Christina Rossetti

Christina Rossetti

1830–1894 · lived 64 years GB GB

Christina Rossetti was an English poet of Italian descent, renowned for her lyrical and devotional poetry, often exploring themes of love, death, faith, and the natural world. She is considered one of the most significant poets of the Victorian era. Her work is characterized by its musicality, vivid imagery, and deep spiritual intensity, often tinged with a melancholic beauty that resonates with readers to this day.

n. 1830-12-05, Londres · m. 1894-12-29, Londres

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A Baby's Cradle With No Baby In It

A Baby's Cradle With No Baby In It

A baby's cradle with no baby in it,
A baby's grave where autumn leaves drop sere;
The sweet soul gathered home to Paradise,
The body waiting here.
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Bio

Identification and basic context

Christina Georgina Rossetti was a prominent English poet of Italian heritage. She is celebrated for her lyrical and devotional poetry, which often delves into themes of love, death, faith, and the transient beauty of the natural world. As a key figure of the Victorian era, her work stands out for its profound spiritual intensity and its exquisite musicality. Her contributions to English literature are substantial, with poems such as 'Goblin Market' and 'Remember' remaining widely read and studied.

Childhood and education

Born into an intellectual and artistic family, Christina Rossetti had an upbringing steeped in literature and religious devotion. Her father, Gabriele Rossetti, was an Italian poet and scholar, and her mother, Frances Polidori Rossetti, was of English and Italian descent. Her siblings included Dante Gabriel Rossetti, a prominent artist and poet, and William Michael Rossetti, an art critic and writer. Christina received her early education at home, where she was tutored by her mother and elder siblings. This environment fostered her early interest in poetry and literature. Her family's strong Anglo-Italian heritage and their devout Christian faith profoundly influenced her formative years and the subsequent themes in her work.

Literary trajectory

Rossetti's literary career began in her teenage years, with early poems circulating among her family and friends. Her first published volume, 'Verses,' appeared in 1847, a collection of poems written between the ages of 12 and 17. She later became associated with the Pre-Raphaelite Brotherhood, primarily through her brother Dante Gabriel. Her most famous work, 'Goblin Market and Other Poems,' was published in 1862 to considerable acclaim, establishing her reputation as a major poet. Throughout her life, she continued to write poetry, devotional prose, and children's verse. Her trajectory was marked by periods of intense creative output interspersed with periods of relative quietude, often influenced by her spiritual convictions and personal circumstances.

Works, style, and literary characteristics

Rossetti's major works include 'Goblin Market and Other Poems' (1862), 'The Prince's Progress and Other Poems' (1866), 'Sing-Song: A Nursery Rhyme Book' (1872), and the devotional prose work 'Called to Be Saints' (1881). Her dominant themes include love (both earthly and divine), death, faith, renunciation, temptation, and the beauty and decay of the natural world. Her style is characterized by its lyrical beauty, rich imagery, and strong musicality, often employing symbolism and allegory. She was adept at using varied forms, from sonnets to ballads and nursery rhymes, often experimenting with rhythm and rhyme to create striking effects. Her poetic voice is often introspective, devotional, and deeply emotional, conveying a sense of yearning and spiritual longing. The language is precise yet evocative, rich with sensory detail. Rossetti's work often engages with religious themes, exploring the complexities of faith, doubt, and salvation with a unique blend of personal conviction and poetic artistry.

Cultural and historical context

Christina Rossetti lived during the Victorian era, a period of significant social, religious, and industrial change in Britain. Her work often reflects the religious fervor and the debates surrounding faith and doubt prevalent at the time. Her association with the Pre-Raphaelite Brotherhood placed her within a significant artistic movement that sought to revive medieval aesthetics and emphasize sincerity and imaginative richness. Her poetry engaged with contemporary issues of social reform and the role of women, though often through a lens of Christian morality and personal introspection. She was a contemporary of poets like Alfred Lord Tennyson and Elizabeth Barrett Browning, and her work shares some thematic concerns with theirs, yet possesses a distinctively personal and spiritual quality.

