“ There is a willow grows aslant a brook
That shows his hoar leaves in the glassy stream.”…
Ophelia did not just dislike the others. She despised them. Everyday the pent up rage swelled in her heart and she recoiled deeper into her despair. When she looked into the resigned ever-smiling eyes of the elders, she found a twinkle of acknowledgement there; but where their knowing faces spoke of forbearance, she rebelled against the very idea as all her ferocious innocence precipitated whatever semblance of order was left into the sinking sky, defying the very stars. Her thoughts became some unstoppable tempest, ravaging the luscious countryside of youth. It was in times like these that she held her head high out of disdain, staring straight ahead with determination, trying as hard as she could to prevent tears of desperation from running down her cheeks. She knew perfectly well that if those tears spilt, she would break. And she knew that if she broke, the truth would burst and the inevitable would happen. So she walked through this night of the unknown, drenched by the rain spilling from a starless sky, her alienating grace inhabiting the proud beauty of long cold stone, the flicker of immobile lights. At other times however, her fury relented and she relapsed into believing like the others that there was nothing, no purpose and no ideal. Then she became the very thing she abhorred and once again her wrath would consume her.
“Therewith fantastic garlands did she make
Of crow-flowers, nettles, daisies and long purples,
That liberal shepherds give a grosser name,
But our cold maids do dead men’s fingers call them.”…
Ophelia had never quite been able to explain what made her so angry with her own generation. There was no rational explanation, only a multitude of irksome trivialities and an inexplicably inherent premonition that something was terribly wrong. There was something mechanical in the way they lived, something profoundly unnatural. It was not so much the fact they were constantly brainwashed and spiritually annihilated that disturbed her but the utter lack of humanity and will they seemed to possess. She was disturbed by the way that they were all identical; by the way they seemed so shallow and unreal. Above all, their eyes scared her: blue ones, green ones, brown ones, cold ones, empty ones, static ones, sordidly unfocused ones… It frightened her to think of them all sitting there, menacingly braving the dangers that dared cross their paths. They scared her, with their carefree elegance and their demented search of pleasure that was nothing less than an essential desire of forgetfulness. She could feel their deception and their self-disgust, it hurt her to know and she hated them for it. She hated them for their beautiful vitality and their self-destructive exuberance. She hated them for refusing to believe. She hated them for harbouring the deceptions of the elder instead of the illusions of the young. Once upon a time the young had thought that in order to get something, you just needed to want it enough. Now they only believed in what they saw, what they felt; but worst of all she hated them for not knowing how to love.
“There on the pendent bough her crownet weeds
Clamb’ring to hang, an envious silver broke,
When down the weedy trophies and herself
Fell in the weeping brook.”…
The city was silent and empty. The streetlights danced on the surface of the river. As Ophelia sat there on the bridge, feet dangling over the side, lost in thought, eyes glaring unseeingly at the swirling waters, she sighed. Was it too much to ask that after all these centuries of torturing and slaughtering each other, the young could at last learn to love? Were they not supposed to embody renewal and hope? They did in sorts, but they lacked the will and the imagination. Some of them thought they knew. They would lock eyes and lips or walk down the streets in the sunlight, holding hands and laughing; but it was only some cruel parody in which the master puppeteer drew the strings of what was expected to be: petty arguments, moments of blissful comfort and refuge, affectionate words re-used again and again until they completely lost their meaning. Was it that the puppeteer lacked imagination; or was it their fault for not wanting things to be different, for not wanting enough? Of course it was so easy to satisfy oneself with an unambiguous life; but she could not stop from wanting more. The others either lapsed into what was easy and understandable or stayed forever lost and never seeking. The first lot, those who thought they had understood, were just content to put every thought tidily away into pre-labelled boxes. The others just did not know where to start looking; but looking for what, for life, for love, for meaning? They had no idea, all they knew was that they desperately needed something different, something more…
“Her clothes spread wide,
And mermaid-like a while they bore her up;
Which time she chanted snatches of old tunes,
As one of her own incapable distress,
Or like a creature native and endued
Unto that element.”…
Suddenly, Ophelia realised that she could not spend the rest of her life being either one or the other; that she needed to be in control, to make the choices be they right or wrong. She would teach the world how to appreciate the value of small wonders and how to believe in ideals. She would do anything, everything! Nothing would ever stop her, no puppeteer, no unspoken rule laid down by the propaganda of appearances. She would be free of the world, of its history, free to live and to love at last. Ophelia felt elated, she felt like all the glass walls that had been separating her from what she desired had finally shattered. It was due to this unprecedented euphoria that, forgetting her feet were dangling over a long fall into the river, she stood up utterly enthralled by her own will, at last seeing the way to realise her one most ardent desire.
