CHRISTINA ROSSETTI, POET AND WOMAN

CHRISTINA ROSSETTI

after a pencil-profile by her brother Dante Gabriel Roasetti

 STELLINGEN.
1 . There is much resemblance between Boswell as
we know him from his Life of Johnson and Pepys
as he reveals himself in his Diary,

2. The lady-service which had come from the south

of Europe, was a feature in the revivified and
reshaped Celtic myths known as the Arthurian
legends.

3. There is evidence that William Morris felt the spirit

of the medieval sagas better than Tennyson.

4. The model states described by Morris in his News

from Nowhere and by Bellamy in Looking Backward
are entirely impracticable.

5. The name Pre-Raphaelite was not well-chosen.

6. Ruskin had no influence on the foundation of the

Pre-Raphaelite Brotherhood.

7. In Shakespeare's Coriolanus Act 1 Scene 1 line 91

there is no objection to reading scale in the sense of
Weigh,

8. In John Marston's Antonio and Mellida Act III, line

1016 (Malone Society edition) it is better to read
accourted, in the sense of courted, than accosted,

9. Afzonderlijke klassen voor meer begaafden zijn

gewenscht.

10. Bij het onderwijs in de letterkunde op scholen is

het beter een verzameling goed gekozen stukken
van verschillende schrijvers te gebruiken, dan ge-
heele werken van enkelen.
CHRISTINA ROSSETTI,
POET AND WOMAN
ACADEMISCH PROEFSCHRIFT
TER VERKRIJGING VAN DEN GRAAD VAN

DOCTOR IN DE LETTEREN EN WIJSBEGEERTE

AAN DE UNIVERSITEIT VAN AMSTERDAM
OP GEZAG VAN DEN RECTOR-MAGNIFICUS
Dr P. ZEEMAN
HOOGLEERAAR IN DE FACULTE1T DER WIS- EN NATUURKUNDE

IN HET OPENBAAR TE VERDEDIGEN IN DE

AULA DER UNIVERSITEIT
OP DINSDAG 13 MAART 1923,
DES NAMIDDAGS TE 4 UUR
DOOR

JUSTINE FREDRIKA DE WILDE

GEBOREN TE ZUTPHEN

NIJKERK — DRUKKER1J C. C. CALLENBACH

1923
 CONTENTS.

Chap. Introduction. Page.

I. Parentage and Life 1

II. Home Influences 9

III. Christina Rossetti and her nearest Relations

as revealed in the Family Letters . 17

IV. Christina Rossetti and her Brother Dante

Gabriel 37

V. Christina Rossetti and the Pre-Raphaelite

Brotherhood 64
VI. Poetry 86
VII. Contemporary Opinion and Criticism . . 147

Conclusion 1 58
Bibliography 1 59
 PREFACE.

I am glad to avail myself of the opportunity to express

my deep gratitude to Dr. A. E. H. Swaen, Professor of

English Philology in the University of Amsterdam, whose

unfailing helpfulness and kind encouragement have smoothed

my way, both during my former studies and while this little

book was in preparation.

Amsterdam, March 1923.

 ;

INTRODUCTION.

Mr. George Saintsbury in his Nineteenth Century

Literature, chapter VI, says 'Miss Rossetti has no superior
:

among Englishwomen who have the gift of literature*.

Yet she is comparatively little known. Her melodious

verse, which expresses the thoughts and feelings of an
entirely pure mind, has but few readers.
The cause of this regrettable neglect must probably
be sought partly in her possessing a brother who achieved
great renown both as a painter and as a poet, and
whose personal influence on those who came into contact

with him was so great that he overshadowed his sister

partly in her living at the same time as Mrs. Browning,

who was intellectually her superior and who, by writing
upon topics of general interest, achieved a great imme-
diate success, so that Christina's more purely artistic

excellence was little noticed. Besides, a great part of

Christina Rossetti's work, the strictly devotional part,

appealed only to a special group of readers ; add to this

her humble, retiring nature and it need not astonish us

too much that she should not have had wider recog-
nition. Those however among literary men and lovers
of poetry who have expressed an opinion about her
work, are unanimous in its praise.

In the succeeding chapters an attempt will be made

to show that Christina Rossetti combined in her poetry

great simplicity with great artistic finish, the former

appearing in her use of homely, one-syllabic words
expressing thoughts clear as crystal, the secret of the
latter being her inborn artistic sense of rhythm and her
ear for melody. She wrote so naturally that she seemed
to disregard art. It will also be shown that her poetry
was the sincere expression of her personality and that

her hopes and fears, her weariness of this life and

expectation of a better future, her melancholy, her joy
and humour are to be found in her verse.
 I.

PARENTAGE AND LIFE.

!
Christina Rossetti was born on December 1 830 ).

She was the youngest of four children. The ages of her

sister and Vvo brothers, Maria Francesca, born 1827,

Gabriel Charles Dante, born 1 828 and William Michael,
born 25 September 1829 were not too different from
her own to make close comradeship and the sharing of
games and pleasures possible.

Her parents were Gabriele Rossetti, an Italian, and

Frances Mary Lavinia Rossetti, nee Polidori, who was
of half Italian, half English origin.

Gabriele Rossetti was a gifted man. He was musical

and had a good voice, could draw, wrote poetry and had
a keen appreciation for the productions of art. He was
well read and made the early Italian poets, and
especially Dante, the object of his life-long studies. He
was a native of Vasto, in the then kingdom of Naples,

where he was a man of some importance; his influence

in political matters was great. When he was thirty he

For particulars concerning birth and parentage I have relied on the
Memoir prefaced by W. M. Rossetti to his edition of his sister Christina's
Poetry.
 2

acted, under King Joachim's government, as secretary to

the department of fine arts. With the return of King

Ferdinand of Bourbon to the throne of Naples he got
into trouble through his agitation for a constitution which
Ferdinand had first promised, but later denied to his
people. An ode of Rossetti's, written at the time,
contained some lines that greatly displeased the king,
so that the poet was one of the thirteen agitators who
were excluded from the general amnesty granted to

revolutionaries. Rossetti was compelled to fly and with

the assistance of Sir Graham Moore, the British admiral,
he escaped to Malta where he lived for two years,
teaching Latin and Italian.

Then, a longer stay becoming impossible for him —

spies of the Bourbon government had begun to trouble

him — he went to England where he established himself

and earned his living by teaching Italian. In 1831 he
was appointed Professor of Italian in King's College,

London. By this time he had already been married for

three years to Francesca M. L. Polidori.
The Polidoris were of Italian origin but Mrs. Rossetti's
mother was an English woman of protestant family. From
her were probably inherited the strict, somewhat
Puritanic, religious ideas that Mrs. Rossetti inculcated

upon her children, and also the sound common sense

 3

that she tried in vain to teach them. She is reported to

have said : "I always had a passion for intellect and my
wish was that my husband should be distinguished for
intellect and my children too. have had my wish; and
I

now I wish that there were a little less intellect in the

family so as to allow for a little more common sense."

Mrs. Rossetti had been a governess in the family of
Mr. Macgregor and had, after her marriage, entertained

friendly relations with that family ; Miss Georgina Mac

Gregor became one of Christina's godmothers, the other
being Lady Dudley Stuart, originally the Princess
Christina Bonaparte, niece of the great Bonaparte; Mr.
Rossetti knew almost the whole Bonaparte family.
The family continued to live in London, Charlotte
Street, for many years, so that Christina, except for the
occasional visits to her grandfather Polidori whose great
favourite she was and who lived in the country, in

Little Missenden Buckinghamshire, spent her childhood

amidst town surroundings till she was nine. That this had
its effect on her later development will be shown hereafter.
She never attended any school; together with her
sister Mary she received all her tuition from her mother.
The boys got their early instruction from their mother
too, but later went to school. The children received
their biblical teaching from the same source.
 4

Though Mrs. Rossetti was a woman of culture it was

no doubt owing to this one sided training that Christina's
knowledge was rather limited and that she had later to

try and make up for what was wanting by reading.

Unfortunately she was never a very assiduous reader.
Her health was fairly good till her fifteenth year. Then
she began to show symptons, of what was supposed to
be phthisis and ever since, except for a brief spell of

comparative health after her thirtieth year, she

continued to be more or less of an invalid.
In 1853 when, owing to the failure of his eyesight,

Mr. Rossetti could no longer work to support his family,

Mrs. Rossetti started a day-school at Frome Selwood, to

which place the family removed. Christina assisted her
mother, but did not like teaching and was very glad when,
in the following year, her brother William's increase
of income enabled the family to return to London.
The most important events in Christina's not very
eventful life were two love-affairs which both tended
to sadden it and which had a strong influence upon her
poetical work. The first of these belongs to the time

when she was about eighteen years old. A young

painter, James Collinson, who was a member of the

Pre-Raphaelite Brotherhood, proposed marriage to her.

He was a Roman Catholic when she became acquainted
 5

with him and Christina who, under the influence of her

mother, had become a member of the Tractarian party

in the Church of England and felt hostile to Roman

Catholicism, could not accept this offer. Then Collinson
gave up his religion and joined the Church of England.

He repeated his proposal and was accepted. But after

a while he regretted the step he had taken and returned
to Roman Catholicism. Consequently the engagement
was finally broken off, but Christina's health and spirits

had suffered considerably from these emotions, which

becomes apparent in her works.
Later in her life it was again religious scruples that

prevented her from following her natural inclination and

marry Mr. Cayley, a man whom she loved to the end
of her life.

In 1847 she first met Charles Bagot Cayley whom

W. M. Rossetti in his Preface to The Family Letters of
l
C. G. Rossetti ) describes as : "a scholar, author and
linguist, translator of Dante's Divina Commedia." He was
a pupil of her father's for Italian and in this way was
introduced to the family. It was not till 1 862 that she
began to see much of him. She fell in love with him
and from a letter written by Christina to her brother

x
) The Family Letters of Christina Georgina Rossetti, edited by W. M.
Rossetti, XI.
 6

William in 1866 ') it appears that she had then, on

grounds of religious faith — Mr. Cayley was a free-
thinker — declined the offer of marriage made by him.
She writes in a grateful and humble spirit: "Of course
I am not merely the happier for what has occurred, but
I gain much in knowing how much I am loved beyond
my deserts. As to money, I might be selfish enough to

wish that were the only bar, but you see from my point
of view it is not. Now I am at least unselfish enough
altogether to deprecate seeing C. B. C. continually
(with nothing but mere feeling to offer) to his hamper
and discomfort ; but, if he likes to see me, God knows
I like to see him, and any kindness you will show him
will only be additional kindness loaded on me."
She continued to see Mr. Cayley and they always
remained faithful friends. There are frequent references
to him in her letters which prove her unaltered feelings
2
towards him ). When he died in 1 883 his sister wrote
to Christina: "He has left you all his own works that

are now at his Publishers*, and a large writing-desk, in

which is an envelope with a letter of yours to him

and a ring. You were, I know, the friend he valued
3
most.'* )
') The Family Letters of Chr. G. R. p. 29.
2
) Chr. R.s Letters p.p. 34, 55, 56, 97, 122.
3
) Ibid p. 139.
 7

Undoubtedly the melancholy that marked Christina

Rossetti must have been partly due to the unfavourable
circumstances attending the introduction of love into
her life.

In 1871 she fell dangerously ill of exophthalmic

bronchocele which greatly weakened her and the effects

of which disfigured her face for a long time; indeed
some traces of it remained visible to the end of
her life.

It was then that she began to withdraw from the

world and accustom herself to the quiet, retired life

that became one of almost complete seclusion when, in

her last years, the terrible disease that was the cause of

her death, began to sap her strength.

For many years she devoted herself to the care of her
mother and of her aunts Polidori, who all lived to a high
old age. When they had passed away it became apparent
that Christina was suffering from cancer which had
already made such progress that she had to secure the
constant services of a nurse. She rarely went out except
to the church she regularly attended, Christ Church
Woburn Square, Jin which, after her death in 1 894, a
reredos painting was set up in remembrance of her, the
design of which, Christ uttering the words of conse-
cration of the eucharistic elements and the four Evan-
 :

gelists as recorders of the event, was made by Sir

Edward Burne Jones.

Christina Rossetti died in number 30 Torrington
Square, in the middle of the town she felt so strongly
attached to. She was once asked if she would not prefer
to live in the country, but her answer was that to her
it was more interesting to read in the souls of men than
in the features of nature.

