Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.
The motif of incest runs throughout the play and is frequently alluded to by Hamlet and the ghost, most obviously in conversations about Gertrude and Claudius, the former brother-in-law and sister-in-law who are now married. A subtle motif of incestuous desire can be found in the relationship of Laertes and Ophelia, as Laertes sometimes speaks to his sister in suggestively sexual terms and, at her funeral, leaps into her grave to hold her in his arms. However, the strongest overtones of incestuous desire arise in the relationship of Hamlet and Gertrude, in Hamlet’s fixation on Gertrude’s sex life with Claudius and his preoccupation with her in general.
Shattered by his mother’s decision to marry Claudius so soon after her husband’s death, Hamlet becomes cynical about women in general, showing a particular obsession with what he perceives to be a connection between female sexuality and moral corruption. This motif of misogyny, or hatred of women, occurs sporadically throughout the play, but it is an important inhibiting factor in Hamlet’s relationships with Ophelia and Gertrude. He urges Ophelia to go to a nunnery rather than experience the corruptions of sexuality and exclaims of Gertrude, “Frailty, thy name is woman” (I.ii.146).
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