Ophelia Millais Ophelia (1851-1852). Oil on canvas 76.2 x 11.8 cm. Tate Gallery, London. Sir John Everett Millais (1829-1896)
"In the deep waters cradling the stars, white, candid,
Ophelia floats like a great lily,
fleet so slowly, leaning on
veils ... "
(Rimbaud)
The unfortunate and puzzling Ophelia Shakespearean inexhaustible source of artistic inspiration, literary and philosophical, seduced Millais, who forged a truly breathtaking pictorial reinterpretation. While the central theme of the play is the myth ofeliano the melancholy natural scenery that frames it is admirable. The surroundings are lush and bright in color, so it is not oppressive, despite witnessing the tragedy. The proper place for inspiration and reliably captured what the painter had found after much searching, accompanied by his friend Hunt, near Ewen in a backwater of the river Hogsmill.
Ofelia's figure is disappearing under the "whining" and calmer waters, which are airy enough not to hide from view her arms and torso partially immersed. Her beautiful face is now absent in a pathetic gesture that deeply moved. Lifeless eyes, lips parted, inert and hands in an attitude of offering, leaving escape some flowers. The lower part of his body seems to be already under water, remaining on the surface of the steaming pieces of heavy clothing, which, like his long hair, seem reluctant to vanish forever. Logically, the poetic image of Ophelia is far from that corresponding to the grim reality of drowning. Seems destined to flow dissolved in water, yet tangible and incorruptible, for, as Bachelard suggests, appearing for centuries to dreamers and poets, floating in river. Beside her flowers supernatant was collected. Flowers that are shaped with amazing accuracy and thoroughness. Some contemporary critics the author did not find any charm in this neat realistic Millais, his natural exuberance seemed unnecessary and indolent complacency, a tragic blunder that effectively stole the protagonist of the story. Nothing is further from the truth. The whole composition is superb, and yet there is no reason that when we find the canvas look sympathetic and inevitably be diverted towards the unfortunate.
already on the eve of the fatal outcome of Ofelia, it uses plants to communicate their troubles to Gertrude. With uncertain intent offers some herbs then reputed for its beneficial effects, but also for its abortifacient effects, fennel and rue, which also was attributed to exorcise demons effectiveness, and moth, a plant that at high doses is also toxic, "... fennel for you, and moths and rude ... for you also, and this bit is for me. We may call Sunday yerba santa, ... you will wear with the distinction that seems to you ...". In and tormented scathingly denounced the death of his father Polonius in Hamlet's hands: "... This is a margarita. Well I would give you some violets, but they all withered when my father died. They say it was a good end ...". Following the demise of Ophelia, once again, the characters evoke through this stylistic device I do not dare verbalize. Gertrude, Laertes in relating to the unfortunate episode, "performs the flowers that Ophelia has allegedly collected before plunging into the river and have a tragic symbolism.
Millais did nothing but remain true to the Shakespearean allegorical device. Garlanded violets hug the neck of the young, these flowers remain an icon of hopelessness and premature death. Floating in the water are scattered thoughts, allegory of unrequited love, and poppies, the symbol of numbness and death. Also see: impatiens, meadowsweet, nettles, daffodils, daisies, crown imperial, lilies, Adonis, dead fingers ... not as built dressings childish, but as metaphors for the shortcomings of Hamlet as Ophelia morose feelings. That Millais would have done without this abundance iconographic or had not been careful in his play had been inconsistent.
The death of Ophelia in Shakespeare's play is a perpetual source of speculative exercise, since the tragic fact does not happen on stage. It is narrated by the mouth of Gertrude, who explains that he has unwittingly fallen into the river and in his madness has been carried away: "... coming was, took off the garland, and wanting to go to suspend the remaining branches, it bends and breaks a stem envious , and fall into the fatal flood, she and all her ornaments rustic. Clothes and extended hollow took a while on the water like a mermaid, and as was singing bits of old tunes, as ignorant of his misfortune, or as a servant and born in that element. But it was impossible lasted so much space. The garments, heavy and water-absorbing stole it from the unhappy, interrupting his singing sweet, death, full of anguish. " The accident is transformed into a deliberate act in Act V, in the conversation of the gravediggers "What is to be buried in sacred ground, which has deliberately conspired against his own salvation?". In the eyes of criticism in general and poetry in particular, the sad avatars of his life, his delusional state, and make it more appealing lyrical sense the theory of suicide death, more by default than by action.
The painter, poet and Pre-Raphaelite aesthetic archetype Elizabeth Eleanor Siddal was the model patient in this masterpiece, in endless meetings at which rested submerged in a tub with a beautiful dress older than the painter had found to figuration. According account Millais's son in his biography of his father, a day could not heat the water and Elisabeth ill for several days. The father of the artist was greatly angered with the painter, requiring an economic satisfaction. The truth is that once recovered from the cooling "water" did not return to work for Millais. It seems that Lizzie suffered frequent health problems. According to biographers recount the Pre-Raphaelites was suffering from a mood disorder. This and other circumstances, such as his difficult relationship with Rossetti, would have led to excessive drinking laudanum. In several references to speculate on the condition of possible tuberculosis, although he died when he was only 32 years, often attributed to the consumption of an excessive dose of the tincture of opium. The identification "poetic" between Ofelia and Siddal was tempting, and many references to possible suicide of the artist, but the only true fact is that his death certificate, which lists "accidental death" as a cause.
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