Only on two occasions did she leave England to

travel abroad. It is remarkable that, when on one of

these tours she visited Italy, she felt such a strong love
for this country that it seemed to her like her mother
country. She expressed these feelings in a poem bearing
the title En Route and also in a letter to her friend

Anne Gilchrist written in 1 86 1 on her journey through

Switserland and Italy, where she expresses herself as

follows
"I need not exert myself to tell you what Lucerne
was like, or what the lovely majesty of Mount St.

Gothard or what the Lake of Como with its nightingale

accompaniment or what as much of Italy as we saw to
our half -Italian hearts. The people is a noble people and
its very cattle are of highborn aspect. I am glad of my
Italian blood.**
 CHRISTINA ROSSETTI AND HER MOTHER
after a tinted chalk drawing by Dante Gabriel Rossetti
 II.

HOME INFLUENCES.

The little house in Charlotte Street, where the Ros-

settis lived, formed a world in itself. The family had
very little intercourse with outsiders ; formal calls or
society life of any kind were out of the question. For

one thing they were not rich enough to entertain, and

for another, their tastes did not incline that way. Mr.
Rossetti was always very busy teaching, doing literary

work and receiving Italian visitors of all kinds, actors,

political refugees, even brigands ; as a freemason he did
not feel justified in refusing hospitality to any one that
announced himself by the masonic sign. In his Letters

and Memoir of Dante Gabriel Rossetti, William Rossetti

gives many amusing descriptions of the Italian visitors
that used to come to the house. They were generally
received in the sittingroom, where the whole family was
gathered round the table. Here they sat pouring out
their feelings, chiefly on politics ; and the children,
accustomed to hear their father speak Italian to them
every day, could understand most of the conversation.
To please his guests Mr. Rossetti would, in his beautiful
 10

voice, recite the poetry of Dante and other early Italian

poets and also compositions of his own, while the

mother used to play and sing to them.
In this way know a great many
the children got to
perfectly unconventional people who spoke on topics
entirely outside the reach of ordinary English children.

It was not astonishing that, when they met English

children of their own age, they felt awkward and could
not get on with them, so that they preferred to stay at
home together. In this way they used to share all their

games and pleasures and got to understand each other

entirely. The strong ties, thus formed in childhood,
remained firm all their lives. It would be difficult to find

a more united and mutually loving family anywhere.

The children got used to hearing from their earliest
childhood, beautiful poetry recited in the melodious
Italian language, while their mother's lovely voice also
stirred their artistic feelings. William Rossetti says that,

as early as he can remember, the making of poetry

seemed to come natural to them.

Seeing that Mr. Rossetti* s time was so entirely taken
up by other things, the task of educating the children

almost completely devolved on Mrs. Rossetti. She took

that task very seriously. Even on their walks in Regent
Park, tells her son William, she used to draw the atten-
 11

tion of her small children to the difference between the

Ionic and Corinthean columns of the houses facing the

park. The children were also often taken to the Zoolo-

gical gardens, then just opened, where they got their

first glimpses of the curious animals, such as wombats,
armadillos, dormice and hedgehogs that greatly attracted
them and which became the special favourites of Christina
and Dante Gabriel in later life.

Mrs. Rossetti herself had been brought up very

strictly, almost Puritanically, by her father, Mr. Polidori.
She had a fine voice, but had not been allowed to cul-
tivate it, because this would have been worldly vanity.

Dancing was entirely out of the question of course and

her dress had to be of the simplest. Though she had
too much commonsense and love for her children to go to
extremes, yet this austerity made itself felt in the way
she educated them, and left its traces, especially on her
daughters. The seriousness and strong sense of duty that
characterised Christina was no doubt due to her mother's
influence.

The mother often used to read aloud to the children

and gave them plenty of good books to read. The
Arabian Nights, Scott's Works, Shakespeare, whose
Hamlet they especially liked because of the ghost, were
among their favourites; to Byron they felt drawn more
 12

particularly, because their uncle, Dr. John Polidori, had

been his travelling companion. Christina was not such a
great reader as her brothers and sister, but she took
much delight in, to mention two of her favourites,
Keats's Eve of St. Agnes and Monk Lewes's Tales of
Wonder.
It might be imagined that the children, always hearing
their father speak of and recite Dante, grew to like and
admire this poet. This was not the case however ; it

seems that they heard too much of him to like him. If

a modern colloquialism were permissible, it might be

said that they were 'fed up with' him. Not till much later

did Dante Gabriel and Christina take up Dante, and

then Christina 'gloried in him' says her brother William.
Mrs. Rossetti gave evidence of much commonsense
in the way she managed the religious side of her chil-
dren's education. She put edifying, 'good* books in their
way, but, if they preferred others, she did not force
these books upon them. She taught them Biblical history,
but did not give them too much Bible reading, so that
they did not get bored, but on the contrary, greatly loved
and reverenced their bible. In the poetry produced by
the Rossettis later in life biblical influence is strongly

apparent.
For a while the children were taught German by
 13

Dr. Heiman, a friend of the family, who is frequently

mentioned in the letters, and who gave them lessons in

return for the Italian instruction he got from their father.

Goethe's Faust was studied, but Christina did not take
much interest in it. As has been mentioned above,
Christina was not a great reader. There were not
many subjects she cared to read about. "Of science and
philosophy she knew nothing" says William Rossetti
in his Memoir mentioned before, "and to history she
had no marked inclination. Theology she studied very
little indeed, except the Bible, of which her knowledge
was truly minute and ready.** He says further that she
liked Scott and, in early youth, Dickens and Bulwer,
but that Thackeray "may have appeared to her too
worldly and knowing.** Her dislike to anything that she
considered 'improper* prevented her from enjoying the
works of such writers as Rabelais and Boccaccio; "she
never opened the pages of either** we are told in the
Memoir. For the same reason the comic side of Shake-
speare, the loud, rollicking fun which is embodied in a
Falstaff and a Sir Toby Belch, did not attract her. Among
very great authors Plato is reported to have appealed
to her more than any other ; his Dialogues she read

with great delight. "Milton's Paradise Lost she disliked*'

says her brother, without mentioning her objections to
 14

this great work. If, however, one considers Christina's

High Church tendencies and her sensitive, refined
artistic taste, the conjecture lies near that the rather
harsh Puritanic tone of this poem and the somewhat
matter-of-fact, earthly spirit in which the highest subjects
are treated in some parts of it, offended her and pre-
vented her from admiring it.

"As to Shelley** says Mr. Rossetti, "she can have

known little beyond his lyrics ; most of the long poems,
as being 'impious' remained unscanned.** Her admiration
of some of Keats*s works has already been referred to.

Among modern poets we hear that she admired Tenny-

son and Mrs. Browning ; Browning she honoured, but
without eager sympathy; we are told that William
Morris's poems were mostly unread by her and that of

Swinburne she knew Atalanta in Calydon and some

few other things. From her letters it appears that she
was a great admirer of Turgenieff's works. *)

We see from the above that in the choice of her books

she was guided by the same scruples and restrictions
that determined her conduct at important moments of
her life when serious questions had to be decided upon.
A few more words remain to be said about Christina's
childhood. The favourite pastimes of the children were
l
) See Family Letters p. 188.
 15

drawing and scribbling poems and prose stories. Dante

Gabriel is reported to have made a drawing of his
rocking-horse when he was four years old and Christina
attempted to draw illustrations to her first poems. They
all took the greatest interest in each other's work and
encouraged each other. When a poem or a story was
completed it was read out and admired or criticised.

Christina's first preserved verses, written when she was

twelve and entitled: To my Mother, on the Anniversary

of her Birth, were privately printed, together with

some other of her first attempts, by her Grandfather
Polidori.

As regards her character Christina is reported to have

always been a rather serious, thoughtful child, though
not without some quiet fun, often at her own expense.
She was shy and shrank from meeting strange people,
a peculiarity that characterised her to the end of her life.

When she was a child she had a tendency to be irritable,

but this she conquered completely so that all who knew
her in later life pronounced her to be a sweet-tempered
woman.
Her religion was entirely a matter of feeling. She did
not reason about her faith ; she felt convinced that what
she believed was the truth which had been revealed by
God. Nor did she like to discuss other people's faith.
 16

Her deep love for her father was not affected by his

being a freethinker and in the course of her life she

was on friendly terms with many people who were
indifferent to religion. Her loving nature made intolerance
impossible for her.
 III.

CHRISTINA ROSSETTI AND HER NEAREST

RELATIONS AS REVEALED IN
THE FAMILY LETTERS.
The more than half foreign parentage of the Rossettis
and their exclusive upbringing account for the fact that

they were, in some ways, different from other people.

In the Family Letters there are certain features that
strike us as un-English. There is first the great respect
for the head of the family ; after the father's death for
Gabriel, later for the younger brother William. Then
there is an amount of demonstrativeness in the expression

of affection and the words of praise and appreciation

they lavish on each other. English brothers and sisters
would be more likely to hide any admiration they
might feel for each other under chaff. Finally a certain
formality which one cannot conceive English people to
observe when writing to their nearest relations.
In Christina's letters there is a good deal of this for-
mality. It is interesting to know that her manner of
speaking too made an un-English impression in her ;

letters one may imagine to hear her speak. She is reported

2
 18

to have enunciated every word very clearly like a

foreigner who had spent many years in England. She
rather prided herself on her prose style. In a letter to

Gabriel (25 July 1879) she speaks of the "exclusive

prose of her little book Seek and Find,** "I flatter

myself," she says, "that some of it is that prose which

I fancy our Italian half inclines us to indite/*
In writing to her nearest relations she is always very
polite and precise. However, this precision never degene-
rates into stiffness or priggishness ; the frequent sparks of
humour one finds in the letters, the great love and
sweetness of nature that is expressed in them, keeps
them very human. Christina's overgreat scrupulousness

often caused her to apologise in her letters for what

were, according to her brother William, mostly fancied
shortcomings. She never tried to find an excuse for
herself; she was afraid that there should be any un-
truthfulness between herself and her relations. "I am sure,*'
writes William Rossetti, "that Christina never told a lie."
Her love seems to have extended itself practically to

allwho came into contact with her, but naturally her

own people, especially her mother, had the greatest
share of it.

The first of her letters published dates from 1 843,

when she was thirteen years old. It was written
 19

in Italian and addressed to her father, who, as has

been mentioned before, always spoke Italian to his

children. They had feelings of loving reverence for

him, but they lived in closer intimacy with their
mother. To her mother Christina wrote very few
letters, which is due to the fact that she practically
always lived at home. In the one letter directed to her
that occurs in this collection, we find great deference to

her mother's wishes and anxiety about her welfare

expressed ; the playful tone characteristic of many of

Christina's letters is already found here. "Mind you take

due care of your wise self" she writes. ')

Her mother is mentioned in practically all her letters

to her brothers. In 1873, when Christina had not yet
entirely recovered from the dangerous disease that
darkened her life for some years, she writes: "Of course
Mamma is in grief and anxiety ; her tender heart receives
all stabs from every side." In September 1 874 we hear
that "Mamma is her own dear, gentle, active self again."
On 14 Dec. 1875, in a letter to Gabriel she writes:
"Three of us will cherish and guard the Mamma
adequately, wrap her up like a coachman and hand her
a muff at the right moment." On another occasion she
speaks of the "evergreen love of mamma" and again of
J
) Family Letters p. 23.
 20

the: "crowned Queen of clears, whose heart has many

warm nooks and corners for children and grandchildren.**
Gabriel's strong affection for his mother is referred
to by Christina in a letter written to William after
Gabriel's death,
l

) when she discusses William's Preface

to the Collective Works of Dante Gabriel Rossetti, which
were edited by him. She says: "In recording Gabriel's
steady, but undemonstrative affection for his family,
don't you think it would be just to except Mamma from
2
the undemon strati veness ). I am well aware (as I

believe) that long periods of silence and non-appearance

took place ; yet on the whole I should say that beyond
all possibility of dispute he petted and worshipped
our Mother with exuberant fondness."
The strong ties of mutual love that united the brothers
and sisters become apparent in the letters. A "love
paramount reigns among us** Christina writes. The
eldest sister Maria, who died in 1876 and whom Christina
worshipped for her saintliness, is spoken of with great

tenderness. "Mamma, Maria and I send warm loves**, she

writes to Gabriel in Sept. 876 when Maria was very ill.
1

"She is very good and patient and we need only regret

1
Family Letters p. 157.
)
2
In reading through Gabriel's letters, and in fact the letters of all the
)

members of the Rossetti family one certainly does not get an impression
of undemonstrativeness. The opposite is true.
 21

her state for our own sakes, not for her**. And later,

when she informs Gabriel of Maria's death: "I think

even in her confusion of thought that I once perceived her

mind to be fixed on you and William."
Gabriel was not only loved, but also looked up to,

not indeed for his saintliness, but, as has been mentioned

above, as head of the family. He had an exceedingly
great personal influence on all who came into contact

with him, and, what is not self-evident, also on his

nearest relations. Christina addresses him and speaks
of him in her letters with the greatest deference, and
also in his last years, when the abuse of chloral and
stimulants had made sad havoc with his mental and
bodily powers, she maintained her kind, loving tone.
He on his side was always ready to give her help and
advice, which were worth having, as he was not only a
great artist, but also a practical man.
When Christina was about twenty she learned to

paint and Gabriel took a great interest in her efforts.