Personal life

Rossetti's personal life was deeply shaped by her devout religious faith, particularly her adherence to the High Church Anglican tradition. This faith led her to twice refuse marriage proposals from men she loved, believing that her spiritual calling superseded earthly attachments. She suffered from various illnesses throughout her life, including Graves' disease, which often limited her activities but also provided subject matter for her contemplative poetry. Her relationship with her family, especially her mother and siblings, was close and supportive, providing a stable anchor in her life. Her dedication to charitable work, particularly with the Magdalen Hospital for fallen women, reflected her compassionate nature and her deep-seated desire to help those in need.

Recognition and reception

Christina Rossetti achieved significant recognition during her lifetime, with 'Goblin Market' being particularly well-received. She was regarded as one of the foremost poets of her day, and her work was admired for its originality, spiritual depth, and lyrical skill. Posthumously, her reputation has continued to flourish. While at times overshadowed by her brother Dante Gabriel, her distinct voice and thematic concerns have secured her a prominent place in the canon of English literature. Her works are widely anthologized and studied for their exploration of faith, love, and the female experience in the Victorian era.

Influences and legacy

Rossetti was influenced by the Bible, devotional writers such as Thomas à Kempis, and poets like George Herbert and John Keats. Her own poetry has had a lasting influence on subsequent generations of poets, particularly in the areas of devotional verse, children's literature, and symbolic poetry. Her exploration of themes related to temptation, sacrifice, and spiritual longing has resonated with many writers. She is also recognized for her significant contributions to the genre of nursery rhymes and children's verse. Her legacy is firmly established through her enduring poems, which continue to be celebrated for their beauty, emotional resonance, and spiritual insight.

Interpretation and critical analysis

Rossetti's poetry is often analyzed for its complex interplay of spiritual and sensual themes. Her poems exploring love and desire are frequently interpreted through the lens of her religious renunciation, leading to discussions about the tension between earthly and divine love. The allegorical nature of 'Goblin Market' has invited numerous critical interpretations, ranging from explorations of female sexuality and temptation to critiques of consumerism and industrialization. Her engagement with themes of death and eternity is also a significant focus of critical study, revealing a profound theological and existential depth.

Curiosities and lesser-known aspects

Despite her fame, Christina Rossetti was a remarkably private individual. Her deep faith meant she often struggled with worldly temptations, and her poetry reflects this inner conflict. She had a particular affinity for animals and often wrote about them. Her dedication to her religious convictions sometimes led to difficult personal choices, such as refusing marriage. Her creative process was deeply tied to her spiritual life, often involving prayer and contemplation.

Death and memory

Christina Rossetti died in 1894 from breast cancer. She was buried in Highgate Cemetery, London. Her death was mourned by many who recognized her immense contribution to English poetry. Posthumous collections of her work continued to be published, ensuring her enduring place in literary history. Her memory is preserved through the timeless beauty and spiritual depth of her verse.

Poems

155

An End

An End

Love, strong as Death, is dead.
Come, let us make his bed
Among the dying flowers:
A green turf at his head;
And a stone at his feet,
Whereon we may sit
In the quiet evening hours.


He was born in the Spring,
And died before the harvesting:
On the last warm summer day
He left us; he would not stay
For Autumn twilight cold and grey.
Sit we by his grave, and sing
He is gone away.


To few chords and sad and low
Sing we so:
Be our eyes fixed on the grass
Shadow-veiled as the years pass
While we think of all that was
In the long ago.
211

An Echo from Willowood

An Echo from Willowood

“Oh Ye, All Ye That Walk in Willowwood”

Two gaz’d into a pool, he gaz’d and she,
Not hand in hand, yet heart in heart, I think,
Pale and reluctant on the water’s brink
AS on the brink of parting which must be.
Each eyed the other’s aspect, she and he,
Each felt one hungering heart leap up and sink,
Each tasted bitterness which both must drink,
There on the brink of life’s dividing sea.
Lilies upon the surface, deep below
Two wistful faces craving each for each,
Resolute and reluctant without speech:—
A sudden ripple made the faces flow
One moment join’d, to vanish out of reach:
So these hearts join’d, and ah! were parted so.
251

Amor Mundi

Amor Mundi

'Oh, where are you going with your love-locks flowing
On the west wind blowing along this valley track?'
'The downhill path is easy, come with me an' it please ye,
We shall escape the uphill by never turning back.'


So they two went together in glowing August weather,
The honey-breathing heather lay to their left and right;
And dear she was to doat on, her swift feet seemed to float on
The air like soft twin pigeons too sportive to alight.


