Ophelia: A Psychological Portrait Xena Fitzgerald Class of 2017 The tragic image of Ophelia, a young representation in art contributed to a variety of popular noblewoman who drowns during the play Hamlet, interpretations of her character. has haunted Britain since Shakespeare wrote her into Ophelia as a character is frequently represented existence around the year 1600. Ophelia reached the as various forms of femininity. Art historian Kimberly peak of her popularity around the mid-nineteenth Rhodes explains that during the Victorian era Ophelia century. In the realm of painting, she was a popular represented a range of female typologies from the subject for Pre-Raphaelite painters who were concerned “dutiful daughter” to the “madwoman.”3 Because with tropes of Victorian femininity as well as with Ophelia has very few lines within the play and her most the psychology of their subjects. In this paper I will signifcant action, her death, does not even appear on consider how the artist Anna Lea Merritt (1844-1930), stage, Rhodes describes her as “a blank page on which who was infuenced by the Pre-Raphaelite movement, patriarchy can inscribe and project its desires.”4 Along leapt beyond popular tropes to visually portray Ophelia with other Shakespearean heroines, Ophelia was taken in her 1880 painting with emotional and psychological up as an exemplar for femininity.5 Moral guides such depth more successfully than her contemporaries (fg. 1). as Anna Jameson’s Characteristics of Women, Moral, Born in Pennsylvania, Merritt, like Mary Poetical, and Historical instructed women and girls to Cassatt, pursued an artistic career in Europe. Instead of emulate Ophelia’s “modesty, grace, and tenderness.”6 following the Impressionists in Paris, Merritt chose to Furthermore, many scholars even note a parallel settle in London in 1870 and work under the infuence between Ophelia and the Virgin Mary.7 The similarity is of the late Pre-Raphaelites. There, she met painters particularly apparent during Act III when Hamlet walks such as Whistler, Burne-Jones, Holman Hunt, and her in while Ophelia kneels alone holding a book much eventual husband Henry Merritt.1 Henry died only three like customary Annunciation scenes as evident in the months after their wedding, and Merritt never remarried. comparison of a ffteenth-century annunciation scene Instead, she dedicated her life to painting and supported (fg. 3) and a Pre-Raphaelite depiction of Hamlet and herself mainly on portrait commissions. Outside of Ophelia by the artist Dante Gabriel Rossetti (fg. 4).8 portraiture, she occasionally painted religious, foral, Scholar Georgianna Ziegler argues that and literary subjects. Like the Pre-Raphaelites, Merritt Victorians idealized Ophelia as “more than human” painted illustrations inspired by British literary heroes and fetishized both her innocence and purity. Ziegler Tennyson and Shakespeare. attributes Ophelia’s popularity as a painting subject to The Pre-Raphaelites were by no means the frst Victorian men’s fascination with “the idea of capturing artistic group interested in Shakespeare. Illustrations of that moment right before a young girl opens into full Shakespearean scenes became immensely popular about womanhood and the death of innocence.”9 However, a century earlier with the formation of John Boydell’s in addition to her symbolism of feminine innocence Shakespeare Gallery, which was dedicated to exhibiting and grace, Ophelia also played another role in Victorian paintings of Shakespearean subjects and published culture: becoming a trope of the ‘madwoman.’ engraved reproductions and smaller Shakespearean Ophelia’s extreme melancholy, vulgar songs, disheveled illustrations.2 Of course, these publications included appearance, and accidental/suicidal death account for illustrations of Ophelia such as the illustration by the interpretation of Ophelia as a subcategory of the Richard Westall (fg. 2). Over the next hundred years ‘madwoman’ trope.10 In her article “The Feminization and beyond, Ophelia’s popularity never fell. Her large of Madness,” art historian Jane Kromm describes how 6 Spring 2017 | Volume 4 | © 2017 | Grinnell College Undergraduate Research Journal Ophelia’s madness is sexualized through various stages be cast among the briers of this working-day world” of undress and close connection with fowers, which without sexualizing her insanity.14 Using a recognizable associate her with the fertility goddess Flora (fg. 5 model in contemporary garb, an undefned setting, and and 6).11 Additionally, Kromm argues that Ophelia is a reliance on photography, Merritt transports Ophelia to represented as the “least passive, most unruly among the the contemporary ‘working-day’ world, making her more lovelorn madwoman prototypes.”12 Kromm