A healthy stream of consciousness for breakfast is better for your heart than Cheerios.
Wednesday, November 25, 2009
Infinity
He abides there, here, everywhere
Carving jade
Cultivating.
Is he the butterfly?
Or is the butterfly him?
He knows not
Yet acknowledges this
Carves through the sacred beast
The Way realized.
A combination of multiple philosophies
Skepticism
Optimism
Pluralism
Every-ism.
Infinity surrounds him.
Eternity befalls him.
Indefinitive, inquantifiable
Yet obvious.
Within all things,
Around all things,
Knowing all things,
Who is the gentleman?
But one who dreams of life.
Or does life dream of him?
Sunday, October 11, 2009
This Modern Love - Bloc Party
Monday, October 5, 2009
The Abuse and Irresponsible Use of Alcohol
That being said, I have no problem with alchohol if it is utilized responsibly. It actually can be quite nice when used as a social stimulant.
Sorry, just ranting.
Sunday, October 4, 2009
Playing Games
Look up, smiling face - a sceam.
A giant amongst elves
He heeds no care
This isn't a game
Instead, murder.
Hot, it creeps up.
Why, why? So you want to play that game?
Pain disappears, adrenaline overtakes
A monster has been created.
Burning passion for it
you shouldn't have created this.
Flesh meets flesh,
Only one survives.
Ball out!
Up, up I say - release that monster.
Flesh meets again,
this time, harder, faster, stronger.
The monster gets up
Where did this come from?
3 on 1,
the monster pays no heed.
Up and away they go,
like puppets being controlled.
The monster poaches,
Ball won! Ball won!
Placed back, now ours
You shouldn't have played that game.
But that other game?
Rugby?
It's beautiful.
Tuesday, September 15, 2009
Wednesday, September 2, 2009
"Seven Blunders of the World"
1. Wealth without work
2. Pleasure without conscience
3. Knowledge without character
4. Commerce without morality
5. Science without humanity
6. Worship without sacrifice
7. Politics without principle
—Mahatma Gandhi
Wednesday, August 19, 2009
Corn Syrup
There exists no chemical reaction.
Icebergs slide down a snowy slope,
A misty oblivion, allowing the solid to flow.
Nothing complicated, nothing thats supposed to induce awe,
Yet the mind's eye makes it so,
That beautiful gift of capacity
Consciousness.
Friend, why do you stare so?
I simply stand here and drink my Diet Coke.
Thursday, August 13, 2009
Tuesday, August 11, 2009
The Waterfall
Thursday, August 6, 2009
Eternity
Tuesday, August 4, 2009
Tranquility
Tuesday, May 12, 2009
2nd Place at U19 New England Rugby Football Union Regional Tournament
NERFU U19 Division 1 Rugby
Bishop Hendricken High School
2009 season...to forever be remembered
Monday, May 4, 2009
The Calendar.
Saturday, April 4, 2009
Hendricken Rugby 2009
A-Side: 18-0 win
B-Side: 5-0 win
Saturday, April 4th, 2009 vs. Lincoln-Sudbury
A-Side: 24-12 win
B-Side: 31-0 win
Wednesday, April 8th, 2009 vs. Arlington Catholic
A-Side: 41-0 win
B-Side: 15-5 win
Saturday, April 11th, 2009 vs. Middlesex
A-Side: 54-0 win
B-Side: Did not play
Wednesday, April 15th, 2009 at BC High
A-Side: 17-24 loss
B-Side: 15-17 loss
Saturday, April 18th, 2009 vs. Amoskeag (Beast of the East Tournament)
A-Side: 24-3 win
B-Side: Did not play
Monday, April 20th, 2009 at Falmouth
A-Side: Did not play
B-Side: 55-0 win (Played Falmouth's A-Side)
Friday, April 24th, 2009 at St. Johns Prep
A-Side: 14-19 loss
B-Side: 5-5 tie
Wednesday, April 29th, 2009 vs. Marshfield
A-Side: 65-0 win
B-Side: 72-0 win
Saturday May 9th, 2009 at U19 New England Rugby Football Union Regional Tournament
Versus Boston College High School: 3-0 win
Versus St. Johns Prep: 7-21 loss
2nd place in all of New England U19 Rugby...what an amazing season, boys.