'Oh, what is that in heaven where grey cloud-flakes are seven,
Where blackest clouds hang riven just at the rainy skirt?'
'Oh, that's a meteor sent us, a message dumb, portentous,—
An undeciphered solemn signal of help or hurt.'


'Oh, what is that glides quickly where velvet flowers grow thickly,
Their scent comes rich and sickly?'—'A scaled and hooded worm.'
'Oh, what's that in the hollow, so pale I quake to follow?'
'Oh, that's a thin dead body which waits th' eternal term.'


'Turn again, O my sweetest,—turn again, false and fleetest:
This way whereof thou weetest I fear is hell's own track.'
'Nay, too steep for hill-mounting,—nay, too late for cost-counting:
This downhill path is easy, but there's no turning back.'
248

After This The Judgement

After This The Judgement

As eager homebound traveller to the goal,
Or steadfast seeker on an unsearched main,
Or martyr panting for an aureole,
My fellow-pilgrims pass me, and attain
That hidden mansion of perpetual peace
Where keen desire and hope dwell free from pain:
That gate stands open of perennial ease;
I view the glory till I partly long,
Yet lack the fire of love which quickens these.
O passing Angel, speed me with a song,
A melody of heaven to reach my heart
And rouse me to the race and make me strong;
Till in such music I take up my part
Swelling those Hallelujahs full of rest,
One, tenfold, hundredfold, with heavenly art,
Fulfilling north and south and east and west,
Thousand, ten thousandfold, innumerable,
All blent in one yet each one manifest;
Each one distinguished and beloved as well
As if no second voice in earth or heaven
Were lifted up the Love of God to tell.
Ah, Love of God, which Thine own Self hast given
To me most poor, and made me rich in love,
Love that dost pass the tenfold seven times seven,
Draw Thou mine eyes, draw Thou my heart above,
My treasure ad my heart store Thou in Thee,
Brood over me with yearnings of a dove;
Be Husband, Brother, closest Friend to me;
Love me as very mother loves her son,
Her sucking firstborn fondled on her knee:
Yea, more than mother loves her little one;
For, earthly, even a mother may forget
And feel no pity for its piteous moan;
But thou, O Love of God, remember yet,
Through the dry desert, through the waterflood
(Life, death) until the Great White Throne is set.
If now I am sick in chewing the bitter cud
Of sweet past sin, though solaced by Thy grace
And ofttimes strengthened by Thy Flesh and Blood,
How shall I then stand up before Thy face
When from Thine eyes repentance shall be hid
And utmost Justice stand in Mercy's place:
When every sin I thought or spoke or did
Shall meet me at the inexorable bar,
And there be no man standing in the mid
To plead for me; while star fallen after star
With heaven and earth are like a ripened shock,
And all time's mighty works and wonders are
Consumed as in a moment; when no rock
Remains to fall on me, no tree to hide,
But I stand all creation's gazing-stock
Exposed and comfortless on every side,



Placed trembling in the final balances
Whose poise this hour, this moment, must be tried?—
Ah Love of God, if greater love than this
Hath no man, that a man die for his friend,
And if such love of love Thine Own Love is,
Plead with Thyself, with me, before the end;
Redeem me from the irrevocable past;
Pitch Thou Thy Presence round me to defend;
Yea seek with pierced feet, yea hold me fast
With pierced hands whose wounds were made by love;
Not what I am, remember what Thou wast
When darkness hid from Thee Thy heavens above,
And sin Thy Father's Face, while thou didst drink
The bitter cup of death, didst taste thereof
For every man; while Thou wast nigh to sink
Beneath the intense intolerable rod,
Grown sick of love; not what I am, but think
Thy Life then ransomed mine, my God, my God.
224

Aloof

Aloof


THE irresponsive silence of the land,

The irresponsive sounding of the sea,

Speak both one message of one sense to me:--
Aloof, aloof, we stand aloof, so stand
Thou too aloof, bound with the flawless band

Of inner solitude; we bind not thee;

But who from thy self-chain shall set thee free?
What heart shall touch thy heart? What hand thy hand?
And I am sometimes proud and sometimes meek,

And sometimes I remember days of old
When fellowship seem'd not so far to seek,

And all the world and I seem'd much less cold,

And at the rainbow's foot lay surely gold,
And hope felt strong, and life itself not weak.
174

A White Hen Sitting

A White Hen Sitting

A white hen sitting
On white eggs three:
Next, three speckled chickens
As plump as plump can be.
An owl, and a hawk,
And a bat come to see:
But chicks beneath their mother's wing
Squat safe as safe can be.
237

Advent

Advent


This Advent moon shines cold and clear,
These Advent nights are long;
Our lamps have burned year after year
And still their flame is strong.
'Watchman, what of the night?' we cry,
Heart-sick with hope deferred:
'No speaking signs are in the sky,'
Is still the watchman's word.