He writes in 1852: "I find that you have been perpe-

trating portraits of some kind. If you answer this note
will you enclose a specimen as I should like to see some
of your handwork. You must take care however not to
rival the Sid (Miss Siddons, later his wife, who also

painted), but keep within respectful limits.'*

 22

Christina also takes an interest in all Gabriel's work

and often refers to it in her letters. She writes to
!
William in August 1 875 ): "I recollect Venus Astarte, a
noble drawing and one which, I hope, Gabriel may delight
in painting; ^2000 too, is, I suppose, a good price,
even for his work.** To Gabriel she writes on 1 October
2
1874: ) "There was a visible brightening up amongst
us on receiving your good-natured proposal of a second
day together. I hail the prospect of seeing again the

Proserpine and, for the first time, the Veronica; where

in England and its studios is your peer?** And again to
3
William on 15 March 1878: ) "Gabriel was here last

night .... he spoke with friendly concern about Ruskin**

(whose mental faculties were in a bad condition at the

time). "He looked at your Poets'* (a volume of William's

Lives of Famous Poets) "with interest and mentioned
having received your Shelley. He is getting on with his

Fiametta picture."
Gabriel used to send the manuscript of any poem he
had written first to his mother, to hear her opinion, before

it was published. In May 880 Christina writes, "Mamma

1

greatly admires your beautiful ballad The White

*) Family Letters p. 49.

2
) Ibid p. 47.
3
) Ibid p. 73.
 23

Ship ; she looked up the story in Hume and found most

of the facts, but not that of the mourning boy, which
she would like her son to come and tell her about.**
Was it a wonder that Gabriel worshipped a mother who,
even in her eightieth year, took such a keen and intelligent
interest in his work? When sending her his Sonnet on
the Sonnet he wants Christina to ask if perhaps a refe-
rence to death, at the close of this sonnet, may be painful
to one so near her own death. Christina answers that
he need not trouble about that: "Our dearest mother
has so much to brighten and endear to her the
approaching immortality, even beyond those hopes
that we all have in common. Still**, she adds with
her quaint formality, "I most keenly appreciate the
tenderness which makes you debate such a point at such
a sacrifice.*' (The sacrifice would have been the changing
of the end of the sonnet, which Gabriel offered to do).

In a letter to Olivia, William's daughter, Christina

writes on 27 April 1880, "if, at some future day, the

golden glory of art or poetry should alight on your head,
you will find that almost, if not quite, the brightest point
is that it kindles a light of pleasure in your own mother's
eyes.**

Gabriel repeatedly gave evidence of his interest in

Christina's poetical work. On 12 March 1871 she
 24

writes to him that she has rejected some, but adopted

others of his suggested changes in her poem Mirrors of

Life and Death that was sent 'under his auspices* to

the Atheneum and published in the number of 1 7 March

1877. He advised her to shorten the title of The Ini-

quity of the Fathers upon the Children and told her he

considered The Lowest Room 'too morbid and personal*,
an opinion she did not share, as she told him in a letter

written on 14 December 1875. On the 22nd of the

same month however she writes that she regrets having

included The Lowest Room for, "you have scale-dip-
ping weight with me."
Notwithstanding his artistic temperament Gabriel was
a good businessman ; he made a satisfactory arrange-

ment for her with her publishers, Messrs Macmillan.

She wrote on this occasion: "I certainly have too very
brotherly brothers who command my affectionate grati-

tude by their unfailing care for my small concerns.'*

Later again she speaks of Gabriel's "chronic goodnature."
Her feelings towards this brother find expression in

what she writes concerning an article by Mrs. Meynell

on the Rossettis, which had appeared in The Pen of

July 1 880. *) Mrs. Meynell had ranked her below her

brother Gabriel and he was afraid she would take this

') Family Letters, p. 87.

 :

25

to heart. "Don't think me such a goose as to feel

keenly mortified at being put below you, the head of

our house in so many ways** she writes. — When
Gabriel had died she was jealous of his reputation and
scarcely forgave a certain lack of warmth apparent in

Hall Caine's Memoir, Recollections of D. G. Rossetti.

Concerning this she wrote to her sister-in-law Lucy

"We have been reading Mr. Caine's Memoir. Consider-
ing the circumstances under which his experiences
occurred I think it may be fairly pronounced neither un-
kind nor unfriendly; but I hope some day to see the

same and a wider field traversed by some friend of

older standing and consequently of far warmer affection

towards his hero who, whatever he was or was not, was

lovable/'
Mr. Bell Scott, an old friend of the Rossettis, had
published his Autobiographical Notes, but Christina would
not read them, because she had heard that he had
written rather unpleasantly about Gabriel.
If more proofs were wanted to show the warm af-

fection of all the members of the Rossetti family for

each other and, in particular, of Christina for those who

were nearest to her, many more of the letters might
be quoted which she wrote to William and his wife and
children. One of these may be mentioned. On 21
 26

October 1 879 she writes to tell William that her mother

and herself have spent a morning with Gabriel. "I wish,*'

she says, "y° u could have heard the tender and grateful
warmth with which he mentioned your kindness in ill-

ness ; 'like a woman', and the sweetness of your dispo-

sition.**

Surely such great appreciation and warm affection

between brothers and sisters is not a usual thing any-

where, and among the English of all nations, the ex-

pression of such feelings must be admitted to be most

uncommon.
In Christina's letters
l
) there are references to many
of the well-known men who were on friendly terms with

the Rossettis; to Dr. Adolf Heiman who, as has

been mentioned before, taught the Rossetti children
German and who always remained an affectionate friend
of the family to Mr. Charles Bagot Cay ley, also a pupil
;

of Mr. Rossettfs, later professor Cayley, the translator

of Dante's Divina Commedia, whose more intimate re-

lation to Christina has been discussed in the first chapter

of this book; to Mr. Ford Madox Brown who, though
not a member of the Pre-Raphaelite Brotherhood, work-
ed in accordance with the principles held by the artists

belonging to that brotherhood and who, for some time,

') Family Letters passim.

 ;

27

guided Gabriel's studies in painting: Mr. Brown and

his family entertained the most friendly relations with the

Rossettis with whom they became united by marriage-

ties ; to Burne Jones ofwhom Christina, on one occasion *)

writes to Gabriel: "We are both very glad of the re-

appearance of Burne Jones and hope that kindly face
and genius may contribute something worth adding to

your social circle'* ; to William Morris, whose wife and

children she also came to know when Gabriel had
jointly rented with them the Manor-house at Kelmscott,
where Christina visited her brother. In a letter from her

to Gabriel, dated 23 June 1874 she speaks of her 'fruit-

less apple-tree*, referring to an attempted decorative

design of hers, and says: "Mr. Morris has written me
a truly obliging letter, finding something to praise, but
setting up a standard of such complicated artistic per-

fection as, I fear, no alteration of mine can even by possi-

bility attain**. In some of her letters she refers to Ruskin
whom, according to her brother William, she met pro-
bably only once, but of whose relations with Gabriel
she was kept well informed. Swinburne, on the other-
hand, she knew well. He wrote her several letters in

which the liveliest admiration is expressed for her poetry

on the publication of his own collections of poems he
1
) See Family Letters, p. 86.
 :

28

frequently presented her with a copy. She entertained

feelings of friendship and respect for Theodore Watts-
Dunton, the author of Aylwin, who was Gabriel's most
faithful friend and inmate of his home so that Christina
often met him. She refers to him in the kindest terms.

On 15 August 1877 she writes in a letter to William,

containing an account of a visit to Gabriel, who was ill

"We left Mr. Watts with him and dinner on the table."
She felt that Gabriel was safe in the charge of this friend

who had great influence on him. Mr. Watts also took

a friendly interest in Christina's private concerns. We

hear on 14 Oct. 1877 that "that obliging Mr. Watts"
has sent some of her poems to the Atheneum, and on
17 Dec. 1879: "Mr. Watts moreover makes me his

debtor by such friendly goodwill" (he had assisted

in arranging Christina's business relations with her
publishers, Messrs Macmillan.) She writes to Gabriel on
9 Aug. 1 881 : "We think so good a friend as Mr. Watts
may well receive even the honour of a Dedication from
you, nor am I amazed that he set his heart upon it" ;

and on 9 Oct. 88 she

1 1 1 writes, with reference to Watts 's

Atheneum Review of Gabriel's poems: "I don't know

that I ever saw anything so good of Mr. Watts's and
I am happy to see him shine as a planet in conjunction

with our family sun." Gabriel presented the manuscript

 29

of a ballad, The Dutchman s Pipe or Jan van Hunks

which Christina refers to as "a ballad of a grotesque-
horrid type'* *), and which he completed on his death-

bed, to Mr. Watts-Dunton.

Of the names of other well-known men and women
that are not referred to in her letters but whose acquain-
2
tance Christina made, ) may be mentioned: All the
members of the Pre-Raphaelite Brotherhood, Coventry
Patmore the well-known poet who was in close relation

with the Brotherhood, Robert Browning, Dr. Garnett,

Jean Ingelow, Gosse, Mackenzie Bell, who became her
biographer and Miss Ellen Proctor, who wrote a brief
Memoir on Christina after the latter's death.
When we peruse the letters written by Christina
Rossetti we are struck by the great humility that speaks

from them and that was one of the author's most

characteristic features. When she was engaged to

Collinson she shrank from making the acquaintance of

the ladies of his family. In a letter to William, dated
23 November 1848, she writes: "I am glad you like
Miss Collinson, but have a notion that she must be
dreadfully clever. Is either of these ladies alarming? not

to you, of course, but would they be so to me?" Later,

') Family Letters p. 109.

2
) Vid. Memoir by W. M. Rossetti.
 :

30

on 1 1 Sept. 1 866, after Mr. Cayley had declared his

feelings towards her, she writes to William "I feel loved

beyond my deserts." When this brother had become

engaged to Lucy Brown she said, in a letter addressed
to her future sister-in-law :
"I should like to be worthier
in every way of becoming your sister."
l
) And when,
at a later period, she had had a small difference of
opinion with that sister-in-law (her brother writes : "I can
safely say it was a trifle**), she takes all the blame on
herself and apologizes for what she calls her "ebullition
of temper, and for a hundred other faults**. On another
occasion she writes to Lucy: "I know myself deficient
in warm, motherly love to children.**

She blames herself for being 'haughty* and says that

her illness has humbled her.

She knew herself to be a poet and a good critic of

poetry and was ready to give her opinion on the work

of others if it was asked, as indeed it frequently was by
her brothers and other men of note, but yet she had no
exalted opinion of her own capacities. In April 1870
she writes to Gabriel: "Here is a great discovery 'Women
are not Men*, and you must not expect me to possess a

tithe of your capacities, though I humbly — or proudly —

lay claim to family likeness.** And in the same letter

') Family Letters.

 31

"It is not in me, and therefore it will never come out of

me, to turn to politics and philanthropy with Mrs.
Browning ; such many-sidedness I leave to a greater
than I, and, having said my say, may well sit silent.'*

Mr. Ingram, the publisher, had proposed that Christina

should write one of the memoirs for the Eminent Women
Series of which he was Editor. She declined writing on
A. A. Proctor because she did not consider herself the
right person to do so ; for a while she thought of under-
taking the composition of a memoir on Mrs. Radcliffe *),

but gave up this thought again. In March 1 882 she

wrote to her brother with characteristic humility: "I

cannot see my way to setting to work, — may a worthier

than I write.'*

Though Christina lived a secluded life, she was not

without interest in social matters. Among the problems
that interested her was vivisection, the cruelty of which
she abhorred, and against which she asked her friends
to sign a petition.

