Alexis Stoner

Ophelia’s Madness

In Elaine Showalter’s article “Representing Ophelia: Women, Madness and the Responsibilities of Feminist Criticism” she analyzes the stage depictions of Ophelia and the symbolism represented by the role of Ophelia. She claims that Ophelia represents female nature on a whole, and that her madness is very clearly defined. Ophelia is the foil to Hamlet in terms of their actions and personalities. Ophelia is depicted as very pure, wearing white and having garlands of flowers. Hamlet, on the other hand, wears dark mourning clothes and scholar’s garb. The flowers that Ophelia gives away may possibly have a double meaning: either that of the loss of innocence of the innocent victim and her growth as a person, or it may represent her “deflowering” by giving the flowers away.  Showalter’s opinion of Ophelia leans towards the second of the two sides presented to the reader.

Elaine Showalter seems to be making a mountain out of a mole-hill. Ophelia simply has a classic case of madness, and because of it, she is finally able to freely speak her mind because the other people in the play do not know what to do with her. Her allusions to flowers and handing them out alludes to the actions of Gertrude. Many of the flowery metaphors are a veiled attempt to expose Gertrude’s actions. The bawdy songs that Ophelia sings only further emphasize this by the imagery in them. Ophelia’s flowers are her metaphorical “weapon” as she uses them to bring to light the faults of the other characters and in the end, her own death. In either case, Ophelia can either be seen as a very pure virginal character, or that of a “sexually explicit madwoman” as Showalter claims she is.

Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism. Elaine Showalter.

EXPLORING Shakespeare. Online ed. Detroit: Gale, 2003.

Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism

"Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism," in Shakespeare and the Question of Theory, edited by Patricia Parker and Geoffrey Hartman, University of Illinois Press, 1983, pp. 77-94.

In the following essay, Showalter discusses traditional stage depictions of Ophelia, noting that shifts in critical perspective and cultural attitudes toward women and madness have changed the ways that this character has been portrayed.

"Of all the characters in Hamlet," Bridget Lyons has pointed out, "Ophelia is most persistently presented in terms of symbolic meanings." Her behavior, her appearance, her gestures, her costume, her props, are freighted with emblematic significance, and for many generations of Shakespearean critics her part in the play has seemed to be primarily iconographic. Ophelia's symbolic meanings, moreover, are specifically feminine. Whereas for Hamlet madness is metaphysical, linked with culture, for Ophelia it is a product of the female body and female nature, perhaps that nature's purest form. On the Elizabethan stage, the conventions of female insanity were sharply defined. Ophelia dresses in white, decks herself with "fantastical garlands" of wild flowers, and enters, according to the stage directions of the "Bad" Quarto, "distracted" playing on a lute with her "hair down singing." Her speeches are marked by extravagant metaphors, lyrical free associations, and "explosive sexual imagery." She sings wistful and bawdy ballads, and ends her life by drowning.

All of these conventions carry specific messages about femininity and sexuality. Ophelia's virginal and vacant white is contrasted with Hamlet's scholar's garb, his "suits of solemn black." Her flowers suggest the discordant double images of female sexuality as both innocent blossoming and whorish contamination; she is the "green girl" of pastoral, the virginal "Rose of May" and the sexually explicit madwoman who, in giving away her wild flowers and herbs, is symbolically deflowering herself. The "weedy trophies" and phallic "long purples" which she wears to her death intimate an improper and discordant sexuality that Gertrude's lovely elegy cannot quite obscure. In Elizabethan and Jacobean drama, the stage direction that a woman enters with dishevelled hair indicates that she might either be mad or the victim of a rape; the disordered hair, her offense against decorum, suggests sensuality in each case. The mad Ophelia's bawdy songs and verbal license, while they give her access to "an entirely different range of experience" from what she is allowed as the dutiful daughter, seem to be her one sanctioned form of self-assertion as a woman, quickly followed, as if in retribution, by her death.

Drowning too was associated with the feminine, with female fluidity as opposed to masculine aridity. In his discussion of the "Ophelia complex," the phenomenologist Gaston Bachelard traces the symbolic connections between women, water, and death. Drowning, he suggests, becomes the truly feminine leash in the dramas of literature and life, one which is a beautiful immersion and submersion in the female element. Water is the profound and organic symbol of the liquid woman whose eyes are so easily drowned in tears, as her body is the repository of blood, amniotic fluid, and milk. A man contemplating this feminine suicide understands it by reaching for what is feminine in himself, like Laertes, by a temporary surrender to his own fluidity—that is, his tears; and he becomes a man again in becoming once more dry—when his tears are stopped.

