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Ophelia
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When down her weedy trophies and herself/Fell in the weeping brook. Her clothes spread wide,
And, mermaid-like, awhile they bore her up;/Which time she chanted snatches of old lauds [hymns]/As one incapable of her own distress—Ophelia's death (Gertrude, queen)1(p186)
Her death was doubtful,/And but that great command o’ersways [overturned] the order
She should in ground unsanctified have lodged—Ophelia's funeral (Priest)1(p200)
John Everett Millais (1829-1896) was a founding member of the Pre-Raphaelite brotherhood, painters who scorned the elegant but, they felt, mechanistic style of Renaissance artists like Raphael and Michelangelo. Millais emulated instead the fine detail, intense colors, and complex compositions of 14th-century Italian and Flemish art. For him, exact replication of reality was the key. Viewers of Ophelia in 1852 found delight in the exquisite detail of the natural setting: beautiful, botanically exact flowers, moss, and reeds "mirrored as in a glass."2 They commented positively on the realistic . . . [Full Text of this Article]
James C. Harris, MD
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