Her opinion was asked on women's suffrage by Mrs.

Webster with whom she had, what she called "a cour-
teous tilt in the strong-minded woman lists." She
preferred not to give her assent to the granting of female
suffrage, basing her refusal on the Bible. She adds
') The author of the Mysteries of Udolpho.
 32

though that, if female rights are sure to be overborne

for lack of female voting, she feels inclined to 'shoot
ahead of her instructresses' and to assert that 'female

members of Parliament are only right and reasonable.*

So with all her conservatism she is here more advanced
than her contemporaries.
Her religious convictions rarely find expression in her

letters to her brothers, which is not astonishing, seeing

that neither of them shared these convictions. When
writing to kindred souls, as, for instance, to Mr. Shields,
the painter and designer, she does give utterance to
!
these feelings ). Occasionally however, in letters to her
brother William, the religious chord is struck. The des-
pondency that is felt in some of these utterances was
no doubt to a great extent due to her weak health. On 8
2
May 1888 ) she wrote: "Perhaps you do so already,
— but if not, and if you would not think it wrong, I

wish you would sometimes pray for me that I may not,

after having, in a sense, preached to others, be myself

a castaway." But in June of the same year a more
hopeful tone is heard, when, after reporting a not very
favourable opinion of her doctor concerning her health,
she continues: "What then? 'the sweeter after this

1
) Mackenzie Bell's Biography p. 98.
2
) Family let ers p. 165.
 33

stripped earth, will be the shady rest of Paradise.* Not

that I arrogate to myself so blessed an end; but God's
mercy to sinners is infinite.**

Though she was depressed at times it must not be

concluded that she was a pessimist. On the whole the
tone of her letters is cheerful. Even when referring to
the sad effect that her terrible illness of 1870 and *71
l
had on her, she is still readymake fun she writes: )
to ;

"I am weak and less ornamental than society may justly

demand.** When there is illness in the family she
remains hopeful ; the letters she wrote when Lucy, her
sister-in-law was in a bad state of health may prove
this. That she did not feel attracted to pessimism in
literature is evident from a letter she wrote to Lucy on
2
1 7 August 1 892 ; ) in it some books are discussed,
among others TurgueniefFs works and she says: "I
3
wonder if Helen ) has been reading some of my old
Turguenieffs. Le Roi Lear de la Steppe I greatly admired;
Moue-moue was consummate, but so fearfully pain-
ful. I hope dear Helen will not appraise life quite accor-

ding to any such pessimistic standard, but will use her

great gifts to better purpose."

*) Family Letters p 35.

2
) Ibid 188.
3
) Lucy s daughter.

3
 34

As one of Christina's most precious gifts must be

mentioned a sense of humour that characterised her to

the very end of her life. We often find sparks of it in

her letters ; she delighted especially in making playful

remarks directed against herself. In a letter to Gabriel

of 28 September 1 874 she writes, concerning new ser-

vants that he had engaged: "I hope your change of

servants will prove a success; I should regard with an

eye of callous philosophy obesity and Hogarthianism,
especially if not shared by the housemaid.'* In another
letter to Gabriel (12 March 1877) she expresses herself

pleased that a poem of hers will go to the Atheneum

under his auspices, although she would have spared him
the trouble by acting for herself, now that she is "old
enough and tough enough." She evidently greatly
delights in a caricature made by Gabriel as an illustra-
tion to a phrase in the Times, occurring in a critique
on the Goblin Market volume: "Miss Rossetti can point
to work which could not easily be mended." He had
drawn an excited Christina smashing furniture with a
hammer. She also chuckled over the following couplet

on herself:

"There's a female bard grim as a fakeer

Who daily grows shakier and shakier."
 35

which she quotes in a letter to William of 1 5 March

1 878. Gabriel had paid her a visit. "I fear,** she writes,
"he was not in genuine good spirits, but at any rate he
had a vestige of fun in him, witness the following
couplet on me . .
." here follows the couplet, and she
adds: "the point was to find a rhyme for shakier.*'
In a letter dated 1 6 July 1 880 she tells Gabriel about
Eastbourne and says : "The horrors of this place would
certainly overwhelm you ; its idlers, brass bands, nigger
minstrels of British breed and other attractions ; but I,

more frivolous, am in a degree amused.**

In 1 881 (9 Aug.) again to Gabriel : "Indeed I am not
'sulking* beside the grave of twice-buried hope, because
you have not read my book as yet."
On 10 February 1887 she wrote to William : "Per-
haps my mirthful style has already suggested to you
that your 'youngest sister looking dim and grim with
dismal ways* is feeling better; indeed I am.'*
The above was a quotation from Christina's Pageant;
October introduces November with these words and
Christina playfully applied them to herself. She refers
to the same lines when, declining an invitation she
writes to William: "Your company would in itself be
a lure and, if not precisely in dulness, I daresay I could
beat you hollow in dismalness ! Only would that game
 ;

36

repay us for our candle? Let us leave that Yarrow

unvisited." (March 1887). On 18 February 1892 she
reports herself as going on "if not friskily, doggedly/*
Christina Rossetti's letters are written in careful, some-
what formal prose; they reveal the writer as a loving
daughter, sister, aunt and friend, full of sympathy for

other people's troubles and full of courage in her own

they show her to have been a personality with well
established opinions of her own, gently but firmly
expressed, with belief in herself as a poet and, last but
not least, with humour, to help herself and others over
the difficulties of life.
 IV.

CHRISTINA ROSSETTI AND HER BROTHER

DANTE GABRIEL.
It may not be without interest to compare the two
members of the Rossetti family who contributed most
to English poetry, Christina and Dante Gabriel. They
grew up in the same home, had many tastes and interests
in common, yet differed so considerably in some essential
points that a comparison may throw a light on the two
personalities so as to bring them out more clearly.

At home Dante Gabriel was always expected to

become a painter he was encouraged in his drawing-
;

attempts and when, as a young man, he for a while

neglected the brush for the pen and declared that he
preferred writing poetry to painting, his father upbraided
him and desired him to return to what was considered
his vocation. His relations were convinced that he was
a genius, and it was but natural that he believed so too
and soon learned to assert himself.

Of Christina we do not hear that she was considered

to be out of the common except by her grandfather
 38

Polidori ; she could write poetry, but this was not an

extraordinary gift in the Rossetti family. She was of a

reserved retiring nature and did not put herself in the

foreground ; if she had not been a member of the
unconventional Rossetti family she might have been
merely an exemplary girl of the Victorian period,
yielding the first place to her brothers and effacing herself
as much as possible. In this case, however, it was
Christina's own humble nature that caused her to stand
back; she joined the rest of the family in sincere
admiration for the wonderful gifts of her brother. Their
natures formed a contrast: he was as eager and impulsive,
as she was quiet and reserved.
What is astonishing is that, with all her gentleness
and humility she managed, all through her life, to hold
her own and, as far as her art was concerned, to keep
independent in her judgment, and not to fall under the
influence of Gabriel's domineering personality as so
many other artists did. Among his contemporaries who
strongly felt his influence were William Morris, Burne
Jones, Swinburne, Meredith and Ruskin. Meredith is

reported to have left Tudor house, where he lived for

some time with Rossetti, because he felt that his

independence of mind was endangered by close contact

with Rossetti's strong personality, and Ruskin said that

 39

he found it difficult to think his own thoughts while he

was in the presence of Rossetti.
It was Gabriel's conviction that every artistic person
ought to try and paint. He tried to persuade Christina
to apply herself to painting. She made an attempt to do
so, even took some lessons, but feeling that it was not
in her line soon gave it up, though he urged her to
continue. Under similar circumstances he succeeded in

imposing his will on W. Morris. When we read the

family letters we again and again hear of Gabriel
suggesting changes in Christina's poetry and Christina
ready to consider them, but by no means always ready to
adopt them. On one occasion Gabriel wrote to Christina

telling her that the Ballad of Boding was too much like

Sleep at Sea for her to publish both these poems.

Christina calmly replied "I hope the diversity is

sufficient to justify the publication of the Ballad of

9 '
Boding.
Both Dante Gabriel and Christina gave evidence of
great family love ; especially for their mother they had
strong affection. The relation between Gabriel and his
mother is the most beautiful imaginable between mother
and son. With touching devotion he refers to her in his
')

letters ; any new poem or picture he has made is first

0 See also p. 20.
 40
l
submitted to her judgment, before other eyes see it. )

With playful humour he enjoins her to take care of her-

self and instructs his sister how to ensure her comfort,
for, he says, he cannot afford to lose her. After her
husband's death his mother looked up to him as the
head of the family and when his health broke down his

mother and sister were with him and nursed him till

the end came.

Yet in the important matter of religion he did not
share his mother's convictions; here Christina stood
nearer to her and could hold spiritual intercourse with
her. Christina's relation with her mother was of a serene,
almost saintly nature, Gabriel's was warmer and more
human. One imagines that the mother's heart really felt

more drawn to the son.

The religious teachings of Gabriel's youth bore fruit

in some of his pictures as the 'Ancilla' (later called 'The

Annunciation'), in the designs for church windows which
he made for the Morris firm and also in some of his

poems such as Ave. But these works were made in

transitory moods; he felt drawn to religious subjects as

he felt drawn to the supernatural and mysterious in

general. He had not Christina's religious faith, but was

a freethinker with mystic tendencies. Religious traditions
J
) See p. 22.
 : ;

41

attracted him, as the mysterious attracted him, for the

artistic possibilities they contained, for the things of

beauty he could make out of them. Material loveliness
always meant very much to him, his models were always
beautiful women, in his poetry he painted beauty. If Dante
Gabriel's poetry may be said to be pictorial and passionate,
Christina's may be called melodious and serene.
Gabriel was not a mystic in the proper sense, i. e.

one who feels himself in close contact with the unseen

Power. Nor was Christina a mystic in this sense ; her
religious poetry reveals her as not feeling one with God,
but as struggling to reach Him. Occasionally, as in her
beautiful: After Communion, nearness to the supreme
Being is expressed

"Now Thou dost make me lean upon Thy breast,

How will it be with me in time of love",

but in the majority of her religious poems there is the

sadness of unfulfilled longing; as examples may be
mentioned : Lord grant me Grace to love Thee in my Pain
and : Oh Lord I am ashamed to seek thy face.
Even despondency, caused by fear of being an outcast
!
in the end ), sometimes finds expression as in the 27th
of her series of sonnets called Later Life

y
) See p. 32.
 42

"While I supine, with ears that cease to hear,

With eyes that glaze, with heart-pulse running down
(Alas! no saint rejoicing on her bed)
May miss the goal at last, may miss a crown'*.
In strong contrast with her brother, Christina was a
devout member of the church; her frequent periods of

ill-health probably fostered her austerity which increased

as she grew older.

No self-denial or ascetic tendencies were apparent in

her brother who, when his circumstances allowed him

to do so, surrounded himself with treasures of art. His
style which in some of his early pictures was of Gothic

simplicity, for instance in 'the Ancilla', also soon grew more

ornamental. Christina on the other hand schooled herself

in self-repression, so as to become fit for the life hereafter

on which she built her hopes. These hopes made her

dwell again and again on the vanity of all earthly things,

beauty included. 'Beauty is Vain* she sings. Her brother

would never have agreed with her in this ; Beauty
remained his goddess to the end. His opinion of her
sad poetry appears in his jocular definition of it as of

one: "Seated by the grave of buried hope.'*

Though in her times of depression she greatly longed
for the better life that was to come after death, her reli-

gion forbade her to put an end to her life. Her less well-
 43

balanced brother, however, when enervated by his abuse

of drugs, and fearing he might lose his eyesight, attempt-

ed to commit suicide. Where Christina had taught herself

to refrain from reaching for earthly delights he, with too
great eagerness, tried to get more enjoyment out of life

than he could grasp, and thus exhausted his strength.

In outward appearance the difference between the
two became curiously apparent. While Gabriel was
artistically careless of his clothes, Christina dressed with
demure neatness, making the impression of a nun. He
lived the Bohemian life of an artist, keeping no regular
hours; she led a well-regulated, rather monotonous
existence.

