John Everett Millais, The Foolish Virgins |
This post concludes the exegesis from a “Portraits of Jesus”
student paper on the engravings of John Everett Millais’s portraying the parable of the
Wise and Foolish Virgins. In this section, the paper focuses on The Foolish Virgins:
Progressing through
the parable we come to The Foolish Virgins. This print represents the point in the story at 25:11 when the
foolish bridesmaids come to the door of the wedding banquet and are begging to
be let in. Though there is contrast between light and dark within it, as a
whole it is much darker than The Wise Virgins.
What does the
appearance of the maidens show and how can this be related to the text in terms
of its allegory? The shape and movement of the bodies lying and collapsing
against the door is dramatic. The door frame provides a straight line to
contrast against their movement up from the ground, towards the light held by
the only standing virgin. It is like they are gathering up toward the light as
well as resting against the door. The necklace and their loose hair could both
symbolize lack of morality through vanity or impurity, or just a general
sinfulness. What is the significance of the maiden wearing the necklace, who in
the other print was sleeping, and is now holding a lit lamp, even though it is
too late? She could represent the leader of the foolish virgins as false
disciples as discussed in the textual exegesis: in the previous illustration it
could be argued that she was the most inattentive and unprepared—in the context
that Millais attributed certain moral value to the sleepiness—and now she
strives the hardest to appear faithful.
In their expressions
and body language they show pleading, grief, and fear. Of the three who have
collapsed against the door, two appear to be praying or pleading with their
“Lord.” One has her face downcast in and her hands clasped above her, while the
other has her hands at her neck and her face lifted to the sky. The third looks
away from the door to the banquet and to the elements behind them, seeming to
have lost hope.
What is the
significance of the appearance of scene, the physical landscape to which the
virgins belong? It is night now; as the mood and gravity of the situation has
increased from the previous illustration, the sky has accordingly darkened.
Millais adds the stormy weather to the scene, which is not present in the text.
Thunder and lightning and rain present an elemental punishment harkening back
to the God of the Old Testament. This serves to heighten the eschatological
meaning of the story and therefore the desperate situation of the foolish
maidens in the eschaton. The rain is straight and diagonal in their direction.
The scene is clearly forested whereas in the earlier scene there were no trees
visible. In the Western psyche the forest has long symbolized waywardness,
being lost. It is apart from what is civilized and familiar and good: a moral
wilderness. It is my belief that Millais reflects this symbolism here. The
figures of the trees also make the landscape more imposing on the bridesmaids.
Whereas the natural landscape does not have much prominence in The Wise
Virgins, with the wise almost rising
above it in a way through their association with the sky, here it is
encroaching on the foolish women, towering in the background with the trees and
lightening (coming from heaven) and crashing down on them in the foreground
with the rain and wind. Violent weather and natural disaster commonly
demonstrates the physical end of the earth that is thought to accompany the
last judgment.
As in The Wise
Virgins, there are two major directional
points of focus in this illustration. Not only is the maidens’ focus on the
door and the banquet within, but also one bridesmaid looks nervously back at the
elements, directing focus away from their (lost) hope and to their hopeless
future. These dual points of focus in the scene in its allegorical context are
the loss of hope for salvation and the fear of impending punishment, the final
judgment.
As a whole the
engravings exhibit obvious dualism with light and dark, both within and between
them. They both contain meaningful movement. Neither portrays the bridegroom
directly, but they suggest the presence and influence of him indirectly through
the physical orientation of the maidens and the direction of light. In both
paintings there is a dual focus on what is behind and what is to come,
portrayed both in light and in the physicality of the maidens.
Millais distinguishes
between the wise and foolish in more ways than the text does, which is
understandable for a visual representation. He does so in terms of appearance
and action. He gives the sleeping of the virgins a negative moral significance
in a way that the text does not, but links it to the unpreparedness that the
parable stresses as the fatal flaw of the bridesmaids. The argument that the
foolish virgins represent false disciples within the early Christian community
would not find conflict in these illustrations.
Millais departs from
and makes additions to the text in several ways, crafting his own meanings that
are simple, strikingly visual, and are still largely in keeping with the
allegory and message of the parable. It is over 1,700 years after the parable
was first told, containing symbolic meanings that were particularly relevant to
the concerns of Matthew’s audience in the early church, and yet he is able to
impart his own degree of depth to the story.
Many thanks to my student for letting me share this work on
Millais.
Now that the exegetical papers and final exams are graded for the "Portraits of Jesus" class, I'll continue next week with my series on John Chrsyostom and the parables.
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