Wednesday, April 1, 2009
I Couldn't Help It: The Bishop Hendricken High School Class of 2009 is Beastcake
However, I can't help but brag about how amazing the class of 2009 at Bishop Hendricken has done so far in the so called "college process." We are undoubtably the best class to ever walk the halls of Hendricken. Not to brag or anything...but its pretty close to the truth.
The following is the list of the institutions which individuals in the Class of 2009 have been accepted to. The number of acceptances school-wide is indicated in parenthesis. I may have omitted some decisions which either have not been released yet or I have not personally heard of. I'll attempt to keep the list updated. No names of students will be provided, obviously. I realize this was posted on April Fools Day but it is by no means an April Fools Joke...honestly wouldn't attempt something as hilarious as getting into college.
MIT (x1)
Northwestern University (x1)
Rice University (x1)
Georgetown University (x1)
Notre Dame University (x3)
Boston College (x10+)
Vassar College (x1) - me!
Yale University (x1)
Duke University (x1)
Brown University (x6) - yes, 6
Cornell University (x1)
West Point (x1)
Johns Hopkins University (x1)
Northeastern University (x5+)
Dartmouth College (x1)
UPenn (x1)
Villanova University (x3)
Washington University in St. Louis (x1)
Tufts University (x2)
Wake Forest University (x1)
William and Mary (x1)
Case Western Reserve University (x1)
Rensselaer Polytechnic Institute (x3)
McGill University (x1)
Miami University (x5+)
Tulane University (x3)
George Washington University (x3)
Syracuse University (x2)
University of Pittsburgh (x2)
Boston University (x5+)
University of Delaware (x2)
UConn (x4)
Wesleyan University (x1)
United States Naval Academy (x1)
United States Air Force Academy (x1)
Providence College (x10+)
Bucknell University (x1)
Holy Cross (x2)
Muhlenberg University (x5)
Friday, February 20, 2009
Tattoo?
So, for about 1-2 years now, I've strongly been considering getting a tattoo once I turn 18. That doesn't mean I'm just going to get one for the sake of getting one. If I do decide on one, I want it to be thoroughly thought out. It will be a part of my body forever, something I would not mind showing to others, something that I could be prideful in.
The problem is that I don't have an entirely clear picture of what I want, and even once I have that, a clear picture of how I'll get exactly what I want. There are many shoddy tattoo artists out there and it will be extremely difficult to find one who will do a professional, sanitary and unique job. On top of it all, the tattoo artist who may be "just right" will most likely have a steep price. I do not care about the price, though. If there is going to be art embedded in my skin, I do not want to try and save mere money. This is a piece of art which I do not want to regret embedding onto my skin.
If anyone has any ideas for a design or knows of a good artist/parlor, please let me know. As for what I'm looking for, as I said - I'm not entirely sure yet. However, I do have some themes in mind. I'm most interested in the following themes: Balance, Harmony, Yin-Yang, Religion, Nature, Peace, Coexistence, Music, Meditation, Relaxation, Eastern Mysticism and Culture, Risk, Spontaneity...the list goes on. Please, if you have any ideas, give me a hand. It would be much appreciated. I'll try and post some designs that intrigue me, though I know the least bit about tattoos. Laugh all you want. I'm looking for help for a reason, because I'm not exactly a tattoo master. The pictures I post are not a representation of what exactly I want - just a general representation of themes.
Thursday, February 5, 2009
William Butler Yeats - The Magi
- OW as at all times I can see in the mind's eye,
- In their stiff, painted clothes, the pale unsatisfied ones
- Appear and disappear in the blue depth of the sky
- With all their ancient faces like rain-beaten stones,
- And all their helms of silver hovering side by side,
- And all their eyes still fixed, hoping to find once more,
- Being by Calvary's turbulence unsatisfied,
- The uncontrollable mystery on the bestial floor.
The Magi employs masterful use of symbolic language to reveal religious allusion within the context of a societal commentary. William Butler Yeats, the author of the poem, was an Irish poet apparently deeply fascinated with the spiritual, the religious, and the occult. Yeats wrote The Magi during the tail end of his career (1914 – Yeats passed away in 1939), which may explain the seeming reminiscent tones toward the “ancient faces” presented in the poem (line 4).
