The next thing to consider which can prove strong ties between Scandinavian lands and Poland might be the presence of Poland and Polish rulers in Scandinavian saga's, which were the legends written in Iceland few centuries after the age of vikings. The prevalence of treasure-hoarding in southern Sweden during the 1000s has led modern archeologists to believe that the threat was indeed a very serious one, and the Icelandic sagas themselves often seem to assume that "Vikings" in the purely piratical sense were almost as likely to be Wends (Vends) as Scandinavians." "They also gave as good as they got, in military terms, sacking Hedeby in 1000 and harrying Denmark, Gotland, Oland and southern Sweden to such an extent that the Western Baltic was sometimes called Mare Rugianorum after the Slavic pirates of Rugen. "The Slavs were always under threat of attack from the Vikings as well as the Franks." "To the south-east of Denmark lay the Wends (Vends) or the Slav tribes, who were in many ways just as effective raiders and traders as the Vikings themselves". In the book The Viking Art Of War (Chapter 'The Vikings and their neighbours), Paddy Griffith writes: Danish invasions (with distinctly repressive character), like this from year 1043, shows that Vends (Slavs) were not easy neighbours for the Vikings at the same time, when Scandinavian Vikings pillaged the West Europe, they own territory was pillaged by Vends. Ophelia's desperation literally drives her crazy, and she has no means with which to heal herself.Some of the Danish islands were attacked by Slavic pirates so often, that they have been depopulated at the end later they have been settled again by Slavs from Pomerania. She has no way to reconcile the contradictory selves her men demand that she be and still retain an equilibrium. The dilemma also forces her into madness. She has chosen one, and her choice seals her fate. How can she be obedient to her father and true to her love? When she lies to Hamlet and tells him that Polonius is home when he is concealed in the room eavesdropping, Ophelia proves she cannot live in both worlds. But her Renaissance sense of romantic love also rules her. Just like Hamlet, the medieval precept that the father's word is unquestionable governs Ophelia.
With no mother to guide her, she has no way of deciphering the contradictory expectations. To Hamlet, she is a sexual object, a corrupt and deceitful lover. To her father and brother, Ophelia is the eternal virgin, the vessel of morality whose purpose is to be a dutiful wife and steadfast mother. Her heart has convinced her that Hamlet loved her, though he swears he never did. Her father and brother believe that Hamlet would use her, that he would take her virginity and throw it away because she could never be his wife. We do know that Ophelia is torn between two contradictory poles. The extent to which a boy could grasp subtle nuances might have prevented the playwright from fleshing out the character more fully. In the case of an ingenue like Ophelia, a very young and lovely woman, Shakespeare would have been writing for a boy. Part of the difficulty is that Shakespeare wrote his female roles for men, and there were always limitations on them that restricted and defined the characterizations devised. Ophelia is a difficult role to play because her character, like Gertrude's, is murky.
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