![]() It is our aim instead to deconstruct the image of Lizzie as the dying Ophelia through the analysis of suffering as a form of female endurance, empowerment and resistance strategy in order to assert her voice. Not only has Siddal tended to be addressed as the depressive drug addict, but many aesthetic and cultural analyses have represented her as the rejected dead bride, thus relating femaleness to suffering, rejection and, ultimately, alienation. Yet, it is likely that she committed suicide. Lizzie’s continuous poor health and the destructive addiction to laudanum led her to death. Though Marsh has prob ably unearthed as much of her story as can. The same images are depicted in Dante Gabriel Rossetti’s painting and poetry, the Pre- Raphaelites’ mentor, who ended up portraying Lizzie as the ideal female image of suffering, pain and death, after marrying her. Jan Marshs sisterhood is the group of six. Lizzie, the fair and the loveable red-haired muse becomes, paradoxically, the sick, ethereal maid, her pathos identifying on canvas unattended love with both physical and psychological suffering. Here, Jan Marsh enlarges on the life of one of the subjects of her earlier work, Pre-Raphaelite Sisterhood, and delineates the true story of Siddal as an. ![]() ![]() As the model of John Everett Millais, Lizzie Siddal becomes the perfect image of the sad and suffering Ophelia. ![]() Amongst the images of women in Victorian England, there is the paradigmatic case of Ophelia: the sick, insane, fragile woman who drowns, dying of a broken heart. ![]()
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