Yeats begins the poem by immediately establishing that his experience is an abstract one. While this abstract nature originates in the experience of the speaker, Yeats points to an objective truth inherent in the way in which he describes the “old men in the sky” (the magi). He describes their clothes and and their state of mind in a way that objectively judges the motives of the magi. The juxtaposition of “stiff, painted clothes” and “pale, unsatisfied ones” is not a mistake on the part of Yeats, but intentionally a judgement of the material grasping of the “ancient faces” in the sky (lines 2, 4). The trend to criticize the material continues immediately following, as Yeats then follows “faces like rain-beaten stones” with “and all their helms of silver hovering side by side.” The speaker establishes here a sense of correlation between the worn down and the glimmering, metallic hat.
Despite the prescence of the lavish hat and colorful clothes, the subject of criticism remains detached from the delusional beauty of these material things. The hat “hovers” instead of crowns, the clothes are “stiff” instead of flowing and comfortable (lines 2, 5). Even more importantly, despite the presence of these very material things, the ancient faces “appear and disappear”, not holding a strong physical appearance despite “...all their eyes still fixed, hoping to find once more…the uncontrollable mystery on the bestial floor.” The ancient faces are trying their hardest to grasp and hold onto the material yet are failing, not only in their own quest but in failing to maintain both their own happiness and their own presence. This failure most likely points to Yeats’ criticism of the attempt to maintain a firm hold in the realm of the physical world through the pursuit of material goods. The quest to be immortal only ends in unhappiness for eternity, an immortal state surely contrary to the original intent of the pursuers.
Within the poem, Yeats’ tone passes from truthful, nostalgic, transcendent and heaven-like to falsely hopeful, rough, turbulent, and hell-like. This may point to Yeats attempt to degrade the status of the magi due to their groveling for things and failure to recognize the true beauty inherent in the world (as shown by “the blue depth of the sky” in line 3). Yeats’ presents a sharp contrast not only through the change in style in his poetry as shown by the revealing of the true nature of the magi but additionally through the biblical tones established throughout the work.
The first of these occurs in the title itself, “The Magi.” The Magi were the three “wise men” who visited Jesus as a newborn child, presenting him with three gifts (as they truly believed he was the messiah). The “ancient faces” in the story appear to be manifestations of the Magi to the extreme – rather than being the bearer of gifts to Jesus, they are the takers away of gifts, the purely physically grasping. Yeats solidifies this possibility through his use of the line, “being by Calvary’s turbulence unsatisfied” (line 7). Calvary, in its capital form, literally points to the place at which Jesus was crucified. This solidifies Yeats’ view of the “ancient faces”, he has denounced them as not appeased by the ultimate act of saving – Jesus’ death and resurrection. He shows that despite their unhappiness, they still yearn for the “bestial floor” of what seems to be earth (line 8). The men in the sky, the materially obsessed, simply cannot let go of what they once had, what the livelihood of their physical clothing once brought forth. The description of the earth as a “bestial floor” indicates that Yeats believed that much of his contemporary society emulated the behavior of materialism as exhibited by the “pale unsatisfied ones” in the sky. Labeling them as ungrateful for Jesus’ saving grace and unwilling to give up physical gifts as the Magi did is the ultimate disownment.
Monday, February 2, 2009
Matryoshka Doll Poem Idea
Design
Physical elements of the doll
Doll within dolls
Can it stay immortal
Concepts of God
Whoever is opening the Matryoshka doll
The mystery of whats inside
Why are we so sure there is another layered within?
Generations
Innocence, childlike
Yet red, blushing - why blush?
Is there a true nature, true essence? Who creates and why?
Gasha and Alisa (or Alyssa)
Dualism...towards elimination of it
Nature of the doll
This is an idea for a poem that I just randomly came up with this morning so I wanted to compile a bullet list of ideas so I can write the poem when I get the chance.
Roses are red
Violets are blue
In Soviet Russia
Poems write YOU!
Tuesday, January 27, 2009
Perhaps the Most Amazing Image Ever
Anyone into philosophy in the slightest bit will, I believe, enjoy this image heartily.
This is my post for the day. I will now return to learning Alpha Beta Gamma Delta Epsilon Zeta Eta Theta Iota Kappa Lambda Mu Nu Xi Omnitron Pi Rho Sigma Tau Upsilon Phi Chi Psi Omega. Or, in other words, the Greek Alphabet. Or should I say Alphabeta...oh snap.
Monday, January 26, 2009
A Typical AIM Conversation
Auto Response from irugee
"We are so obsessed with doing that we have no time and no imagination left for being. As a result, men are valued not for what they are but for what they do or what they have—for their usefulness."
-My boy Thomas Merton.
Sunday, January 18, 2009
D.A.N.C.E. by Justice
Do the D.A.N.C.E,
1, 2, 3, 4 Fight!