The Porter watches at the gate,
The servants watch within;
The watch is long betimes and late,
The prize is slow to win.
'Watchman, what of the night?' But still
His answer sounds the same:
'No daybreak tops the utmost hill,
Nor pale our lamps of flame.'


One to another hear them speak
The patient virgins wise:
'Surely He is not far to seek'—
'All night we watch and rise.'
'The days are evil looking back,
The coming days are dim;
Yet count we not His promise slack,
But watch and wait for Him.'


One with another, soul with soul,
They kindle fire from fire:
'Friends watch us who have touched the goal.'
'They urge us, come up higher.'
'With them shall rest our waysore feet,
With them is built our home,
With Christ.'—'They sweet, but He most sweet,
Sweeter than honeycomb.'


There no more parting, no more pain,
The distant ones brought near,
The lost so long are found again,
Long lost but longer dear:
Eye hath not seen, ear hath not heard,
Nor heart conceived that rest,
With them our good things long deferred,
With Jesus Christ our Best.


We weep because the night is long,
We laugh for day shall rise,
We sing a slow contented song
And knock at Paradise.
Weeping we hold Him fast, Who wept
For us, we hold Him fast;
And will not let Him go except



He bless us first or last.


Weeping we hold Him fast to-night;
We will not let Him go
Till daybreak smite our wearied sight
And summer smite the snow:
Then figs shall bud, and dove with dove
Shall coo the livelong day;
Then He shall say, 'Arise, My love,
My fair one, come away.'
221

A Toadstool Comes Up In A Night

A Toadstool Comes Up In A Night

A toadstool comes up in a night, -
Learn the lesson, little folk: -
An oak grows on a hundred years,
But then it is an oak.
276

A Summer Wish

A Summer Wish

Live all thy sweet life through,
Sweet Rose, dew-sprent,
Drop down thine evening dew
To gather it anew
When day is bright:
I fancy thou wast meant
Chiefly to give delight.


Sing in the silent sky,
Glad soaring bird;
Sing out thy notes on high
To sunbeam straying by
Or passing cloud;
Heedless if thou art heard
Sing thy full song aloud.


Oh that it were with me
As with the flower;
Blooming on its own tree
For butterfly and bee
Its summer morns:
That I might bloom mine hour
A rose in spite of thorns.


Oh that my work were done
As birds' that soar
Rejoicing in the sun:
That when my time is run
And daylight too,
I so might rest once more
Cool with refreshing dew.
227

A Royal Princess

A Royal Princess

I, a princess, king-descended, decked with jewels, gilded, drest,
Would rather be a peasant with her baby at her breast,
For all I shine so like the sun, and am purple like the west.


Two and two my guards behind, two and two before,
Two and two on either hand, they guard me evermore;
Me, poor dove, that must not coo—eagle that must not soar.


All my fountains cast up perfumes, all my gardens grow
Scented woods and foreign spices, with all flowers in blow
That are costly, out of season as the seasons go.


All my walls are lost in mirrors, whereupon I trace
Self to right hand, self to left hand, self in every place,
Self-same solitary figure, self-same seeking face.


Then I have an ivory chair high to sit upon,
Almost like my father's chair, which is an ivory throne;
There I sit uplift and upright, there I sit alone.


Alone by day, alone by night, alone days without end;
My father and my mother give me treasures, search and spend—
O my father! O my mother! have you ne'er a friend?


As I am a lofty princess, so my father is
A lofty king, accomplished in all kingly subtilties,
Holding in his strong right hand world-kingdoms' balances.


He has quarrelled with his neighbours, he has scourged his foes;
Vassal counts and princes follow where his pennon goes,
Long-descended valiant lords whom the vulture knows,


On whose track the vulture swoops, when they ride in state
To break the strength of armies and topple down the great:
Each of these my courteous servant, none of these my mate.


