Understanding modernity seems to be inflected in the narrative conditions of Hamlet: Hamlet may be to modernity what the story of Oedipus is to psychoanalysis, a specimen story in which the intellectual constitution of modernity is decided. In this essay I analyze how industrial modernity finds its articulation in Hamlet, especially in the positions where Hamlet is claimed for realism; realism is taken to mean not a poetics so much as an apparatus instrumental to negotiating the modern condition in the nineteenth century. With a focus on John Everett Millais’s Ophelia (1851–2), I discuss how Ophelia replaces Hamlet as a figure where realism is negotiated in Victorian modernity, also as a figure where modern psychopolitics, with its investment in mourning, finds its foothold in the world of the Industrial Revolution. Lastly, I argue that Ophelia may be where the unresolved narrative conditions of Antigone are retained in Hamlet, along with the political concerns implicit to Antigone’s mourning.