Ophelia's Travels

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Friends and Foes:
Athenaeum, 1852

"Mr. Millais-the Raphael of our Pre-Raphaelites, and whose powers of thought, execution and industry are undeniable-contributes three pictures. Ophelia (No. 556) has been the subject of much discussion and difference of opinion, condemnation and admiration. The moment chosen is, that of the drowning of the ill-fated maiden, as told in 'Hamlet.' The willow branch on which she has clambered has broken; and she floats awhile on the "glassy stream"-rendered, however too much like a still pond,-borne up by her clothes, and chanting snatches, until she is pulled down by her "garments, heavy with their drink." On looking closely into the painting, the finish is marvellous. The pollard trunk, the velvetty green rind of the "envious sliver," the moss and flowers and vegetable details, are positively mirrored as in a glass. The water-lily is the botanical study of a Linneus:-every incident and accident is depicted. Some of the leaves are green and vigorous, others are spotted, corroded and broken:-no form or phase is unobserved or omitted. Ophelia sinks so composedly and gradually, that the idea of one of Dr. Arnott's comfortable water-beds is suggested. Gorgeous as is her fantastic dress and gay the blue and red flowers of her "weedy trophies," the flesh tints of her face and hands entirely hold their own. The expression aimed at is, that of an incapability of estimating "her own distress." The open mouth is somewhat gaping and gabyish [sic ],-the expression is in no way suggestive of her past tale. There is no pathos, no melancholy, no one brightening up, no last lucid interval. If she die swanlike with a song, there is no sound or melody, no poetry in this strain. Rightly to appreciate the general chromatic effect, this picture should be looked at from a little distance,-when it becomes quite luminous. ...

'Fine Arts: Royal Academy' Athenaeum, 22 May 1852, pp.581-583.

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