Clinically speaking, Ophelia's behavior and appearance are characteristic of the malady the Elizabethans would have diagnosed as female love melancholy, or erotomania. From about 1580, melancholy had become a fashionable disease among young men, especially in London, and Hamlet himself is a prototype of the melancholy hero. Yet the epidemic of melancholy associated with intellectual and imaginative genius "curiously bypassed women." Women's melancholy was seen instead as biological, and emotional in origins.

On the stage, Ophelia's madness was presented as the predictable outcome of erotomania. From 1660, when women first appeared on the public stage, to the beginnings of the eighteenth century, the most celebrated of the actresses who played Ophelia were those whom rumor credited with disappointments in love. The greatest triumph was reserved for Susan Mountfort, a former actress at Lincoln's Inn Fields who had gone mad after her lover's betrayal. One night in 1720 she escaped from her keeper, rushed to the theater, and just as the Ophelia of the evening was to enter for her mad scene, "sprang forward in her place . . . with wild eyes and wavering motion." As a contemporary reported, "she was in truth Ophelia herself, to the amazement of the performers as well as of the audience—nature having made this last effort, her vital powers failed her and she died soon after." These theatrical legends reinforced the belief of the age that female madness was a part of female nature, less to be imitated by an actress than demonstrated by a deranged woman in a performance of her emotions.

The subversive or violent possibilities of the mad scene were nearly eliminated, however, on the eighteenth-century stage. Late Augustan, stereotypes of female love-melancholy were sentimentalized versions which minimized the force of female sexuality, and made female insanity a pretty stimulant to male sensibility. Actresses such as Mrs Lessingham in 1772, and Mary Bolton in 1811, played Ophelia in this decorous style, relying on the familiar images of the white dress, loose hair, and wild flowers to convey a polite feminine distraction, highly suitable for pictorial reproduction, and appropriate for Samuel Johnson's description ofOphelia as young, beautiful, harmless, and pious. Even Mrs Siddons in 1785 played the mad scene with stately and classical dignity. . . . For much of the period, in fact, Augustan objections to the levity and indecency of Ophelia's language and behavior led to censorship of the part. Her lines were frequently cut, and the role was often assigned to a singer instead of an actress, making the mode of representation musical rather than visual or verbal.

But whereas the Augustan response to madness was a denial, the romantic response was an embrace. The figure of the madwoman permeates romantic literature, from the gothic novelists to Wordsworth and Scott in such texts as "The Thorn" and The Heart of Midlothian, where she stands for sexual victimization, bereavement, and thrilling emotional extremity. Romantic artists such as Thomas Barker and George Shepheard painted pathetically abandoned Crazy Kates and Crazy Anns, while Henry Fuseli's "Mad Kate" is almost demonically possessed, an orphan of the romantic storm.

In the Shakespearean theater, Ophelia's romantic revival began in France rather than England. When Charles Kemble made his Paris debut as Hamlet with an English troupe in 1827, his Ophelia was a young Irish ingénue named Harriet Smithson. Smithson used "her extensive command of mime to depict in precise gesture the state of Ophelia's confused mind." In the mad scene she entered in a long black veil, suggesting the standard imagery of female sexual mystery in the gothic novel, with scattered bedlamish wisps of straw in her hair. Spreading the veil on the ground as she sang, she spread flowers upon it in the shape of a cross, as if to make her father's grave, and mimed a burial, a piece of stage business which remained in vogue for the rest of the century.

The French audiences were stunned. Dumas recalled that "it was the first time I saw in the theatre real passions, giving life to men and women of flesh and blood." The 23-year-old Hector Berlioz, who was in the audience on the first night, fell madly in love, and eventually married Harriet Smithson despite his family's frantic opposition. Her image as the mad Opheliawas represented in popular lithographs and exhibited in bookshop and printshop windows. Her costume was imitated by the fashionable, and a coiffure "à la folle," consisting of a "black veil with wisps of straw tastefully interwoven" in the hair, was widely copied by the Parisian beau monde, always on the lookout for something new.