identifes relatable for both the artist and the viewer. these madwoman Ophelia-type fgures in various For the portrait-style etching, Merritt relied on illustrations of insane asylums such as the “sprawling sketches from life and photographs (fg. 14 and 15) of Ophelia-type” central fgure in Bonaventura Genelli’s the popular actress Ellen Terry in the role of Ophelia.15 Glance in an Asylum (1850) (fg. 7) and the woman Merritt attempted to render the likeness of the actress dropping wilted fowers in the bottom right hand corner while illustrating the psychology of Ophelia through of Amand Gautier’s Madwomen of the Salpêtrière: her facial expression with furrowed brows and woeful Courtyard of Agitated Inmates (1855) (fg. 8).13 These upward gaze. Contemporary audiences would have fgures in illustrations of psychiatric hospitals indicate easily recognized the face of the well-known actress that while ‘the Ophelia type’ became a subcategory of in her contemporary hairstyle and fur-collared dress, ‘the madwoman,’ depicting Ophelia as a ‘madwoman’ thereby identifying more strongly with her emotionally. was far less popular than depicting her as tragically Only her melancholic expression and loose fstful of beautiful and slightly melancholic. fowers clutched to her breast identify the actress as Artists contemporary to Merritt, such as Pre- Ophelia. Unlike the contemporary paintings described Raphaelite brother John Everett Millais (1829-1896), earlier, there are no indications of the setting of the French Academic painter Alexandre Cabanel (1823- play, since Merritt locates Ophelia in a dark undefned 1889), and Pre-Raphaelite follower John William background. The black background deviates from the Waterhouse (1849-1917) all represent Ophelia as Pre-Raphaelite trend of situating Hamlet and Ophelia in a beautiful and tragic victim in their depiction of vaguely medieval settings and instead lends the etching narrative scenes just before Ophelia’s death (fg. 9, a sense of timelessness that pulls Ophelia into the 10, 11, and 12). Millais and Cabanel both portray a contemporary day. weak and listless Ophelia already fallen into the water, While Merritt’s reliance on photography further emphasizing the tragedy of her death. Cabanel includes “modernizes” Ophelia, her artistic interpretation the broken willow bough behind her to increase the produces the emotional quality of the etching.16 Several narrative understanding of the painting. All three photographers at the time, such as Duchenne de artists accentuate Ophelia’s beauty by depicting her Boulogne and Hugh Welch Diamond, were interested with extremely pale skin, long fowing hair, and in the physiology of human facial expression, including wearing ornate medieval gowns. Compared to these physical expressions of insanity, and photography’s contemporary painters, Merritt’s depictions of Ophelia ability to document such features. Diamond employed are more relatable for the viewer and more sensitively ‘the Ophelia type madwoman’ trope by photographing portray Ophelia’s psychological state. a psychiatric patient in the guise of Ophelia (fg. 16).17 Although Ophelia was a wildly popular subject Considering these photographic pursuits, Merritt’s for male artists, who usually illustrated her more positive writings demonstrate her belief that while photography attributes, Ophelia was far less popular among female can assist the artist in accurate portrayals of facial artists, who preferred to paint Shakespearean heroines expression, the painter can portray emotions far beyond such as Juliet, Rosalind, or Celia who provided clearer the ability of the camera. She writes, “source[s] of moral education.” In fact, perhaps “Photography can fx the features and because of the moral ambiguity surrounding Ophelia’s expression of a face at the given moment, Character, Merritt was one of the only female artists at but an artist receives the expression of a the time to paint Ophelia and one of the only artists face in the sympathetic mirror of his own not to idealize her portrayal of Ophelia. In her frst soul and acquires the skill to reproduce it depiction of Ophelia from 1879 (fg. 13), Merritt directly with paints on canvas... he will convey a contradicts Jameson’s moral education guide which sense of Character beyond the power of described Ophelia as “too soft, too good, too fair, to the photograph.”18 Spring 2017 | Volume 4 | © 2017 | Grinnell College Undergraduate Research Journal 7 This quote demonstrates that Merritt identifed with which typically represented innocence as: “...the most the subjects that she painted and valued their emotional underhand, grasping, selfsh, ill-regulated little plant and psychological state. She considered it her duty that exists.”24 For Merritt, the rose,