Witham, Arianna (Dixie State University)
Faculty Advisor: Pilkington, Olga (Dixie State University, Applied Sociology)
Two of Shakespeare's plays Much Ado About Nothing and Hamlet have plots that are largely dependent on the death of a female character. Looking at the deaths of Hero and Ophelia though the lens of feminist literary analysis shows that these deaths are transformative points. On the surface, these deaths are very different: Ophelia stays dead while Hero's death is only a ruse. However, the deaths of Hero and Ophelia transition both of them from persons to objects. In the case of Ophelia, after death all that is left is a corpse, and Hamlet and Laertes' altercation in Ophelia's grave on top of her body contradicts their sorrowful proclamations just before. After Hero re-enters society, admittedly as someone else, the only thing about her new identity that seems to matter is her physical similarity to the Hero most believe to still be dead. Considering genre prompts another comparison between these deaths. In Much Ado About Nothing, Hero's death prompts Beatrice and Benedict's confessions of love, and her return to society allows the weddings and celebration that finish the play and mark it as a comedy to happen. Tragedies are marked by the death and destruction of the characters, and Hamlet is no exception. Ophelia's death is a catalyst for events that lead to the deaths of the other characters. If she had been revived, then there would be no funeral, and the emotional stakes at the end of the play would not be as high. The deaths of both Ophelia and Hero serve to drive the plots of these plays, but at the cost of the personhood of each.