Although Smithson never acted Ophelia on the English stage, her intensely visual performance quickly influenced English productions as well; and indeed the romantic Ophelia—a young girl passionately and visibly driven to picturesque madness—became the dominant international acting style for the next 150 years, from Helena Modjeska in Poland in 1871, to the 18-year-old Jean Simmons in the Laurence Olivier film of 1948.

Whereas the romantic Hamlet, in Coleridge's famous dictum, thinks too much, has an "overbalance of the contemplative faculty" and an overactive intellect, the romantic Ophelia is a girl who feels too much, who drowns in feeling. The romantic critics seem to have felt that the less said about Ophelia the better; the point was to look at her. Hazlitt, for one, is speechless before her, calling her "a character almost too exquisitely touching to be dwelt upon." While the Augustans represent Ophelia as music, the romantics transform her into an objet d'art, as if to take literally Claudius's lament, "poor Ophelia / Divided from herself and her fair judgment, / Without the which we are pictures."

Smithson's performance is best recaptured in a series of pictures done by Delacroix from 1830 to 1850, which show a strong romantic interest in the relation of female sexuality and insanity. The most innovative and influential of Delacroix's lithographs is La Mort d'Ophélie of 1843, the first of three studies. Its sensual languor, with Ophelia half-suspended in the stream as her dress slips from her body, anticipated the fascination with the erotic trance of the hysteric as it would be studied by Jean-Martin Charcot and his students, including Janet and Freud. Delacroix's interest in the drowning Ophelia is also reproduced to the point of obsession in later nineteenth-century painting. The English Pre-Raphaelites painted her again and again, choosing the drowning which is only described in the play, and where no actress's image had preceded them or interfered with their imaginative supremacy.

In the Royal Academy show of 1852, Arthur Hughes's entry shows a tiny waif-like creature—a sort of Tinker Bell Ophelia—in a filmy white gown, perched on a tree trunk by the stream. The overall effect is softened, sexless, and hazy, although the straw in her hair resembles a crown of thorns. Hughes's juxtaposition of childlike femininity and Christian martyrdom was overpowered, however, by John Everett Millais's great painting of Ophelia in the same show. While Millais's Ophelia is sensuous siren as well as victim, the artist rather than the subject dominates the scene. The division of space between Ophelia and the natural details Millais had so painstakingly pursued reduces her to one more visual object; and the painting has such a hard surface, strangely flattened perspective, and brilliant light that it seems cruelly indifferent to the woman's death.

These Pre-Raphaelite images were part of a new and intricate traffic between images of women and madness in late nineteenth-century literature, psychiatry, drama, and art. First of all, superintendents of Victorian lunatic asylums were also enthusiasts of Shakespeare, who turned to his dramas for models of mental aberration that could be applied to their clinical practice. The case study of Ophelia was one that seemed particularly useful as an account of hysteria or mental breakdown in adolescence, a period of sexual instability which the Victorians regarded as risky for women's mental health. As Dr John Charles Bucknill, president of the Medico-Psychological Association, remarked in 1859, " Ophelia is the very type of a class of cases by no means uncommon. Every mental physician of moderately extensive experience must have seen many Ophelias. It is a copy from nature, after the fashion of the Pre-Raphaelite school." Dr John Conolly, the celebrated superintendent of the Hanwell Asylum, and founder of the committee to make Stratford a national trust, concurred. In his Study of Hamlet in 1863 he noted that even casual visitors to mental institutions could recognize an Ophelia in the wards: "the same young years, the same faded beauty, the same fantastic dress and interrupted song." Medical textbooks illustrated their discussions of female patients with sketches of Ophelia-like maidens.

But Conolly also pointed out that the graceful Ophelias who dominated the Victorian stage were quite unlike the women who had become the majority of the inmate population in Victorian public asylums. "It seems to be supposed," he protested, "that it is an easy task to play the part of a crazy girl, and that it is chiefly composed of singing and prettiness. The habitual courtesy, the partial rudeness of mental disorder, are things to be witnessed. . . . An actress, ambitious of something beyond cold imitation, might find the contemplation of such cases a not unprofitable study."