My father counting up his strength sets down with equal pen
So many head of cattle, head of horses, head of men;
These for slaughter, these for breeding, with the how and when.


Some to work on roads, canals; some to man his ships;
Some to smart in mines beneath sharp overseers' whips;
Some to trap fur-beasts in lands where utmost winter nips.


Once it came into my heart, and whelmed me like a flood,
That these too are men and women, human flesh and blood;
Men with hearts and men with souls, though trodden down like mud.


Our feasting was not glad that night, our music was not gay:
On my mother's graceful head I marked a thread of grey,
My father frowning at the fare seemed every dish to weigh.



I sat beside them sole princess in my exalted place,
My ladies and my gentlemen stood by me on the dais:
A mirror showed me I look old and haggard in the face;


It showed me that my ladies all are fair to gaze upon,
Plump, plenteous-haired, to every one love's secret lore is known,
They laugh by day, they sleep by night; ah me, what is a throne?


The singing men and women sang that night as usual,
The dancers danced in pairs and sets, but music had a fall,
A melancholy windy fall as at a funeral.


Amid the toss of torches to my chamber back we swept;
My ladies loosed my golden chain; meantime I could have wept
To think of some in galling chains whether they waked or slept.


I took my bath of scented milk, delicately waited on,
They burned sweet things for my delight, cedar and cinnamon,
They lit my shaded silver lamp, and left me there alone.


A day went by, a week went by. One day I heard it said:
'Men are clamouring, women, children, clamouring to be fed;
Men like famished dogs are howling in the streets for bread.'


So two whispered by my door, not thinking I could hear,
Vulgar naked truth, ungarnished for a royal ear;
Fit for cooping in the background, not to stalk so near.


But I strained my utmost sense to catch this truth, and mark:
'There are families out grazing like cattle in the park.'
'A pair of peasants must be saved even if we build an ark.'


A merry jest, a merry laugh, each strolled upon his way;
One was my page, a lad I reared and bore with day by day;
One was my youngest maid as sweet and white as cream in May.


Other footsteps followed softly with a weightier tramp;
Voices said: 'Picked soldiers have been summoned from the camp
To quell these base-born ruffians who make free to howl and stamp.'


'Howl and stamp?' one answered: 'They made free to hurl a stone
At the minister's state coach, well aimed and stoutly thrown.'
'There's work then for the soldiers, for this rank crop must be mown.'


'One I saw, a poor old fool with ashes on his head,
Whimpering because a girl had snatched his crust of bread:
Then he dropped; when some one raised him, it turned out he was dead.'


'After us the deluge,' was retorted with a laugh:
'If bread's the staff of life, they must walk without a staff.'
'While I've a loaf they're welcome to my blessing and the chaff.'



These passed. The king: stand up. Said my father with a smile:
'Daughter mine, your mother comes to sit with you awhile,
She's sad to-day, and who but you her sadness can beguile?'


He too left me. Shall I touch my harp now while I wait,—
(I hear them doubling guard below before our palace gate—)
Or shall I work the last gold stitch into my veil of state;


Or shall my woman stand and read some unimpassioned scene,
There's music of a lulling sort in words that pause between;
Or shall she merely fan me while I wait here for the queen?


Again I caught my father's voice in sharp word of command:
'Charge!' a clash of steel: 'Charge again, the rebels stand.
Smite and spare not, hand to hand; smite and spare not, hand to hand.'


There swelled a tumult at the gate, high voices waxing higher;
A flash of red reflected light lit the cathedral spire;
I heard a cry for faggots, then I heard a yell for fire.


'Sit and roast there with your meat, sit and bake there with your bread,
You who sat to see us starve,' one shrieking woman said:
'Sit on your throne and roast with your crown upon your head.'


Nay, this thing will I do, while my mother tarrieth,
I will take my fine spun gold, but not to sew therewith,
I will take my gold and gems, and rainbow fan and wreath;


With a ransom in my lap, a king's ransom in my hand,
I will go down to this people, will stand face to face, will stand
Where they curse king, queen, and princess of this cursed land.


They shall take all to buy them bread, take all I have to give;
I, if I perish, perish; they to-day shall eat and live;
I, if I perish, perish; that's the goal I half conceive:


Once to speak before the world, rend bare my heart and show
The lesson I have learned which is death, is life, to know.
I, if I perish, perish; in the name of God I go.
229

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