Stick to the B.E.A.T,
Get ready to ignite
You were such a P.Y.T pretty young thing
Catching all the lights
Just easy as A.B.C
That’s how you make it right!
Do the D.A.N.C.E,
1, 2, 3, 4 Fight!
Stick to the B.E.A.T,
Get ready to ignite
You were such a P.Y.T pretty young thing
Catching all the lights
Just easy as A.B.C
That’s how you make it right!
Do the D.A.N.C.E,
Stick to the B.E.A.T,
Just easy as A.B.C
Do the dance,
Do the dance!
The way you move is a mystery,
Do the dance,
You’re always there for music and me.
Do the dance,
The way you move is a mystery,
Do the dance,
You’re always there for music and me.
Do the D.A.N.C.E,
1, 2, 3, 4 Fight!
Stick to the B.E.A.T,
Get ready to ignite
You were such a P.Y.T pretty young thing
Catching all the lights
Just easy as A.B.C
That’s how you make it right!
The way you move is a mystery,
Do the dance,
Do the dance.
You’re always there for music and me.
Do the dance,
Do the dance.
The way you move is a mystery,
Do the dance,
Do the dance.
You’re always there for music and me.
Under the spotlight,
Neither black no white,
It does not matter,
Do the dance,
Do the dance!
As strong as you might,
Working day and night,
Whatever happens,
Do the dance,
Do the dance!
Under the spotlight,
Neither black no white,
It does not matter,
Do the dance,
Do the dance!
As strong as you might,
Working day and night,
What at all happens,
Do the dance,
Do the dance!
The way you move is a mystery,
Do the dance,
You’re always there for music and me.
The way you move is a mystery
Thursday, January 15, 2009
Branagh's Hamlet (Movie Review)
What do you get when you cross Shakespeare’s four-plus hour play and the big screen? A whole lot of mediocrity gushes forth– a version of Hamlet, which, for the viewer’s sake, adds in some action (though poorly placed and overly exaggerated). Think of Kenneth Branagh’s Hamlet as a dry, wry, overly cooked cheeseburger which, in order to compensate for the poor cooking, becomes drowned in condiments (ketchup – blood - being the main ingredient here).
I do not entirely blame Branagh for the nature of the film, no: after all, he had to keep the cheeseburger on the grill for an entire four hours, a timeframe which, even with the most bloody of burgers, tends to drain the meat dry. Add in that the customer has to wait through four hours of the grilling (which, within the film, consists of literally hours of dialogue) only to be greeted by an explosion of ketchup soaked bread, and one can see why the average customer leaves the restaurant disappointed. The film becomes entrenched in either the well-done burger or the ketchup, never feeling “just right.”
At some points, the movie is exciting. This excitement, though, continues to a fault, the movie becoming a melodramatic expression of Branagh’s spin on the play. He clarifies things which are not so clear in the story – such as the nature of Hamlet’s and Ophelia’s relationship and the utter violence present in the final scenes (rendering Hamlet more ridiculous and mad than could be imagined in text).
Where there lurks not excitement there exists utter dullness, the viewer having to deal with Hamlet’s indecisiveness first hand, forced to sit through a film which anticlimactically ends in a crazed Hamlet murdering just about every important figure connected to him (aside from good old Horatio). The customer can only help but laugh after waiting such a long time for the burger – this is what I waited for?
I sought out Branagh’s Hamlet looking for the classic burger, something just right and renowned for its greatness. What I found was the remains of what could have been great, doused with tons of overcooked ketchup bread. Next time, I will be headed to a different restaurant.
1.5 Stars
Tuesday, January 13, 2009
Heaven and Hell: Illusions and Realities
I don't believe in an afterlife, so I don't have to spend my whole life fearing hell, or fearing heaven even more. For whatever the tortures of hell, I think the boredom of heaven would be even worse” (Issac Asimov). Throughout the lives of men, certain defined images heaven and hell have emerged. Due to the immaturity of the human mind in the early child stage, authorities take advantage, sometimes forever branding misleading images of these two significant states of being into the mind of the child. There seem to be a number of images on these two states, however the most misleading reduce each to a place (because the mind associates much more easily with the seen, the tangible and the recognizable). Heaven becomes a place in the sky, blue and cloud-filled, infinitely pleasurable “until the end of time”, God judging in his chair of infinite glory, all earthly pleasures present in abundance. Hell, on the other hand, is reduced to the devil with prongs, a place “below” earth, a fire filled pit of doom and destruction “until the end of time.” These images have been manipulated by (not so) great political, religious and secular leaders in history in order for material gain, national prosperity or mass conversion. Let us look to three great Christian apologists - Peter Kreeft, C.S. Lewis and Cardinal Joseph Ratzinger (Pope Benedict XVI) – for a clearer picture of those states which may or may not follow earthly death.
