emphasize her vulnerability and femininity, traits often used to define damsels in distress.

The play shows Ophelia’s madness and death by drowning, further cementing her role as a victim, a tragic figure who is powerless against the forces around her. Gertrude’s description of Ophelia as “incapable of her own distress” frames her as a character overcome by her circumstances, highlighting her helplessness.

Third, Cultural Reflection. Campbell’s analysis indicates that these narratives reflect societal views about gender dynamics, particularly the notion that women are inherently weaker and require male intervention to overcome challenges. 

Ophelia’s inability to cope with the pressures placed upon her by the men in her life (Hamlet’s rejection and Polonius’s death) reinforces the stereotype that women are inherently weaker and unable to manage emotional trauma independently. Her drowning symbolizes her ultimate submission to the forces around her rather than an active choice.

Not Anymore The Classic “Damsel in Distress”

The first shift was seen through perspective and narratives. Ophelia’s story is told through the perspectives of others, particularly Hamlet, Polonius, and Laertes. However, the movie allows Ophelia to express her perspective and reinterpret the events of Hamlet through her eyes. As it is said in the movie,

“You may think you know my story. Many have told it. It has long passed into history, into myth. But I was always a willful girl and follow my heart and spoke my mind. And it is high time, I should tell you my story myself.”

The 2018 movie Ophelia, directed by Claire McCarthy and based on Lisa Klein’s novel, reimagines Ophelia’s character, transforming her from the classic “damsel in distress” of Shakespeare’s play into a dynamic, self-aware protagonist. This revisionist approach deconstructs the traditional portrayal of Ophelia and challenges the gender dynamics of the original text.

In the play, Ophelia is a passive character, primarily defined by her relationships with Hamlet, her father, Polonius, and her brother Laertes. In contrast, in the movie, Ophelia is reimagined as an active agent in her story. She is portrayed as a strong, intelligent, and independent woman who navigates Elsinore’s intrigues on her terms. The film presents her as a heroine who resists the manipulation of men around her and even orchestrates her survival.

In the film, Ophelia fakes her death rather than succumbing to madness and drowning. She outsmarts the palace intrigues and escapes, reclaiming control over her narrative.

In terms of romantic dynamics, the relationship between Ophelia and Hamlet is given more depth and equality. Ophelia is shown as Hamlet’s confidante and partner, someone who genuinely loves him and makes independent decisions about their relationship. She is not merely a pawn in Hamlet’s revenge scheme.

Ophelia becomes a symbol of resilience and empowerment. By rewriting her ending and giving her agency, the film challenges the traditional trope of the “damsel in distress” and critiques the societal norms that undermine women’s autonomy.

The 2018 film Ophelia deconstructs the character’s traditional role in Hamlet, transforming her from a passive victim to an active protagonist who defies societal expectations. This reimagining reflects modern feminist ideals, emphasizing autonomy and the reclamation of female narratives in historical and literary contexts. This shift highlights how reinterpretations can challenge and subvert entrenched gender norms.

Movie Trailer:

Source:

Campbell, J. (1949). The Hero with a Thousand Faces. Princeton University Press.

Showalter, E. (1985). The Female Malady: Women, Madness, and English Culture, 1830-1980. Penguin Books.

McCarthy, C. (Director). (2018). Ophelia [Film]. IFC Films.