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O phelia ij
Novel by Lisa Klein
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Synopsis
Prologue
St. Emilion, France, November 1601
Ophelia is in a convent in St. Emilion, France, when she receives
a letter from Horatio, who writes of the ruin of the royal court of
Denmark: Hamlet has killed King Claudius with a sword
poisoned by the king himself; Queen Gertrude drank the poison
intended for Hamlet by the king and is also dead; Ophelia’s
brother, Laertes, and Prince Hamlet have slain each other with
poisoned swords; and Fortinbras of Norway now rules Denmark.
Horatio’s letter stuns Ophelia, sending her into dazed dreams of
Elsinore Castle, where she served Queen Gertrude. To assuage
her pain and sorrow, Ophelia vows to write the truth about her
sixteen years of life and the story that has brought her from
Denmark to France.
Part One
Elsinore, Denmark, 1585-1601
Ophelia’s mother died in childbirth, leaving her with her father,
Polonius, and her brother, Laertes. They live in a fine house in the
village of Elsinore. When Polonius gains a position as minister to
King Hamlet, the family moves to the Castle Elsinore.
Ophelia gains the queen’s favor and becomes a member of
her household. Elnora, Lady Valdemar, is entrusted with the
continuation of Ophelia’s education, which includes teaching her
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Part Two
Elsinore, Denmark, May 1601-November 1601
The death of King Hamlet shakes the state of Denmark to its
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Part Three
St. Emilion, France, 1601-1602
Grateful to be safe at the convent, she tells no one her true
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identity or that she is with child. She reveals only that her name
is Ophelia. She follows the rules of the convent, trying to pray
constantly as the nuns do, but her mind remains troubled.
Ophelia grieves deeply over the news from Horatio that Hamlet,
Laertes, Gertrude and Claudius are all dead. Mother Ermentrude
appoints Sister Isabel as Ophelia’s guide as she tries to regain her
strength and discover God’s purpose for her. Ophelia is
concerned that Therese, a servant with a twisted leg, refuses to
eat. Therese is given to having visions of God and claims the
blood on her palms is a miracle sent from God. Ophelia wonders
if these visions arise from religious conviction or madness.
Ophelia grapples with feelings of guilt over her past actions. After
much thought, Ophelia suggests she might use her knowledge of
plants and herbs to help ease the nuns’ physical pains. Thus
Ophelia becomes the nuns’ physician, gaining the sisterhood she
has always been denied. The nuns vote to continue providing
Ophelia refuge. But Count Durufle, the convent’s patron, and
Bishop Garamond visit the convent to question Ophelia. Against
the count’s will, the bishop allows Ophelia to remain in the con-
vent. When the child is born, Ophelia realizes that the baby is a
gift of life, not a punishment. She names the baby Hamlet and
reveals he is a prince of Denmark.
Ophelia attends to Therese at her deathbed. When Therese
despairs, Ophelia offers her Hamlet. Therese takes the child,
declaring him her salvation, and dies with him in her arms. Bright
beads of blood form on her palms. Sister Marguerite vows to
write the story of Therese’s miraculous death. Marguerite reveals
to Ophelia that she is the daughter of a prince of Sweden whose
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Epilogue
St. Emilion, May 1605
Ophelia and three-year-old Hamlet now live in the stone cottage
near the convent gate. Ophelia is both steward and physician
for the convent. Mother Ermentrude used Gertrude’s money to
set up an apothecary for Ophelia, who is paid for her services
and saves her earnings should she and Hamlet want to leave
St. Emilion. One day Horatio surprises her as she works in the
garden. He tells Ophelia that Hamlet and Laertes forgave each
other before they died, and the traitors Rosencrantz and
Guildenstern are dead. The Danes are now seeking to overthrow
Fortinbras. Horatio kisses her and is relieved to learn Ophelia has
not taken vows. The three of them stand together in silence,
looking ahead to a future full of hope.
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Commentary
Shakespearean Connections
Lisa Klein plucks Ophelia from Shakespeare’s Hamlet and
breathes life into a literary character who has intrigued readers of
Hamlet for hundreds of years. Klein gives Ophelia a past, a
present, and a future—extending her story with her thoughts and
feelings. In Ophelia, we learn that Ophelia is not dead after all,
that she was secretly married to Hamlet soon after the wedding
of Gertrude and Claudius, that she bore Hamlet’s child while in
a nunnery in France, and that she eventually unites with Horatio.
It is unnecessary to have read Hamlet in order to understand and
have an engaging reading experience with Ophelia. The novel can
certainly stand on its own — although it is so delightfully imbued
with Shakespearean characteristics, references, and echoes that it
may lead readers to Shakespeare quite naturally.
