Ruben’s Cycle, Portraits of a Queen

Rubens, Peter Paul. The Journey of Marie de’ Medici. 
1622-1625. Musee d’ Louvre. Paris, France

Peter Paul Rubens was one of the preeminent painters of the Baroque period. He had a unique perspective on the female form preferring to highlight the sensuous curves in his nudes rather than a leaner version favored by his peers. It is for this he is best known and the phrase “Rubenesque” was coined to describe a curvier woman. However, he should be remembered also for his diplomatic and academic endeavors as well both notable for the time. A career diplomat, he travelled throughout Europe and was said to be “fluent in six modern languages and to have read Latin fluidly,” (Wadsworth 372). By any estimation Rubens was a true genius to have accomplished so much and deserving of his title as the most prominent Flemish painter of the Baroque period. 

Rubens, Peter Paul. Self-portrait. 1639. 
Kunsthistorisches Museum, Vienna, Austria

One of his best known works was actually a collection of paintings commissioned by Marie de’ Medici, wife and widow of Henry IV of France, mother to King Louis XIII, to document her life. Looking at the painting The Journey of Marie de’ Medici, one can see the influence of the Renaissance masters on Rubens work. Unlike some of the more rigid and stiff Baroque paintings of his peers, Rubens work is injected with life, color and action. He seamlessly integrates the real subject with the ethereal presence of mythological characters. 

This painting was one of 24 large scale paintings, this one measuring almost 15 feet tall and 9 and half feet wide, created to adorn the walls of Luxembourg palace in Paris. The paintings took 3 years to complete (1622-1625) and were likely painted in part by Rubens team of assistants. More details on the Marie de’ Medici Cycle are available here http://www.indigogeorge.com/arthistory/2015/3/31/the-marie-de-medici. This painting currently hangs in The Louvre and I can say from personal experience is breathtaking to behold. I have presented in large format to reinforce the large size and grandeur of this painting.

WORKS CITED

Cunningham, Lawrence and John Reich, eds. Culture and Values: A Survey of the Humanities. Vol 2. Wadsworth, 2005.

Hamlet, Death and Betrayal

Moreau, Gustavo. Hamlet slaying Claudius. 
Date/location unknown. 

This well-loved play The Tragedy of Hamlet, Prince of Denmark (often called simply Hamlet, was written by William Shakespeare. Though the exact year it was written is unknown, “The first recorded production of Hamlet was by the Chamberlain's Men in 1600 or 1601, so it is likely that Shakespeare composed the play in early 1600.” (Mabillard, August 20, 2000). It was performed in taverns and inns originally to common audience and possibly later for Shakespeare's patron, Queen Elizabeth I, and her court. Aside from its brief silencing, along with other dramas in the mid 17th century, Hamlet has remained one of the most performed and adapted tragedies of all time. 

Hamlet contains within it not only the 5 Act play structure that captures the reader or viewer, Hamlet possesses all the harbingers of a true tragedy such as death, family loyalty and revenge. Death and grief are unveiled within each Act and are a catalyst for the next, providing its tragic theme. The plays most dramatic scene is between Hamlet and his mother, the Queen, as he discloses the true source of his madness and the betrayal by King Claudius and she must come to grips with this revelation and her part in it. “O Hamlet, speak no more: Thou turn’st mine eyes into my very soul; And there I see such black and grained spots 100 As will not leave their tinct. HAMLET Nay, but to live In the rank sweat of an enseamed bed, Stew’d in corruption, honeying and making love Over the nasty sty,—QUEEN 105 O, speak to me no more; These words like daggers enter in mine ears; No more, sweet Hamlet.” (Shakespeare. Act 3, Scene 4, Lines 97-107). This is the one point throughout the play where Hamlet speaks his truth and is comforted by his Mother even as she cringes at her own part in the corruption of Claudius’ crime.

Shakespeare's masterful tragedy does not end well for its namesake. The carnage from Hamlet’s folly increases as the play progresses and once the Queen dies, Hamlet has nothing to live for. One concludes that his seeking revenge for Claudius betrayal enabled more violence and death along the way. The final act of Hamlet is one had it been completed successfully when first attempted, could have prevented so much needless death. “Here, thou incestuous, murderous, damned Dane, Drink off this potion.—Is thy union here? 330 Follow my mother.” (Shakespeare. Act 5, Scene 2, Lines 328-330). 

Everett, Sir John. Ophelia. 1851-1852. Tate Britain, London, UK.

Sweet Ophelia

Ophelia was arguably the most innocent victim in Hamlet. From the beginning we see how she was controlled by her father and brother. In Act 1, Scene 3, Line 125 Polonius advises, “You must not take for fire. From this time Be something scanter of your maiden presence; Set your entreatments at a higher rate Than a command to parley. For Lord Hamlet, Believe so much in him, that he is young; 130 And with a larger tether may he walk Than may be given you: in few, Ophelia, Do not believe his vows; for they are brokers,—Not of that dye which their investments show, But mere implorators of unholy suits, 135 Breathing like sanctified and pious bawds, The better to beguile. This is for all,—I would not, in plain terms, from this time forth Have you so slander any moment leisure As to give words or talk with the Lord Hamlet. 140 Look to’t, I charge you; come your ways. OPHELIA I shall obey, my Lord.“ This dialogue shows how obedient she was which makes how Polonius used Ophelia to spy upon Hamlet such a betrayal of her trust. 

Ophelia was also betrayed by Hamlet, who was untruthful and misled her. Had she the strength to overcome the loss of Hamlet and the murder of her father, she might have emerged a tragic heroine. As fate would have it she spiraled into despair and eventually took her own life. In Act 5, Scene 7, Line 179 the Queen announces Ophelia’s fate, “QUEEN One woe doth tread upon another’s heel, 180 So fast they follow:—your sister’s drown’d, Laertes.” Her suicide, so quickly following her fathers Murder, speaks to her innocence and frailty. This act is one that nearly cost her a proper Christian burial.

WORKS CITED

Mabillard, Amanda. The Play History of Hamlet. Shakespeare Online. 20 Aug. 2000. http://www.shakespeare-online.com/playanalysis/hamletplayhistory.html

Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Published by AmazonClassics, Seattle www.apub.com