A curious trait which the brother and sister had in

common was their love of quaint animals, such as dor-

mice, hedgehogs, wombats, moles, woodowls, lizards
and mice. They accounted for their love of these
uncommon pets by saying that dogs and cats were too
human for their taste. Was it perhaps their peculiar
sense of humour, of which this is not the only evidence,
that had something to do with this? Gabriel delighted
in what seemed to others rather eccentric fun he would
;

throw all kinds of unpleasant sounding epithets at the

head of a cabman, roar with laughter at the man's
anger and make it up to him by giving him a large tip.
 44
l
Of Gabriel's irreverent wit Urech Daysh ) mentions an
example ; one day seeing two camels in the street he
observed : "Look there's Ruskin and Wordsworth
virtuously taking a walk". No doubt this was said at a
time when he had already begun to chafe under the
yoke of Ruskin's patronising kindness.
The delight Christina took in making fun at her own
expense has already been illustrated in a preceding
chapter, where also examples were quoted to show the
jocular tone that characterised her letters. Christina's

poem My Dream has an eccentric freakish quality such

as is also found in Gabriel's delightful A Match with the

Moon where the moon is compared with a wisp, a kite

and a silly, silver fish.

There is much similarity in the attitude of the two

poets towards nature. Having been born and bred in
London they had rarely had an opportunity to live an
out-of-door life ; they were both town-birds. Besides,
Gabriel for many years only went out at night and
Christina was often confined to her room or bed, so

that it was impossible for her to take walks in the country.

To both of them the human soul was more important
than nature. Hence we find in their poetry rather con-
ventional and, in Christina's case, simple, almost child-
*) Dante Gabriel Rossetti, Inaugural dissertation, Kap. V.
 :

45

like ways of referring to nature : 'the golden sunset',

'the blue sky*, 'the red rose*, 'the silver moon*.
Instead of trying to understand nature's moods Gabriel
frequently puts his own feelings into nature, so, for in-

stance, in Down Stream :

"Between Holmscote and Hurstcote

The river*s flecked with foam,
*Neath shuddering clouds that hang in shrouds
And lost winds wild for home
With infant waitings at the breast,
With homeless steps astray,
With wanderings shuddering tow*rds one rest
On this year's first of May.*'

In The Woodspurge the poet speaks about himself

only; the only thing he saw of the flower was that it

"has a cup of three". In The Honeysuckle we only hear

that he "found it sweet and fair."

The following fragment of Christina's From House

to Home is interesting as illustrating what has been
said above and also her interest in animals which are
not particularly attractive to most people.

"My pleasance was an undulating green,

Stately with trees whose shadows slept below,
With glimpses of smooth garden — beds between
Like flame or sky or snow.
 ; ; ;;

46

Swift squirrels on the pastures took their ease,

With leaping lambs safe from the unfeared knife;
And singing-birds rejoicing in those trees
Fulfilled their careless life.

Woodpigeons cooed there, stock-doves nestled there

My trees were full of songs and flowers and fruit
Their branches spread a city to the air

And mice lodged in their root.

My heath lay farther off, where lizards lived

In strange, metallic mail, just spied and gone
Like darted lightnings here and there perceived
But nowhere dwelt upon.

Frogs and fat toads were there to hop and plod

And propagate in peace, an uncouth crew,
Where velvet-headed rushes rustling nod
And spill the morning dew.

All caterpillars throve beneath my rule

With snailsand slugs in corners out of sight;
I never marred the curious sudden stool
That perfects in a night.

Safe in his excavated gallery

The burrowing mole groped on from year to year
No harmless hedgehog curled because of me
His prickly back for fear."
 :

47

Both Christina and her brother had a kind of natural

dignity about them which set them apart from others;

not only their bearing, but also their language, both

when spoken and written, was somewhat formal and
stately. They had much self-respect and Gabriel dis-

played a natural tendency to take the lead. His friends

acknowledged his leadership. He was to them, like a
high priest of beauty. His great energy made him the
soul of the Pre-Raphaelite movement and it was also to

a great extent due to his enthusiasm and activity that

the firm of Morris and Co. came into existense. He did

much designing for this firm and his judgment was
highly appreciated.
Christina was not a leader; her natural disposition
prevented her from being so. The natural dignity that
made Gabriel the centre of a circle of worshipping
friends, caused his sister to be lonely, with hardly a

girl-friend.

She made the impression of being proud. Her reserve

and shyness make it impossible for her to take any one
into her confidence. In Winter she says

"I tell my secret? No indeed not I"

and later, in the same poem:

"My secret's mine and I won't tell."
 :

48

In Memory she confesses

"I nursed it in my bosom while it lived,

I hid it in my heart when it was dead.

In joy I sat alone ; even so I grieved
Alone and nothing said.

I shut the door to face the naked truth,

I stood alone — I faced the truth alone,
Stripped bare of self-regard or forms or ruth,
Till first and last were shown.**

And again in Autumn :

"I dwell alone, I dwell alone, alone

Whilst full my river flows down to the sea

Gilded with flashing boats

That bring no friend to me.
O love-songs, gurgling from a hundred throats

O love-pangs, let me be.**

In love Christina was also less fornunate than her

brother. While he found his ideal of beauty in a woman

whom he could worship with all his heart, she felt

obliged to reject the love that was offered her and to

live a life of self-denial. Beauty of the body meant very

much to Rossetti; the ecstasy with which he wrote
about it was misunderstood for sensuality and was one
 49

of the causes that led to the much discussed attack of

Buchanan on the 'Fleshly School of Art.*
To Christina spiritual beauty was far more important;
she could not have been accused of fleshliness.
In their style both Christina and Gabriel Rossetti
give evidence of the influence of their reading in their
childhood and youth, which comprised the Bible,

Shakespeare, medieval romances, Dante and other

early Italian poets, Scott, Byron, Keats, Shelley and
l
Poe. Urech-Daysh says: ) "Dass Christina Rossetti sich
dem Einfluss ihres Bruders nicht entzog beweist ihr
Stil." But it seems to me hard to prove that it was the
influence of her brother that formed her style and that

the similarity that is to be noticed between his way of

writing and hers is not due rather to their joint educa-
tion and to the common treasures of literature from
which they both enriched themselves. Taking Christina's
spontaneous way of writing into consideration the latter

possibility seems to me the more probable one.

In the work produced by the Rossetti's three influences
are clearly discernible. In the first place there is Italian

influence, which is only natural considering their half

Italian origin. Gabriel translated the Vita Nuova and
other medieval Italian poems; Christina gives evidence

*) Dante Gabriel Rossetti, Inaugural dissertation, Kap: XVI.

4
 50

of her knowledge of these poets in her Tasso and

Leonore and in the quotations above the Monna Inno-
minata sonnets. They both tried their hands at the
composition of Italian poems.
The influence of the Bible appears so frequently that
quotation seems superfluous; in Christina's devotional
poems it is evident from first to last.

The third great influence that worked on them was

that of Keats. The Eve of St. Agnes which inspired
Christina to write one of her finest poems, beginning:

"A garden in a garden: a green spot

Where all is green : most fitting slumber-place
For the strong man grown weary of a race

Soon over."

became the cause of the first acquaintance between

Gabriel Rosetti and Holman Hunt. In Hunt's picture
'St. Agnes Eve', Gabriel first found the realisation of
his favourite idea that romantic subjects ought to be
painted. He paid the painter a visit which laid the

foundation for their life-long friendship.

In Keats the Rossettis loved the poet who greatly

admired the romantic past and who paid attention in

his poetry to the careful drawing of detail. Gabriel was

delighted to read in Keats's letters an expression of the
 :

51

poet's enthusiasm for early Italian artists who, in

Keats's, and also in Rossetti's opinion, surpassed even

Raphael himself. If one remembers that this was the
chief idea underlying the foundation of the Pre-
Raphaelite Brotherhood it is no wonder that Rossetti
felt in Keats a kindred spirit.

Allan Edgar Poe was another writer who was eagerly

read and much admired by the Rossettis. The spirit of

melancholy, the mysteriousness and the romantic gloom

that pervades Poe's writings was congenial to them.
The Raven seems to have inspired Gabriel to write

The Blessed Damosel. Urech Daysh quotes some more or

less parallel passages from the two poets, a process which
does not seem of great value to me. Parallels like

the golden air that golden air

the music of the rain the rain that clamoured
ever against the glass
the river murmuring O water whispering
Fountains gushing music water 's voice
as they fell

and the personification of Time in

true daughter of old Time She saw Time shake

may be collected from almost any two poets. Of far
more importance it seems to me to note that the general
 52

spirit of their work, their predilection for themes of

gloom, horror and death was a thing they had in com-

mon. The cause underlying this gloom was probably
partly physical and, in the case of Gabriel Rossetti and
Poe, traceable to their addiction to the use of drugs and
stimulants, in Christina's to her frequent illnesses.
For Christina the gloom was relieved by her hope of
better things to come after this life. She alone of the

three could say:

"Only, love, I long for heaven with you

Heart-pierced, through and through.*'
(Gone Before).
and: "Death is Life and Death alone."
(Night and Death).

and "God looked down upon

: me from the heaven above
And I did not tremble, happy in His love."
(I have fought a good Fight).

also: "Soon must end the night and soon will dawn
the day."
(The End of Time).

The title she gave to one of her devotional poems:

Death is swallowed up in Victory expresses this hope,

as does also the following fragment from her : Earth

and Heaven :

"Yes, for aye in heaven doth dwell,

Glowing indestructible,
 : ;

53

What here below finds taunted birth

In the corrupted sons of earth

For, filling there and satisfying

Earth's fleeting joys and beauties from above,

In heaven is Love/*
Only rarely does she give way to the hopeless melan-
choly and morbidity that we often find in Poe. In her
Two Thoughts of Death we have an example of this

morbidity: the decay of the body is dwelled on with

unartistic precision.

Gabriel's way of production was less spontaneous

than his sister's. He had to concentrate himself very
strongly and therefore preferred to work at night. "With
me sonnets mean insomnia" he is reported to have said
and the composition of his longer poems left him com-
pletely exhausted. He was never satisfied with the first

form his work had taken, but changed and remodelled

and, in the case of his pictures, often painted them over.
Christina, on the other hand, worked with great ease
those who lived in the same house with her scarcely
noticed that she was composing. She wrote down what
came into her mind and hardly made any changes she ;

could work for hours at a stretch with no apparent

mental effort or fatigue.

In connection with these two different methods of

 54

working it is interesting to notice that we do not find

in Christina's poetry the imagery, the sometimes a little

far-fetched symbolising and the unusual word-for-

mations make Gabriel's writings often hard to
that

understand. Her style is simple and clear. She had not

so many ideas to express as her brother her poetry was ;

the interpretation of feelings rather than of ideas.

Like her brother Christina understood the art of

writing sonnets. As regards the form of their sonnets

it may be noted that, unlike Gabriel, Christina does not
end hers in a rhyming couplet, and that they both in-

troduce the peculiarity of repeating the rhymes of the

quatrains in the tercets ; so for instance in number 4 of

the Monna Innominata where the rhyme scheme is

abab bccb dea dae and in number 8 of Later Life
where it is abba abba cab be a. Gabriel's sonnet
26 has these rhymes: abba acca dee da a.
Like Gabriel, Christina practises great variety in the
forms of her verse. The form of her Goblin Market is

quite original. With great skill the poet here suits the
words and the measure to the meaning ; short lines
interchange with longer lines according as the move-
ments of the goblins or the experiences and feelings of

the girls have to be expressed. The number of the lines

of her stanzas varies, the accents of her lines are three

 55

four or five ; short lines interchange with long ones, and,

unrhymed lines are often introduced. Like Gabriel's her

rhymes are often very free, now and then too free one
is inclined to say. In Repining 'by* is supposed to

rhyme to 'steadily', 'harbinger* to 'stir*, 'beat* to 'it*, 'fell*

to 'unspeakable*, 'death* to 'followeth*, 'alone* to 'gone*,

'agony* to 'die*. In A Royal Princess, we find 'usual'

as a rhyme to 'had a full*, and in The Prince's Progress

we come across receive*
, rhyming with 'live*, 'outs and
ins* rhymes to 'wince*, 'air* to V ear » 'beneath* to 'death*,
'path* to 'hath*, 'together* to 'wither*. Elsewhere we find

the rhymes: 'her-stir-steadier*, 'leas on-season*, 'death-

shadowem-lingerem' ; 'ever-liver', 'river-never*, 'raven-

heaven*, 'languisheth-death*.
As has been mentioned Christina does not practise
word-formation so much as her brother to whose
wing-winnowed, fire-fledged, wing-shoul-
dered, vain-longing, hoarse-tongued, angel-
greeted etc., which we find in his House of Life, there
are no parallels in Christina's work. Nor does she use
so many words of Latin origin, such as we find in the

above-mentioned series of sonnets by Gabriel, e.g.

multiform, cir cumf luence, commingled, pri-

mordial and confluence. Her style is altogether
simpler and plainer.
 : :

56

Alliteration is more frequent in Gabriel's poetry than

in Christina's. Examples are his : wind-warm, the
whelming wave, soul-stilled, lif e-in-lo ve.
In Christina's Goblin Market we find : F a i r eves that

fly,Taste them and try, and in the Maiden Song :

The three merry maidens: Megyan, May and

Margaret.
Christina achieves her effects by sound rather than
by word-forms. Carefully chosen and repeated vowel-
sounds give to her poetry the melodiousness, the pure,
clear ring that forms its greatest charm. In A Dirge of
which the first stanza is quoted here, the i sound gives
the clear tone to the poem.