Ophelia is steeped in Shakespeare in ways that are readily
accessible to teens. It contains just enough complexity of plot —
replete with the twists and contrivances that make Shakespeare’s
plays intriguing — to make it challenging but not enigmatic
reading. The novel echoes Shakespeare’s plays when Ophelia
and Horatio orchestrate her feigned suicide á la Romeo and Juliet;
when Ophelia and Hamlet devise a plot to embarrass her enemy
Cristiana and her suitors, Rosencrantz and Guildenstern, which is
reminiscent of A Midsummer Night’s Dream; and when Ophelia
disguises herself as a boy, as do heroines in comedies such as
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All’s Well That Ends Well. But because these ploys are somewhat
pared down in the novel, they are easier to follow than the
highly intricate plot devices found in Shakespeare’s plays.
The language in Ophelia also captures the essence of Shakespeare,
without being overwhelming. Words such as arras, phrases like
“How now,” and sentences with syntax such as “He has no love
for his uncle” provide the flavor of Shakespearean language, but
much of the wording is subtly modernized (“Go to a nunnery.
Go!” rather than “Get thee to a nunnery”) and expertly trimmed
of what contemporary teens may view as the Bard’s linguistic
excesses. Witty exchanges and clever wordplay figure prominently,
and famous passages such as Hamlet’s “What a Piece of Work Is
Man” soliloquy are expertly woven into the dialogue. The result
is a highly enjoyable language experience that will appropriately
challenge many teen readers and ready them for the reading of
Shakespeare himself in due time.
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A Cautionary Note
Because Ophelia offers such a rich literary experience, teachers
may be tempted to try to do too much with it and thereby
diminish the pleasure their students derive from reading it. The
following suggestions are offered to help the students appreciate
the novel more fully. Teachers will want to take cues from
their students and select suggestions that will engage but not
overwhelm them. It is not advisable to try to explore every
literary aspect of the novel, as this may decrease students’
enjoyment not only of Ophelia and but of literature in general.
Teaching Suggestions
Introducing the Novel
Ophelia is a novel that can stand on its own apart from Hamlet,
so there is no need to introduce it in the context of Hamlet.
Instead, grab students’ attention by reading the prologue aloud.
Then ask them to free write in their journals, expressing their
thoughts about the story to be told.
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Ill-fated Love
Because Hamlet is prince of Denmark and Ophelia is not
nobly born, their courtship is ill fated. The topic of
marriages arranged for political and familial benefit recurs
throughout the novel, as it does in much of literature.
Ask students to think of other pieces of literature where
marriage is ruled by custom in a way that dooms the
prospects of young lovers.
Freedom
Early in their relationship, Ophelia tells Hamlet she feels
like a caged bird at Elsinore. Later she realizes Elsinore is
also a gilded cage for Hamlet, because he is not free to
love and marry as he chooses. Mother Ermentrude tells
Ophelia that the truth will set her free. She also says
that with obedience comes perfect freedom. Students
interested in the concept of freedom may want to create a
scrapbook that features Ophelia’s thoughts on freedom
and illustrate them with collages fashioned from magazine
images.
Courtly Love
When Queen Gertrude says, “No, they will never marry.
It is the nature of love not to be satisfied so easily,” she is
espousing the philosophy of courtly love. Because the queen
laughs in response to her brother-in-law Claudius’s overtures,
Ophelia wonders if perhaps Gertrude imagines herself
like a lady in the sonnet who is desired by a man who
cannot have her. Suggest students explore the literary motif
of courtly love and prepare a list of Rules for Courtly Love.
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Cross-Disciplinary Considerations
Art
Portraits of the Characters
Klein provides vivid descriptions of almost all the characters
in Ophelia. Using her descriptions, create a portrait gallery
for display within the classroom. Attach the passage(s)
from the novel that inspired each image.
Social Studies
Seventeenth-Century Sensibilities
Ophelia takes place during the early seventeenth century
and incorporates thinking prevalent to the time concerning
a variety of topics such as bodily humors, the wheel of
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Related Readings
Literature Mentioned in Ophelia
From the Queen’s Library
The Mirror of the Sinful Soul; Heptameron by Margaret, the
Queen of Navarre in France
The Art of Love; Metamorphoses by Ovid
Book of the Courtier by Castiglione
Love sonnets that are said to be the latest fashion in England
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Interview with
Lisa Klein
When reading Ophelia, it is clear that you, as the book’s
author, have a deep understanding of Shakespeare’s plays
and the Elizabethan world. How did you come by this
expertise?
I wrote my doctoral dissertation and my first book on
Elizabethan poetry (Sir Philip Sidney and the sonnet craze) and
taught Renaissance literature to college students for several years.
So while I wasn’t trained as a Shakespearean scholar, Shakespeare
goes with the territory. I’ve taught most of his plays, Hamlet more
times than I can count. Then I became interested in the lives and
works of Renaissance women and wrote articles about the
needleworks of Queen Elizabeth and not-so-famous women of
the period. I read (and taught) women’s journals, letters, and
poetry. I studied so-called “nonliterary” works such as conduct
books, religious tracts, and satirical works about women. So
while Shakespeare’s works are a wonderful window into the
Renaissance, there are many other sources for understanding how
sixteenth century people experienced their world.
Why did you choose Ophelia as the character from
Shakespeare whose story you wanted to tell?
Whenever I taught Hamlet I found that students shared my
disappointment that Shakespeare’s Ophelia is such a passive
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