First of all, Peter Kreeft, a professor at Boston College, proposes a unique and new viewpoint on the subjects of heaven and hell – a viewpoint much in tune with that of C.S. Lewis. Kreeft establishes the role of time, eternity and joy in heaven and hell. Kreeft works with a purpose, a purpose designed specifically to go against the commonly held views of Heaven (as infinite pleasure) and Hell (as infinite pain). This is primarily due to the reality that the most objections occur within the realm of the presupposed and most common images of heaven and hell. If a new, more clear, more truth-filled image of an idea emerges, new, clearer objections must be raised – objections which simply apparently do not exist at this point because of the commonly accepted images. Individuals tend to ignore their standing as images but accept them as truth or fact, not open to any new portrayal of the reality in place of the image. Kreeft attempts to do this.
In order to do this, Kreeft works in threes instead of twos, eliminating any sense of duality – following the tradition of the Christian trinity. There are three primary levels (each with three aspects to it) that wholly compose the self and the self’s being. The three levels of depth are body, spirit and soul; the three aspects are life, desire and consciousness. These three images are able to more clearly establish the relationship between Heaven and Hell. Rather than simply indicating that one is infinite pleasure and the other infinite pain, Kreeft establishes the human relationship to that which is less (the world and worldly desires), that which is equal (the self and self desires), and that which is more (the beyond or Godly, selfless desires).
Being in alignment with Kreeft, C.S. Lewis establishes much of the same points in his work The Problem of Pain. Lewis’ honesty shines true when he says, “I am not going to try to prove the doctrine tolerable. Let us make no mistake; it is not tolerable” (Lewis 120). Lewis establishes the importance of truth and his dedication to it through this argument. Personally, Lewis, being a selfless Christian, would prefer that Hell did not possess true reality. Yet truth tells him it must be so, so he must be honest with his reader. This honesty, Lewis believes, will report the truth, no matter how much the truth pierces he and the reader on a surface level. This surface piercing goes along with Kreeft’s idea of the three levels of self. If a surface piercing is necessary to unlock joy and wisdom on a spirit level, then the surface piercing must be handled.
I believe that the most apparent reasons that C.S. Lewis and Peter Kreeft go against the common perceptions of Heaven and Hell are truth and joy themselves. Kreeft often reminds the reader of his own and Lewis’ commitment to true joy, stating, “As C.S. Lewis puts it, ‘Joy is not a substitute for sex; sex is very often a substitute for joy. I sometimes wonder whether all pleasures are not substitutes for joy’”(Kreeft 105). Rather than seek joy in its deepest truth, we seek the surface and thus in seeking the surface we receive a piercing at our depths rather than only a surface piercing (as would be the case if one pursued joy).
The problem of Heaven and Hell, the one that leads to false images of each and which Kreeft and Lewis attempt to correct, is that people, being faced with the tangible since childbirth, accept and pursue only the tangible. Lewis argument from desire shows that the surface can only bring so much to the individual, the rest must be assumed to be God, the unquenchable desire present while living only has one final object. That object is joy, and God is joy. The definition of joy explains earthly sufferings – the surface must be pierced in order to “tempt” the surface dwelling human to the center of his own self. To not suffer, to not be tempted in pursuit of these desires would truly be hell. The person would forever live on in self-indulgence, in self-pity, in all selfhood and never in selflessness. However, because many individuals fail to accept the surface piercings as simply surface with a greater cause, they become isolated in pursuit of solely temporal desires, “locking the gates of hell from the inside” as Lewis puts it. God will never force the sinner to delve into the depths of himself, but does allow for the surface of the self to be pierced – because he knows that this piercing is (or at least, should be) ultimately for the good of the self, the ultimate joy within the self.