"She was as sweet as violets in the Spring,

As fair as any rose in Summertime
But frail are roses in their prime
And violets in their blossoming.
Even so was she:
And now she lies,

The earth upon her fast-closed eyes,

Dead in the darkness silently."
In June the sound of o in come is repeated
"Come, cuckoo, come
Come again, swift swallow
Come and welcome, when you come
Summer's sure to follow."
 :

57

In Gabriel's Chimes we have also an example of

word-music, but on the whole his effects are more
pictorial: he sees rather than hears what he writes. As
an illustration may serve his:

"The ruffled silence spread

Like water that a pebble stirs.'* ')

Both the poets apply repetition with great art.

Examples are Gabriel's Three Shadows;

"I looked and saw your eyes

In the shadow of your hair,
As a traveller sees the stream
In the shadow of the wood; etc.

I looked and saw your heart

In the shadow of your eyes,
As a seeker sees the gold
In the shadow of the stream;" etc.

and Christina's : Child* s Talk in April, second stanza

"Then you should see the nest I'd built,

The wondrous nest for you and me;
The outside rough perhaps, but filled
With wool and down; and you should see
The cosy nest that it would be.
l
) My Sister's Sleep, stanza 7, two last lines.
 : : :

58

Christina's Bird Song, Days of Day Dreams and

Vanity,

Margery are examples of both repetition and word-

music. Of Bird Song the first stanza is

"It's a year almost that I have not seen her:

Oh last summer green things were greener,
Brambles fewer, the blue sky bluer.*'

Gabriel generally places the repeated words either at

the end of the stanza to form a refrain as in Sister
Helen, or in immediate succession in another part of
the stanza as in Eden Bower; Christina distributes the
words and sounds so that they form a musical combi-
nation, or an echo. In Passing and Glassing 'pass* and
'glass* are repeated at the end of the first two lines of

each stanza and the last word of the last line forms
the echo

"All things that pass

Are woman's looking-glass;

and the last line: Of summer joy that was.**

As an example of skilful repetition of vowel sounds

Memento Mori may be quoted

"Poor the pleasure

Doled out by measure,
Sweet though it be, while brief
 :;

59

As felling of the leaf

Poor is pleasure
By weight and measure.

Sweet the sorrow;

Which ends to-morrow;
Sharp though it be and sore,

It ends for evermore

Zest of sorrow,
What ends to-morrow."
Repetition is plentiful in: Maiden Song, Golden
Glories, Echo, A Bird's View, Cobwebs and Mirage.
The childlike quality of Christina's art, finds its full-

est expression in her Sing-Song poems. This childlike

note is absent from Gabriel's poetry.
Contrast, often in connection with repetition, is

used by both the poets, by Gabriel, for instance, in

A Death-Parting :

"Your cheek and mine are cold in the rain,

But warm they'll be when we meet again."

and : "All still fall, and I still give ear,
And she is hence, and I am here."
By Christina in: A Dumb Friend:

"I planted a young tree when I was young

But now the tree is grown and I am old."
 : ;

60

in : Life and Death :

"Life is not sweet, one day it willbe sweet,

Life is not good, one day it will be good.'*
in : Next of Kin :

"The shadows gather round me

While you are in the sun
My day is almost ended.
But yours is just begun.'*

Comparison is also frequent as for instance in

Christina's Annie:

"Annie is fairer than her kith

And kinder than her kin,
Her eyes are like the open heaven,
Holy and pure from sin
Her head is like an ordered house
Good fancies, harbour in.**

in her Listening:

"She listens like a cushat dove

That listens to its mate alone.**

and in : The last Look

"Her face was like an opening rose
So bright to look upon;
But now it is like fallen snow,
As cold, as dead, as wan.**

Gabriel's comparisons are, as could be expected, more

 : : : ;

61

ornamental and elaborate; he writes in his sonnet

entitled Love-Letter:

"The lights throbbed ....

Like a high heart when a race is run and
That soul wherewith her lips and eyes agree
Like married music in Love's answering air.'*

In his Winter a flake of snow is compared with a

lily ; a hungry red-breast with a rose.
To bring out the difference between Gabriel's style
and his sister's, between his, one might almost say,
carefully painted lines and her easy rippling verse,
Winter may be compared with Christina's poem
entitled Summer.
Winter begins with a picture
!"
"How large that thrush looks on the bare thorn- tree

The next three lines express a delightful fancy

"A swarm of such, three little months ago,

Had hidden in the leaves and let none know
Save by the outburst of their minstrelsy."

Then follow two more pictures:

"A — a snow-lily
white flake here and there
Of last night's frost — our naked flower-beds hold
And on the darkling mould
for a rose-flower
The hungry red-breast gleams. No bloom, no bee."
 : ;

62

The sextet is both imaginative and pictorial:

"The current shudders to its ice-bound sedge;

Nipped in their bath, the stark reeds, one by one,
Flash each its clinging diamond in the sun,

'Neath winds which for this winter's sovereign pledge

Shall curb great king-masts to the ocean's edge,
And leave memorial forest-kings o'erthrown."

Entirely different in its simplicity is Christina's:

Summer which follows here

"Winter is cold-hearted,
Spring is yea and nay,
Autumn is a weathercock
Blown every way.
Summer days for me
When every leaf is on its tree

When Robin's not a beggar,

And Jenny Wren's a bride,
And larks hang singing, singing, singing,

Over the wheat-fields wide,

And anchored lilies ride,

And the pendulum spider

Swings from side to side;
 ;

63

And blue-black beetles transact business,

And gnats fly in a host,
And furry caterpillars hasten
That no time be lost,

And moths grow fat and thrive,

And ladybirds arrive.

Before green apples blush,
Before green nuts embrown,
Why one day in the country

Is worth a month in town

Is worth a day and a year
Of the dusty, musty, lag-last fashion
That days drone elsewhere.*'

The difference between the two poets is well

illustrated by the above quoted poems. Christina's light,

playful touch and her simplicity are absent from

Gabriel's poetry. She excelled in ways different from
her brother's.
 V.

CHRISTINA ROSSETTI AND

THE PRE-RAPHAELITE BROTHERHOOD.
For many years Dante Gabriel Rossetti was the soul
of the Pre-Raphaelite Brotherhood. At an early age it

became apparent that Gabriel had a talent for drawing.

In 1842, when he was fourteen years old, he expressed

a desire to become a painter ; like the other members
of the family he had already tried his hand at writing

both prose and poetry: it was a custom among the

Rossettis to set each other bouts rimes, which gave them a
great amount of readiness in composing poetry. Christina
also liked to draw and so did William, but Gabriel was
by far their superior in this art.

The boy was sent to Cary's drawing-academy in

Bloomsbury Street where he stayed till 1 846. In the last
year of his stay he saw the paintings of Ford Madox
Brown which he greatly admired. He wrote to Mr. Brown
asking him if he might become his pupil. Brown con-
sented and they soon became very friendly. What
Rossetti chiefly admired in Ford Madox Brown s work
was its independence from the methods of painting then
 65

usual among artists. Brown had struck out his own way
and had freed himself from convention. Rossetti, and
with him several other young artists, were dissatisfied
with the methods of painting prevalent at the time ; the
work produced .by their contemporaries seemed mean-
ingless and lifeless to them. They felt the want of ideas

in the work of the painters of their day. They were of

opinion that in painting thoughts and ideas might be

expressed as well as in poetry, so that painting and
poetry would become more closely united. Several of

the members of the Brotherhood were both poets and

painters.

As their own times did not prove capable of pleasing

their imagination, they went to earlier times for their

inspiration, especially to the middle ages. They chose

their subjects from history and fiction. Ford Madox
Brown, who, though not a Pre-Raphaelite, was entirely
in sympathy with the movement (he has been called
the grandfather of the Brotherhood) painted 'Chaucer
reading his poetry before the court of Edward HI*.

Rossetti took subjects from Dante's works, both for his

poetry and his pictures. Stories of knight-errantry were
also considered good material ; Rossetti, for instance,

painted 'Tristram and Yseult drinking the Love-potion'.

Soon after Rossetti had become Brown's pupil he
5
 66

made Holman Hunt and, through

the acquaintance of
Hunt, of Millais and Stephens. They were kindred souls
and had very much the same ideas about the aim and
future of art. They thought that to save art from the sad
state of decay into which it had fallen, there ought to be
a return to a more natural way of painting, to more
simplicity and greater faithfulness to detail. They took
as their examples the painters who worked before the
Renaissance, because these painters were simple and
sincere. They called themselves Pre-Raphaelites, not
because they did not admire Raphael, but because they
found their examples among the painters who lived

before Raphael.
It is characteristic of the Pre-Raphaelite painters that

they endeavoured to produce rich, deep colours.

In the autumn of 1 849 Gabriel Rossetti and Holman

Hunt visited Bruges. In a letter to James Collinson *),

a Pre-Raphaelite Brother who has been mentioned in

the preceding chapter, Rossetti writes enthusiastically
about the pictures of Memling and Van Eyck which
they saw there. He says of Memling's triptych in the
Hospital of St. John : "I shall not attempt any descrip-
tion : I assure you that the perfection of character and
even drawing, the astounding finish, the glory of colour

*) Pre-Raphaelite Diaries and Letters, edited by W. M. Rossetti p. 13.

 67

and above all the pure religious sentiment and ecstatic

poetry of these works is not to be conceived or described.

Even in seeing them the mind is at first bewildered by
such Godlike completeness, and only after some while
has elapsed, can at all analyse the causes of its awe and
admiration. Van Eyck*s picture at the Gallery may give you
some idea of the style adopted by Memling in these great
pictures ; but the effect of light and colour is much less

poetical in Van Eyck*s ; partly owing to his being a more

sober subject and an interior, but partly also, I believe,

to the intrinsic superiority of Mending's intellect. In the

background of the first compartment there is a landscape
more perfect in the abstract lofty feeling of nature than

anything I have ever seen. The visions of the third com-

partment are wonderfully mystic and poetical.**

This quotation is particularly interesting, because

one finds in it the expression of the artistic ideals of the
young Pre-Raphaelites. They wanted to have intellect,

ideas ; they wanted finish, beautiful colours, religious

sentiment, mysticism and poetry. In Memling, whom
Rossetti calls 'that stunner* they found the realisation
of all their dreams.

The first founders of the Pre-Raphaelite Brotherhood

were : Rossetti, Holman Hunt and Millais ; they were
soon joined by Collinson, Woolner and Stephens. William
 68

Rossetti became secretary to the society; he lays down

their aims in the following words !

) : 1 . To have genuine
ideas to express, 2. to study Nature attentively so as to
know how to express them, 3. to sympathise with what
is direct and serious and heartfelt in previous art, to the

exclusion of what is conventional and self-parading and

learned by rote, and 4. to produce thoroughly good
pictures and statues.

Both Holman Hunt and Millais, though only twenty

and nineteen years old, had already produced more than
Rossetti, who was twenty-one but Rossetti was the best
;

talker among them, had more ideas and could prose-

lytise better.

When their aims and ideas became known and their

work was exhibited, they got much attention in the press ;

they were admired by many lovers of art in England

and America, but were also much criticised and abused.
Ruskin soon became a warm admirer of the Pre-
Raphaelites and the patron of Rossetti and also of Miss
Siddal, Rossetti's pupil and later his wife; he assisted
both of them, as much as he could, to reach fame: he
bought Rossetti's pictures and advised others to buy
them, spoke and wrote in praise of the young artists

and gave them finantial support.

*) Dante Gabriel Rossetti, Letters and Memoir, p. 135.

