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The Positive Connotation Of Ophelia As Adapted From Shakespeare's Hamlet

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Ophelia (1852), painting by Millais is adapted from Shakespeare’s Hamlet. Shakespeare depicted Ophelia as a representation of death, misery and madness. On the contrary, Ophelia by Millais with its descriptive botanical quality could evoke a positive connotation. The prominent water and the lustrous greenery that tantalizes the senses and allow the viewer to feel his/her consciousness moving beyond Shakespeare’s condemned heroine or Rossetti’s equally condemned lover. In the painting, the water appears to be fresh rather than chilly. The soothing water seems welcoming. The flowers in the painting that are floating are so detailed and fresh that one can believe that they are newly pricked; and aroma smells fresh. The current that so gently flows …show more content…

The Pre-Raphaelite ideals manifested while painting themes and characters from Shakespeare’s play. He gave these characters a different Psychological contrast unlike Shakespeare. In the process of painting, the idea of breaking Victorian dichotomy of pious/profane, ideal/sensuous, angel of the house/fallen woman left a trace in his unconscious. Later in his life, he fell in love with Effie, the woman who split-up with her husband prioritizing her own love, need and desire rather than admitting the passive, submissive role in an institution like marriage. Above-mentioned argument gives a clear explanation why specifically Effie Millais fell in love with and how his marriage and paintings shares a reciprocal …show more content…

He had burdensome responsibilities toward his family but his deteriorative health condition not only crippled his responsibilities, also increased far more trouble for his family. His seek senile feeble condition repels his parents evens his sister got tired of taking his care and desperately wishes to get rid of him. Freud has always believed in complex potentials of human mind and artistic capability of exploring human unconsciousness instinctively. Kafka’s creation is extraordinary because the way he put the raw materials of his imagination in use he created significance out of this novel that is too mysterious to be accounted for simply. Is it possible that within his unconscious he had predicted his future or ultimate destiny? This could be a possible explanation but remains mysteries unrevealed. Again, this recalls Leonardo’s childhood reminiscence of the bird’s tail in his mouth. According to Freud as above-mentioned, the bird was a vulture. Later in 1923, Eric Maclagan pointed out that relying on German translation Freud misread Leonardo. The bird was a kite not a vulture, ‘nibbo’ in Italian. Freud’s question about the origin of Leonardo’s fantasy remains even if the passage concerns a kite but is not necessary to argue here.

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