Yet when Ellen Terry took up Conolly's challenge, and went to an asylum to observe real madwomen, she found them "too theatrical" to teach her anything. This was because the iconography of the romantic Ophelia had begun to infiltrate reality, to define a style for mad young women seeking to express and communicate their distress. And where the women themselves did not willingly throw themselves into Ophelia-like postures, asylum superintendants, armed with the new technology of photography, imposed the costume, gesture, props, and expression of Ophelia upon them. In England, the camera was introduced to asylum work in the 1850s by Dr Hugh Welch Diamond, who photographed his female patients at the Surrey Asylum and at Bethlem. Diamond was heavily influenced by literary and visual models in his posing of the female subjects. His pictures of madwomen, posed in prayer, or decked with Ophelia-like garlands, were copied for Victorian consumption as touched-up lithographs in professional journals.

Reality, psychiatry, and representational convention were even more confused in the photographic records of hysteria produced in the 1870s by Jean-Martin Charcot. Charcot was the first clinician to install a full, equipped photographic atelier in his Paris hospital, La Salpêtrière, to record the performances of his hysterical stars. Charcot's clinic became, as he said, a "living theatre" of female pathology; his women patients were coached in their performances for the camera, and, under hypnosis, were sometimes instructed to play heroines from Shakespeare. Among them, a 15-year-old girl named Augustine was featured in the published volumes called Iconographies in every posture of la grande hystérie. With her white hospital gown and flowing locks, Augustine frequently resembles the reproductions of Ophelia as icon and actress which had been in wide circulation.

But if the Victorian madwoman looks mutely out from men's pictures, and acts a part men had staged and directed, she is very differently represented in the feminist revision of Ophelia initiated by newly powerful and respectable Victorian actresses, and by women critics of Shakespeare. In their efforts to defendOphelia, they invent a story for her drawn from their own experiences, grievances, and desires.

Probably the most famous of the Victorian feminist revisions of the Ophelia story was Mary Cowden Clarke's The Girlhood of Shakespeare's Heroines, published in 1852. Unlike other Victorian moralizing and didactic studies of the female characters of Shakespeare's plays, Clarke's was specifically addressed to the wrongs of women, and especially to the sexual double standard. In a chapter on Ophelia called "The rose of Elsinore," Clarke tells how the child Ophelia was left behind in the care of a peasant couple when Polonius was called to the court at Paris, and raised in a cottage with a foster-sister and brother, Jutha and Ulf. Jutha is seduced and betrayed by a deceitful knight, and Ophelia discovers the bodies of Jutha and her still-born child, lying "white, rigid, and still" in the deserted parlor of the cottage in the middle of the night. Ulf, a "hairy loutish boy," likes to torture flies, to eat songbirds, and to rip the petals off roses, and he is also very eager to give little Ophelia what he calls a bear-hug. Both repelled and masochistically attracted by Ulf, Ophelia is repeatedly cornered by him as she grows up; once she escapes the hug by hitting him with a branch of wild roses; another time, he sneaks into her bedroom "in his brutish pertinacity to obtain the hug he had promised himself," but just as he bends over her trembling body, Ophelia is saved by the reappearance of her real mother.

A few years later, back at the court, she discovers the hanged body of another friend, who has killed herself after being "victimized and deserted by the same evil seducer." Not surprisingly, Ophelia breaks down with brain fever—a staple mental illness of Victorian fiction—and has prophetic hallucinations of a brook beneath willow trees where something bad will happen to her. The warnings of Polonius and Laertes have little to add to this history of female sexual trauma.

On the Victorian stage, it was Ellen Terry, daring and unconventional in her own life, who led the way in acting Ophelia in feminist terms as a consistent psychological study in sexual intimidation, a girl terrified of her father, of her lover, and of life itself. Terry's debut as Ophelia in Henry Irving's production in 1878 was a landmark. According to one reviewer, her Ophelia was "the terrible spectacle of a normal girl becoming hopelessly imbecile as the result of overwhelming mental agony. Hers was an insanity without wrath or rage, without exaltation or paroxysms." Her "poetic and intellectual performance" also inspired other actresses to rebel against the conventions of invisibility and negation associated with the part.