 69

Among the detractors of the Pre-Raphaelites was

Buchanan, who, under the name of Maitland, contributed
l

an article to The Contemporary Review ) on the occasion

of the publication of Rossetti's Poems, 5th edition. He
accused the Pre-Raphaelites of spreading disease by
their low morals he acknowledged that they had genius
;

for colour, but asserted that they had disregard for

perspective. Rossetti's poetic and pictorial work he called
'a morbid deviation from healthy forms of life' ; in its

beautiful form and colours he found but 'indifference to

sorrow and the deeper things of life*. He called the

school the 'Fleshly School of Art', an appellation that

greatly vexed and irritated Rossetti. Later Buchanan
withdrew this criticism as unjust; he wrote in 1883:
"I freely admit that Mr. Rossetti was never a 'Fleshly
Poet' at all." In 1 880 Buchanan had even dedicated his
romance God and the Man to Rossetti. Any careful
student of the records, letters and diaries concerning
the Pre-Raphaelite Brotherhood and of the work of its

members, will admit that no low moral standard prevailed

among them ; it was a pity that Buchanan did not realise
this sooner, but waited nine years before apologising for
the wrong he had done.
After the first years of fervour were over Rossetti
J
) October 1871.
 70

lost some of his enthusiasm for the Brotherhood. In a

letter written to Mr. Ernest Chesneau *), a French lite-

rary man, he deprecated being called the head of the

school : "Loin d'etre chef de l'Ecole je puis a peine me
reconnaitre comme y appar tenant'*, he wrote, and to a
lady who, about the year 1 870 inquired if he was a Pre-
Raphaelite, he is reported to have said that he was not
2
an 'ite' of any kind, merely a painter. )

Among the artists who, though not belonging to the

Brothers, shared their views and ideas, were, besides
Ford Madox Brown, William Morris and Burne Jones.
In the Pre-Raphaelite Diaries and Letters, edited by
William Rossetti, several well-known men of letters are

mentioned as closely connected and in sympathy with

the Brotherhood, among them Coventry Patmore, Robert
Browning and Tennyson. Carlyle is reported to have
said : These Pre-Raphaelites they talk of are said to copy
the thing as it is, or invent it as they believe it must have
been ; now there's some sense and hearty sincerity in

this. It's the only way of doing anything fit to be seen."

"To copy the thing as it is" was of course not the

purpose of the artists. Mr. Theodore Watts in his article

on Rossetti in the Encyclopaedia Brittannica tells how

') 7 Nov. 1868.
2
) Dante G. Rossetti, Letters with a Memoir by W. M. Rossetti, p. 1 35.
 '

71

Ruskin, equally misguidingly, declared the purpose of the

Pre-Raphaelites to be to "paint nature as it is with the
help of modern science." What they did want to do was
putdown in an injunction printed on the cover of the first
number of The Germ "that an entire adherence to the
:

simplicity of nature will be encouraged and enforced.*

The Germ was the paper that represented the Pre-
Raphaelite Brotherhood. It was in July 1849 that the
plan to publish a magazine first arose. After long hesitation

between various more or less suitable titles that of

Germ was at last chosen. In the first number appeared

Gabriel Rossetti's My Sister s Sleep and his prose story,

Hand and soul; also Christina's Dreamland and An

End. To no. 2 Christina contributed A Pause of
Thought, A Song and The Testimony. In 1850 it was
found that the expense of the publication of the
paper, — No. 3 and No. 4 of which appeared under
the name of Art and Poetry, being Thoughts towards
Nature, — was too great for it to be continued; it died
with its fourth number.
Christina Rossetti took a great interest in the Pre-
Raphaelite Brotherhood. She knew all the members of
it and was, for a while, in more intimate relation to one
of them, James Collinson. In some of her letters written

at the time when the Brotherhood had just been started,

 72

we find evidence of her being in the know of its affairs.

In a letter written by her to William on 25 August 1 849

she speaks of the painter Orchard's 'Criticism on Gabriel's
picture' ; Mr. Orchard was a contributor to the Germ ;

in letters dated 3 1 August 1 9 Sept. 26 Sept 1 849 and

1 4 Aug. 1850 we find more proofs of her close connection
with the concerns of the Brotherhood. Her great admi-
ration for the works produced by several of its members
finds expression in these letters. She made herself useful

by sitting to her brother Gabriel for several of his

pictures; in 'The Girlhood of Mary Virgin*, for instance

Mary was painted from Christina. In William Rossetti's

Memoir which has been mentioned before, there is a
list of all the portraits made of Christina and ten out of
l
these were done by her brother. )

We have a proof that Christina's sense of fun was

brought to bear on the Brotherhood. She wrote some
amusing lines on it which are published in her collected
2
Poems. )

1.

"The two Rossettis (brothers they)

And Holman Hunt and John Millais,
With Stephen chivalrous and bland,
') See Memoir XI.
2
) Poetical works p. 424.
 ; ;

73

And Woolner in a distant land —

In these six men I awestruck see
Embodied the great P. R. B.
D. G. Rossetti offered two
Good pictures to the public view;
Unnumbered ones great John Millais
And Holman more than I can say,
William Rossetti, calm and solemn
Cuts up his brethren by the column.

2.

The P. R. B. is in its decadence;

For Woolner in Australia cooks his chops,
And Hunt is yearning for the land of Cheops
D. G. Rossetti shuns the vulgar optic;
While William M. Rossetti merely lops
His B's in English disesteemed as Coptic
Calm Stephens in the twilight smokes his pipe,

But long the dawning of his public day;

And he at last the champion, great Millais,

Attaining academic opulence,

Winds up his signature with A. R. A.
So rivers merge in the perpetual sea;

So luscious fruit must fall when over-ripe;

And so the consummated P. R. B.
 :

74

In Christina's poetry some Pre-Raphaelistic features

can be detected. In the first place she was unconventional
as will be conceded by the readers of her Goblin Market
and as is apparent from the form of all her poetry of
which more will be said later. She also paid some
attention to detail; as an example may be mentioned
the fourth and following stanzas of From House to

Home :

"My castle stood of white transparent glass

Glittering and frail with many a fretted spire,

But when the summer sunset came to pass

It kindled into fire.*' etc.

And as another example the following lines of the

Prince's Progress

"Red and white poppies grow at her feet,

The blood-red wait for sweet summer heat,
Wrapped in bud-coats, hairy and neat;
But the white buds swell, one day they will burst,

Will open their death cups drowsy and sweet: —

Which will open the first?"

In the last quotation we find the Pre-Raphaelite love

 s

75

of beautiful, bright colours, which is also illustrated by

the following quotation from / have a Message unto thee:

"Green sprout the grasses,

Red blooms the mossy rose,

Blue nods the harebell,

Where purple heather blows.
The water-lily, silver white
Is living fair as light.'*

Christina shared her brother Gabriel's admiration for

the magnificence and wealth of detail found in Keats's
poetry. Yet it must be observed that in most of Christina's

poetry neither luxurious setting nor wealth of detail is

to be found ; nor is rich colouring a conspicious feature

of the greater part of her work. This is partly due to

the greater importance that spiritual things had to her

than earthly things, partly to the fact that much of her

poetry was meant for children and was consequently

simple.
Like the Pre-Raphaelite artists and those who sym-
pathised with them, Christina, though only occassionally,
sought inspiration in the Middle Ages. In her Prince*
Progress we have a romantic story of unfulfilled love;
the bride and her maidens are waiting for the traditional
 76

strong prince, the bridegroom, who comes slowly travel-

ling on horseback, fording rivers, crossing tracts of
waste land and even lodging in the cave of a sorcerer
who sets him a task. But the Prince is not the real,

genuine hero of the romantic story, nor is the tale a

true medieval tale, such as Morris understood the art

of writing; the poet criticises her hero, he is not the

'chevalier sans peur et sans reproche' but a waver er,

weak of purpose, almost a modern man of the world,

too polite to say 'no' to those who invite him to linger.

We also have a feeling that the story is not told for its

own sake, but for the moral that lies in it : it is wrong

to be weak of purpose. Another of the few objective
poems that Christina Rossetti wrote, A Royal Princess,

is not a genuine romantic tale either the spirit it breathes

;

is one of rebellion against the splendour of courtly life.

The princess is weary of her fountains that cast up per-

fumes, of her ivory chair and of her father's vassals that
are her courteous servants. She seeks fellowship with
the people, and wishes to share her possessions with them.
Reminiscent of the middle ages are also a few gloomy
ghost-poems that Christina wrote: A Chilly Night, The
Hour and the Ghost and Shut out, and her Ballad, which
is her single attempt at writing a poem of the class
in which her brother excelled.
 ;

77

But if, in Christina Rossetti's work, we only occa-

sionally find reminiscenses of what may be called the
romantic side of the middle ages, the religious sense,
that was also a feature of those times, is more strongly

expressed in her work than in that of any of the members

of the Pre-Raphaelite Brotherhood. It is true that several

pictures produced by these painters have religious sub-

jects. Holman Hunt painted the 'Light of the World*,

'Ruth and Boas' and 'Christian Missionary and Druids*
Millais the 'Carpenter's Shop* ; Ford M. Brown 'Christ
washing Peter's Feet*; Collinson made an etching of the
'Child Jesus' and Gabriel Rossetti painted the 'Girlhood
ofMary Virgin' and 'Annunciation'. Gabriel also wrote
some religious poetry, but in his Blessed Damozel, in
his Ave and in the sonnets that he wrote on sacred
pictures we feel, as we do in the above-mentioned
paintings, that it is rather the picturesque side of religion
that the artists aims at than the expression of religious

feelings or convictions. Also in the works of Morris and

Swinburne we look in vain for these feelings.

But Christina who, as her brother William says in the

Memoir, had the makings of a nun in her, has expressed
in her poetry the deep religious sense characteristic of

medieval times, rather than of the latter half of the nine-

teenth century in which she lived. To be convinced of

 78

this one need but read such poems as: A Christmas

carol, A Testimony, The Three Enemies, The convent
Threshold, and indeed all her devotional poetry.
A characteristic feature of the Pre-Raphaelites was a
certain melancholy. Gabriel Rossetti was gloomy a depres- ;

sing atmosphere clings to his works. The productions of

Brown, Hunt, MillaisandCollinsonareall serious. Christina
was melancholy in many of her utterances and sadness
is felt in the works of William Morris who stood very
near to the Pre-Raphaelites. The general cause of the
depression felt by all these sensitive artistic natures must
have been the discrepancy between the ideals of beauty

existing in their imagination, and life as they saw it around

them. In Ford Madox Brown's Diary
l

) we find an entry
on 7th August 1 855 in which he expresses his thoughts

on life after visiting Stafford House with D. G. Rossetti.

He writes "How strange a place is this world. Only those

:

seem to possess power who don't know how to use it.

What an accumulation of wealth and impotence ! Is this

what is gained by stability and old institutions? Is it for

this that a people toils and wears out its myriad lives ?

For such heaping up of bad taste, for such gilding of

hideousness, for such exposure of imbecility, as this sort
of thing is ! Oh how much more beautiful would six model
k
1
) Ruskin, Rossetti, Pre-Raphaelitisme, edited by W. M. Rossetti, p. 41.
 79

labourers' cottages be, built by a man of skill for £ 100

each!"
This critic of his time does not stand alone in his

unfavourable opinion. Carlyle, whose pessimistic views

about the world of his days are well known; Mrs.
Browning who raised her voice on behalf of the over-

worked factory-children ; Morris who hated a civilisation

characterised by intense industrial and commercial

competition, which forced its workers to drudge in

factories for less than a living wage while the owners

of these factories accumulated great riches Ruskin ; who
lifted his voice against his materialistic contemporaries
whose chief concern seemed to be money-making, —
to mention some of the men who were connected with
the Pre-Raphaelites, — are on his side.

A few lines may be quoted here from Mr. C. F. G.