Cardinal Joseph Ratzinger proposes some additional thoughts on the subjects of heaven and hell, specifically linking the dual realms of bios and zoe along with concepts of time and eternity to each. Ratzinger, in tune with Kreeft and Lewis, establishes that, “Only when we have experienced [God] as silence may we hope to hear his speech, too, which proceeds in silence” (Ratzinger 296). God as eternal silence establishes and shows man’s true fear of loneliness, a fear which Jesus himself experienced in his descent into hell and cry out to God on the cross. Without the eternal “You” of God, the human self becomes entrenched in the ultimate loneliness and isolation: Hell. Though death is absolute loneliness as well, love can still enter into it – love penetrated with the joy and truth of God. There is a depth-ridden beauty inherent in death which cannot seen simply from the surface of the earth, it must be experienced first hand.
Hope of surface immortality, though, leads to final and closed death. In order to not fall into this trap, the human must realize the temporality of the realm of bios and move into the realm of zoe, or definitive life. This can be done through the love of God, the truth of God – it being unconditional and able to conquer even the seemingly most utter of loneliness: death. Here lies the distinction between heaven and hell, between the afterlife of the “above” and the afterlife of the “below.” Does man remain untouchable and immortal in the afterlife of the below? Absolutely. But this is man’s greatest torment, to evade the truth and exist in isolation for eternity. Eternity in this case is not something within the bounds of time but the entirely other of time – that which is present always, even today. Ratzinger establishes that Jesus is the one who connected time with eternity, humans with God, and humans with joy. No deep satisfaction can be elicited from the temporal, only hints and analogies of true joy.
What does everything that Kreeft, Lewis, and Ratzinger had to say mean? Well, for one, it gives a whole new meaning to the cliché “There is a reason for everything.” Rather than this, the saying should be rephrased: “There is the reason for everything.” This reason being the deepest joy, the deepest wisdom – the deepest truth. At first, I was skeptical – why should any pain be necessary for the ultimate satisfaction? Why must the self be pierced at all? Then I realized that if this were the case, earth would be heaven, a heaven which we would not even be able to recognize (and maybe even more towards hell than heaven). While I may not appreciate surface piercings at the time of their occurrence, I am now able to appreciate the depth of their value, the realm of the zoe bursting forth only through the realization of the existence of a bios and a multi-faceted self. These piercings lead us to live lives not for ourselves but for others, for the sake of the ultimate joy of the pierced, the ultimate joy of the other. Only through the selfless (which can only be realized through the existence of “surface” and “surface piercings”) can one fully realize the importance of the depths of self and what truth really means. If the water on the surface of the ocean was a solid and not able to ripple, one would not be able to delve into the ocean’s uttermost depths where the true treasure lies in abundance.
Tuesday, January 6, 2009
Specialized CRAP.
I haven't written in a while, and its really irking me. So I decided to toss up a little English mini-project. I know its shallow and its terrible. However, I wanted something new. And that means introducing the blonde-haired, mustached Hamlet to thee.
Polonius as Symbol in Hamlet
Polonius can be seen as the archetypical “oafish” minister in Hamlet. Ophelia’s (Polonius’ daughter) relations with Hamlet (however deep those relations may go, the reader knows little) blind the judgment of Polonius. This ignorance eventually leads to the destruction of Polonius’ entire family – including Ophelia, who originally he intended to protect.
A more apparent symbol of this destructive ignorance comes in the scene when Hamlet murders Polonius. Even in death, Polonius maintains the ultimate symbol of ignorance – he remains shrouded and hidden behind a cloth whilst being stabbed. Only until after the murder does Hamlet realize who he has killed. This, though, could be said to represent the triumph of truth, of rational thinking over the instinctive ignorance of Polonius.
Do you see Polonius as a symbol of ignorance? Or perhaps, of something else? Was Polonius’ death the necessary death of ignorance or simply another obstacle in the way of Hamlet’s master plan?
Ophelia as Symbol in Hamlet
Ophelia is the primary love interest in Hamlet, serving as the source of much intrigue and tragedy within the play. Ophelia becomes the domino who falls thus crumpling her entire family. She primarily represents innocence lost – in the beginning, she merely is a daughter reporting “romance” to her father, Polonius. By the end (of her life, anyway), she has become insane, ending her own life in the process. Aside from the Queen, Gertrude, Ophelia is the most major female character in the play.
In a way, Ophelia can be said to represent a parallel to Hamlet in that both have their sanity in question by the end of their lives. While Hamlet presents a more ambiguous case of psychosis, Ophelia can be said to be nearly surely driven insane.
What do you think of Ophelia, particularly in regards to her as one of the primary female characters in the story? Does she represent anything more than innocence lost?