Terry was the first to challenge the tradition of Ophelia's dressing in emblematic white. For the French poets, such as Rimbaud, Hugo, Musset, Mallarmé and Laforgue, whiteness was part of Ophelia's essential feminine symbolism; they call her "blanche Ophélia" and compare her to a lily, a cloud, or snow. Yet whiteness also made her a transparency, an absence that took on the colors of Hamlet's moods, and that, for the symbolists like Mallarmé, made her a blank page to be written over or on by the male imagination. Although Irving was able to prevent Terry from wearing black in the mad scene, exclaiming "My God, Madam, there must be only one black figure in this play, and that's Hamlet!" (Irving, of course, was playing Hamlet), nonetheless actresses such as Gertrude Eliot, Helen Maude, Nora de Silva, and in Russia Vera Komisarjevskaya, gradually won the right to intensify Ophelia's presence by clothing her in Hamlet's black.

By the turn of the century, there was both a male and a female discourse on Ophelia. A. C. Bradley spoke for the Victorian male tradition when he noted inShakespearean Tragedy (1906) that "a large number of readers feel a kind of personal irritation against Ophelia; they seem unable to forgive her for not having been a heroine." The feminist counterview was represented by actresses in such works as Helena Faucit's study of Shakespeare's female characters, and The True Ophelia, written by an anonymous actress in 1914, which protested against the "insipid little creature" of criticism, and advocated a strong and intelligent woman destroyed by the heartlessness of men. In women's paintings of the fin de siècle as well, Ophelia is depicted as an inspiring, even sanctified emblem of righteousness.

While the widely read and influential essays of Mary Cowden Clarke are now mocked as the epitome of naive criticism, these Victorian studies of the girlhood of Shakespeare's heroines are of course alive and well as psychoanalytic criticism, which has imagined its own prehistories of oedipal conflict and neurotic fixation; and I say this not to mock psychoanalytic criticism, but to suggest that Clarke's musings on Ophelia are a pre-Freudian speculation on the traumatic sources of a female sexual identity. The Freudian interpretation of Hamlet concentrated on the hero, but also had much to do with the re-sexualization of Ophelia. As early as 1900, Freud had traced Hamlet's irresolution to an Oedipus complex, and Ernest Jones, his leading British disciple, developed this view, influencing the performances of John Gielgud and Alec Guinness in the 1930s. In his final version of the study, Hamlet and Oedipus, published in 1949, Jones argued that "Ophelia should be unmistakably sensual, as she seldom is on stage. She may seem 'innocent' and docile, but she is very aware of her body."

In the theater and in criticism, this Freudian edict has produced such extreme readings as that Shakespeare intends us to see Ophelia as a loose woman, and that she has been sleeping with Hamlet. Rebecca West has argued that Ophelia was not "a correct and timid virgin of exquisite sensibilities," a view she attributes to the popularity of the Millais painting; but rather "a disreputable young woman." In his delightful autobiography, Laurence Olivier, who made a special pilgrimage to Ernest Jones when he was preparing his Hamlet in the 1930s, recalls that one of his predecessors as actor-manager had said in response to the earnest question, "Did Hamlet sleep with Ophelia?"—"In my company, always."

The most extreme Freudian interpretation reads Hamlet as two parallel male and female psychodramas, the counterpointed stories of the incestuous attachments of Hamlet and Ophelia. As Theodor Lidz presents this view, while Hamlet is neurotically attached to his mother, Ophelia has an unresolved oedipal attachment to her father. She has fantasies of a lover who will abduct her from or even kill her father, and when this actually happens, her reason is destroyed by guilt as well as by lingering incestuous feelings. According to Lidz, Ophelia breaks down because she fails in the female developmental task of shifting her sexual attachment from her father "to a man who can bring her fulfillment as a woman." We see the effects of this Freudian Ophelia on stage productions since the 1950s, where directors have hinted at an incestuous link between Ophelia and her father, or more recently, because this staging conflicts with the usual ironic treatment of Polonius between Ophelia and Laertes. Trevor Nunn's production with Helen Mirrea in 1970, for example, made Ophelia and Laertes flirtatious doubles, almost twins in their matching fur-trimmed doublets, playing duets on the lute with Polonius looking on, like Peter, Paul, and Mary. In other productions of the same period, Marianne Faithfull was a haggard Ophelia equally attracted to Hamlet and Laertes, and, in one of the few performances directed by a woman, Yvonne Nicholson sat on Laertes' lap in the advice scene, and played the part with "rough sexual bravado."