“But long it could not be
Till that her garments, heavy with their drink,
Pulled the poor wretch from her melodious lay
To muddy death.
LAERTES: Alas then she is drowned.
QUEEN GERTRUDE: Drowned, drowned.
LAERTES: Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears.”
Hamlet, W. Shakespeare, Act IV, Scene 7.
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Okay then, this was my thought process as I read this piece. That first huge paragraph had me thinking that you were falling into purple prose, and my ability to follow everything was kind of hampered by the tremendous about of big words I had to wade through. This is not to say of course that the words confused me, because I understood what they all meant. Rather, it's simply that so many adjectives and complicated descriptions mess up the flow because sometimes I have to stop for a second and reread what I just read. I get tripped up.
It seemed to get better for every paragraph after that first one, but that could be because I simply understood what Ophelia was so angry about. Now, maybe I knew because I share those same beliefs, so I just get it when I see it. Kind of hard to tell when I have that bias. It got easier to understand just because I can totally sympathize with those disgusted at their own generation. I especially love the part when she whittles it down to there being a serious lack of real love among the youth. That's one of the greatest problems I find as well. ^_^
Of course, it's not fair for me to endlessly praise this just because of my own biases. It still feels cluttered up with unnecessary descriptors and the like, probably because you were going for something poetic. I wouldn't feel horrible about it, of course. Stephen King wrote that you may not understand all of the words you're reading, but as long as you feel what the piece is saying, it can be overlooked a lot of the time. After all, you probably have a lot of favorite songs where you have no idea what the lyrics are or what they're saying, but you just get it anyway.
I feel like this is one of those times. I didn't always understand exactly what was written, but I completely got what was being said.
I'm not sure if we're supposed to justify some our choices here or not.
I do really like the idea of spacing out the quote rather than having it just at the beguinning and the end so thanks for that!
Also, the writing is very heavy and I'm absolutely aware of it, I was just trying to find away of expressing the young's irritating habit of exaggerating everything beyond hyperbole!!! I'm not sure whether or not going for equilibrium in outrageousness quite functions in prose though. In a way this is as much poetry in prose as poetic prose and I wasn't sure which category to put it in...
Hi Velvet, welcome to the site! You should know that we have a rule here, which is to have two reviews done for every piece you post. This just spreads the love, and also makes others more eager to review your work! (To be counted, it has to be at least 250 characters long.) So, you just need one more, 'kay?
Onto the critique. The first thing I noticed is your huge chunk of verse at the beginning, and to be honest, it's a bit off-putting. I want to get to the story! What if, instead of all of it at the beginning, it was spread out throughout the piece? Like, every so often, a line of it in italics. Or something. Just not all at the beginning.
This is very pretty, but also too long, and it takes at least two reads to wrap my head around it. I think it would be better if it were two sentences: what about, instead, ...she rebelled against the very idea. All her ferocious innocence...
Okay, I think I know what you're getting at here, but it seems weird, because you say that the inevitable would happen, but she's trying to stop it. EG, she's trying to stop the inevitable by not breaking. But she's awknowledged that it's inevitable, so...does that make sense? If she doesn't know it's inevitable, the word shouldn't be there, and if she does, maybe you could add something about how she knew it was futile but she tried anyway. I know it's a tiny thing, but it would make a difference.
Overall: First, let me say that I loved this. I completely loved it. Hamlet is one of my favorite ever plays, and Ophelia is such an interesting character, and the way you ended it was simply brilliant. You have a wonderful style, and obviously a large vocabulary and you know how to use it and that's all very good. So well done!
However, I do have two issues. The first one might be more of a personal preference - while you have an impressive vocabulary, and for the most part you use it well, sometimes I think the writing got a little bit too complex and flowery and did not completely work. For example, I hated the eyes glaring unseeingly bit, because I don't think the word "unseeingly" does anything but clutter up the writing. Do you know what I mean? It can be too much. And I'm not asking you to change your style, just to go through, maybe read it out loud, and get rid of a couple of words that are superfluous. See what you think.
The second isn't about the prose, it's about the verse in the beginning, and I know I mentioned that above. Like I said before, a huge chunk of it is daunting and it would do better to be spaced out. But now that I see you have the quote from Hamlet at the end (which I do like, by the way) I think you should omit the verse altogether. It's too long for the amount of prose that you have, and while pretty, it doesn't add anything, and it's definitely too much to have both that and the Hamlet quote at the end.
Anyway, again, welcome to the site, and again, I thought this was wonderful. It does still need a little revision, but not much. And, of course, all these are suggestions! IMO, they would take the piece from wonderful to wonderfullest, but it is ultimately up to you! Hope this helped, and feel free to PM me if you need anything.
-Mars