Since the 1960s, the Freudian representation of Ophelia has been supplemented by an antipsychiatry that represents Ophelia's madness in more contemporary terms. In contrast to the psychoanalytic representation of Ophelia's sexual unconscious that connected her essential femininity to Freud's essays on female sexuality and hysteria, her madness is now seen in medical and biochemical terms, as schizophrenia. This is so in part because the schizophrenic woman has become the cultural icon of dualistic femininity in the mid-twentieth century as the erotomaniac was in the seventeenth and the hysteric in the nineteenth. It might also be traced to the work of R. D. Laing on female schizophrenia in the 1960s. Laing argued that schizophrenia was an intelligible response to the experience of invalidation within the family network, especially to the conflicting emotional messages and mystifying double binds experienced by daughters. Ophelia, he noted inThe Divided Self, is an empty space. "In her madness there is no one there. . . . There is no integral selfhood expressed through her actions or utterances. Incomprehensible statements are said by nothing. She has already died. There is now only a vacuum where there was once a person."

Despite his sympathy for Ophelia, Laing's readings silence her, equate her with nothing, more completely than any since the Augustans, and they have been translated into performances which only make Ophelia a graphic study of mental pathology . The sickest Ophelias on the contemporary stage have been those in the productions of the pathologist-director Jonathan Miller. In 1974 at the Greenwich Theatre his Ophelia sucked her thumb; by 1981, at the Warehouse in London, she was played by an actress much taller and heavier than the Hamlet (perhaps punningly cast as the young actor Anton Lesser). She began the play with a set of nervous tics and tuggings of hair which by the mad scene had become a full set of schizophrenic routines—head banging, twitching, wincing, grimacing, and drooling.

But since the 1970s too we have had a feminist discourse which has offered a new perspective on Ophelia's madness as protest and rebellion. For many feminist theorists, the madwoman is a heroine, a powerful figure who rebels against the family and the social order; and the hysteric who refuses to speak the language of the patriarchal order, who speaks otherwise, is a sister. In terms of effect on the theater, the most radical application of these ideas was probably realized in Melissa Murray's agitprop play Ophelia, written in 1969 for the English women's theater group "Hormone Imbalance." In this blank verse retelling of the Hamlet story, Ophelia becomes a lesbian and runs off with a woman servant to join a guerrilla commune.

While I've always regretted that I missed this production, I can't proclaim that this defiant ideological gesture, however effective politically or theatrically, is all that feminist criticism desires, or all to which it should aspire. When feminist criticism chooses to deal with representation, rather than with women's writing, it must aim for a maximum interdisciplinary contextualism, in which the complexity of attitudes towards the feminine can be analyzed in their fullest cultural and historical frame. The alternation of strong and weak Ophelias on the stage, virginal and seductive Ophelias in art, inadequate or oppressed Ophelias in criticism, tells us how these representations have overflowed the text, and how they have reflected the ideological character of their times, erupting as debates between dominant and feminist views in periods of gender crisis and redefinition. The representation of Ophelia changes independently of theories of the meaning of the play or the Prince, for it depends on attitudes towards women and madness. The decorous and pious Ophelia of the Augustan age and the postmodern schizophrenic heroine who might have stepped from the pages of Laing can be derived from the same figure; they are both contradictory and complementary images of female sexuality in which madness seems to act as the "switching-point, the concept which allows the co-existence of both sides of the representation." There is no "true"Ophelia for whom feminist criticism must unambiguously speak, but perhaps only a Cubist Ophelia of multiple perspectives, more than the sum of all her parts.

But in exposing the ideology of representation, feminist critics have also the responsibility to acknowledge and to examine the boundaries of our own ideological positions as products of our gender and our time. A degree of humility in an age of critical hubris can be our greatest strength, for it is by occupying this position of historical self-consciousness in both feminism and criticism that we maintain our credibility in representing Ophelia, and that, unlike Lacan, when we promise to speak about her, we make good our word.

Source Citation:

Showalter, Elaine. "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism." EXPLORING Shakespeare. Online ed. Detroit: Gale, 2003. Discovering Collection. Gale. Independent School District 191. 24 Dec. 2012 <http://find.galegroup.com/srcx/infomark.do?&source=gale&srcprod=DISC&userGroupName=mnkburnsv&prodId=DC&tabID=T001&docId=EJ2115515812&type=retrieve&contentSet=GSRC&version=1.0>.

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