Masterman's book: The Condition of England. In the
first chapter, on p. p. 5 and 6, we are told what was the
opinion of some great Victorian writers of the England
of their day. We read of the people of the time that
they 'rejoiced that they lived in nineteenth century
England'. But to the prophets of their age they were
unclean from crown of head to sole of foot, a people
who had visibly exhausted the patience of God. You
may choose your verdict where you please — inCarlyle's
 80

"torpid, gluttonous, sooty, swollen, and squalid England,*'

given up to the "deaf stupidities and to the fatalities

that follow, likewise deaf ;" or, in Ruskin's interpretation

of the "storm cloud' as a symbol of the moral darkness

'

of a nation that has blasphemed the name of God de-

liberately and openly, and has done iniquity by pro-
clamation, every man doing as much injustice to his
brother as it was in his power to do. "You may accept the
condemnation kindly, as in Meredith's "folly perpetually

sliding intonew shapes in a society possessed of wealth

and leisure, with many whims, many strange ailments
and strange fancies the condemnation plaintive, as in
Arnold's "brazen prison," in which most men, with
"heads bent o'er their toil," languidly "their lives to
some unmeaning taskwork give," the condemnation
defiant and rejoicing, as in Morris's: "Civilisation which
I know now is destined to perish; what a joy to think
of." You may find it rising to a rather shrill shriek in

the later Tennyson, with his protest against the city

children — who "soak and blacken soul and sense in

city slime" — with his calling upon vastness and silence
to swallow up the noises of his clamorous, intolerable day.'
It was to the artistic and political reformation of this
society that William Morris devoted many years of his
life.
 ;

81

As these two poets, Christina Rossetti and William

Morris, were both in close relation to the Pre-Raphaelites
and sympathised with their purposes, but in almost all

other respects formed a complete contrast with each

other, it may be interesting, for a clearer understanding
of Christina's nature, to carry the comparison between
them a little further.

Morris was active, strong, robust and warm-blooded

he loved life passionately and had an enjoyment, almost
amounting to pain, for many sides of it. He saw that

other people did not feel this keen enjoyment, nay that
to them existence frequently became a burden. This
suffering seemed to a great extent needless to him, as
he knew that much of it had its origin in the social
conditions made by man and which man, consequently,
ought to be able to change. He also thought that the
absence of joy in life was due to a want of beauty in
people's daily surroundings. He felt that, as an artist, it

was his duty to do his utmost to change into beauty the

ugliness that he saw around him and that daily hurt
him in the things made by man. To achieve this purpose
he turned his hand to almost any branch of decorative
industry, to weaving, dyeing, embroidery, designing of

furniture, of glass and of wall-hangings, to decorative

painting, to book-printing and book-binding, to the
6
 ;;

82

preserving of beautiful old buildings, to making church-

windows and to architecture. What is very remarkable
is that this many-sided artist did all these things to
perfection ; as an artist he was a complete success
where he failed was in his endeavours to bring about
social reform, endeavours to which he devoted much
ardour and far too much of his time. It is not strange
that a man with so many interests found life too short
though he rose at four in the morning and worked hard
all day, he still regretted that he could do no more.
When, at a comparatively early age, he felt his bodily
strength decreasing, a great sadness came over him, 1

because he had to leave so many things undone. To

the last he was active and crowded as much work as
he could into those final years. Death seemed to him the
destroyer of everything worth having, of his happy
home-life with his wife and daughters, of all the beauty
he still felt it in him to create. He did not believe in a
future existence; this life contained all he prized so
highly and there was nothing to reconcile him to the

loss of it.

Christina Rossetti was not by any means active, strong

robust or warm-blooded; her delicacy forbade any strenu-
ous occupation or much bodily exercise. The interest

she took in those living around her chiefly concerned

 83

their spiritual well-being. She took some luke-warm

interest in the questions of vivisection and woman-
suffrage, it is true, but on the whole social reform did
not find an adherent in her. She did not, like Morris,

stand in the middle of life, but rather stood apart from

the world. Her thoughts were too much occupied with
the promised land on the other side of the grave for her
to think it worth her while to do much to improve this

earthly existence. She once made a feeble attempt, it is

true, to do decorative work she even ; called upon Morris

to give her his opinion about a design she had attempted
!
to make, ) but his criticism, though very kind and not
discouraging, was enough to turn her away from this
kind of occupation. Henceforth it was only in poetry

that her artistic feelings found utterance. This poetry

was to a great extent of a devotional character. With
Morris's many-sidedness her one-sided work forms a
strong contrast.
Christina was also aware of the social and artistic

iniquities of her time, but she looked for a remedy else-

where than where Morris tried to find it. She thought
that in religion lay man's only salvation. To escape from
the world, that had little attraction for her she withdrew
into the land of beauty that she created in her imagi-
') see p. 39.
 84

nation: "Methinks the ills of life I fain would shun'* she

sings in the eighth of her Sonnets written to Bouts rimes;
also in / do set my Bow in the Cloud her longing to leave
the world finds expression:

"He, from the heaven-gates built above,

Has looked on me in perfect love,

From the heaven walls, to me he calls,
With Cherubim and Seraphim
And angels : yea, beholding Him."

In this poem and, still more strongly, in the impassioned

last stanza of The Martyr, the longing of the human soul
for heaven is felt. It is interesting to compare these poems
with Gabriel's Blessed Damosel, where the soul, that has
entered into the state of bliss, looks back with longing
on the earth which has not lost its attraction to it.

Though Morris differed greatly from Gabriel it appears

that in spiritual matters he had more in common with
him than with Gabriel's sister.
To Christina Death was not the destroyer of many
things of great value, as it was to Morris, but rather the

reliever from the burden of existence ; its aspect, with

which she had become familiar in her periods of serious

illness, did not seem so forbidding to her as it naturally

did to a strong, healthy man as Morris was.

 85

To end this comparison one more great difference

between these two artists may be mentioned. The
poetical works that Morris produced were objective,
which is in keeping with the fact that his mind was
greatly occupied with things outside himself ; Christina's

poetry was chiefly subjective.

To sum up briefly Christina Rossetti's position with

regard to the Pre-Raphaelite movement we may say
that she had Pre-Raphaelite tendencies, but that she

had them in a very moderate degree. She was not con-

ventional; bright colouring and attention to detail are

to be found in some of her poetry and there is evidence

in her work to prove that she took delight in medieval
romance. In her nun-like attitude to life and in the

religious feeling expressed in her poetry she may be

said to represent the religious side of the medieval

revival.
 :

VI.

POETRY.

All those who knew Christina Rossetti well, agree that

her manner of writing poetry was spontaneous. As has
been mentioned before, her brother Gabriel said that
she was more spontaneous than himself. Her younger
brother William writes in the 'Memoir* : "something
impelled her feelings or came into her head, and her
hand obeyed the dictation'*. For the rest she was so
reticent that even those same house with
living in the

her, knew very little about the conception and develop-

ment of her poetry. The only characteristic particular
that is told is, that she used to write her productions
very neatly, — in a handwriting that never deteriorated,
as it so often does with literary people, — into nice

little note-books, bound in green, red and black.

In the poetry of Christina Rossetti there are two

principal motives : Love and Religion.

The general tone of her poems is serious, even sad

frequently death is their subject. But here and there,
suddenly, like a ray of sunshine from a clouded sky, her
humour breaks forth.

In the Love poems we seek in vain for the exul-

ficJ-^ f <w /fay (yutte^ t&u fau~s tuts C^^f^f

ts^i^^ ^^^^^^^ *

MS. of poem by Christina Rossetti

 87

tation, the frenzy of happy love we generally

; find the

sad or unsatisfactory and disappointing side of it ex-

pressed, also frequently a yearning for the happiness
that has been irretrievably lost or the sorrow of unre-
quited passion.
As Christina's religion imbued her whole being, her
poetry is saturated with it, so that it is difficult to draw
a line between her religious and non-religious poems.
For the same reason it is impossible to understand her
work unless something is known of the religious views

she held.
Christina Rossetti belonged to the church of England
and had the ideas of the orthodox members of that

church. Her conception of God and the Universe was

dualistic, not monistic or pantheistic. We do not find in

her poetry the expression of a sense of spiritual mysteries

haunting nature as we find, for instance, in Thomson's
introductory poem to the Seasons, in Pope's Essay on
Man and in Wordsworth's poetry. As an example may
be quoted a passage from the Lines composed a few
Miles above Tintern Abbey:
"And I have felt

A presence that disturbs me with the joy

Of elevated thoughts a sense sublime
;

Of something far more deeply interfused

 ;

88

Whose dwelling is the light of setting suns

And the round ocean, and the living air
And the blue sky, and in the mind of man
A motion and a spirit that impels
All thinking things, all objects of all thoughts.'*

Christina Rossetti did not feel or imagine God as

inherent in, as part of the universe or as forming one
substance with it, but as a Being outside herself, op-
posite to herself and to His creation, dwelling apart in
heaven. She hoped to reach Him through death.
This earthly life seemed vanity to her, a weary time
of trial, that had to be struggled through to reach
eternal bliss.

"Vanity of Vanities, the Preacher says

All things are vanity"

she says in her beautiful sonnet, entitled The one

Certainty.

And in the first lines of: 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".

 ; ; ;; ;

89

And in Life and Death :

"Life is not sweet. One day it will be sweet

To shut our eyes and die/*

The ever recurring burden of the devotional poems

is : "death is better far than life", or even, as we read
in For Advent, "Death is better far than birth."

That other feelings more worthy of the artist, find

utterance also in this devotional poetry, may be proved

by the beautiful first stanza of the above mentioned work.

"Sweet, sweet sound of distant waters falling

On a parched and thirsty plain
Sweet, sweet song of soaring skylark, calling
On a sun to shine again
Perfume of the rose, only the fresher

For past fertilising rain

Pearls amid the sea, a hidden treasure

For some daring hand to gain
Better, dearer than all these
Is the earth beneath the trees
Of a much more priceless worth
Is the old, brown common earth."

Very often there is a note of despondency in her

religious works. In The Heart knoweth its own Bitter-
 : : :

90

ness, of which William Rossetti says that few things

written by his sister contain more of her innermost self,

she speaks of her longing for a kind of happiness not

to be found in the world

"Not in this world of hope deferred,

This world of perishable stuff;

Eye hath not seen, nor ear hath heard

Nor heart conceived that full 'enough*.

Here harvests fail, here breaks the heart,

There God shall join and no man part.**

In A Better Resurrection she complains

"I have no wit, no words, no tears;

My heart within me, like a stone
Is numbed too much for hopes or fears."

Her humility is touchingly revealed in : 'The Lowest

Place:

"Give me the lowest place; not that I dare

Ask for that lowest place, but Thou hast died
That I might live and share
Thy glory by thy side.'*

The second stanza of this poem was inscribed on the

poet's tomb-stone
 : ; :

91

"Give me the lowest place; or if for me

That lowest place too high, make one more low
Where may sit and see
I

My God and love Thee so."

Her complete surrender to the will of God speaks
from the following lines of Weary in Well-Doing

"I would have gone, God bade me stay:

I would have worked; God bade me rest.**

We find all the generally accepted doctrines of the

orthodox Christian church in Christina's devotional
poetry. In: The Love of Christ which passeth Knowledge
we read how Christ took upon him the sin of the world
and was sacrificed to reconcile God to his erring creatures
"I Holy one, put on thy guilt and shame
I, God, Priest, Sacrifice.

A thief upon My right hand and My left

Six hours alone, athirst, in misery
At length, in death, one smote My heart and cleft

A hiding-place for thee.**

By her own endeavours, by ethical means, she wants

to gain the final reward. She is ready to submit her will
to that of her Saviour

"1 will accept thy will to do and be,**

 : : :

92

she sings in A bruised Reed shall He not break, and

Christ promises to endeavour to save even those who
are too weak and wavering to wish to choose His love.
The three Enemies of devout Christians the Flesh, the :

World and the Devil, have to be conquered. Heaven the

poet describes in the way it has often been pictured by
the devout. So for instance in : Paradise

"Once in a dream I saw the flowers

That bud and bloom in Paradise;**

and in : Christian and Jew, where we read that

"Angels like rushes stand

About the wells of light**

and that: "White-winged cherubim,

Yet whiter seraphim,
Glow with intense fire of love**

and : "Angels, Archangels cry

One to other ceaselessly

(I hear them sing)

One "Holy, Holy, Holy,** to their King.**

The doctrine of the salvation by grace finds expression

in the same poem
 ;

93

"All precious souls are there

Most safe, elect by grace,
All tears are wiped for ever from their face.'*

The vileness of the world that has to be conquered

is more than once referred to ; so, for instance in the

sonnet called : The World.

"By day she woos me soft, exceeding fair

But all night as the moon so changeth she,

Loathsome and foul with hideous leprosy

And subtle serpents gliding in her hair.

By day she woos me to the outer air,

Ripe fruits, sweet flowers, and full satiety.

But through the night, a beast she grins at me

A very monster void of love and prayer.**

The tragedy of her spiritual life was that she did not

feel assured of the final reward ; she feared to the very

last, even on her deathbed, that in the end she might
be found unworthy.
She fully believed in the religion as revealed in the
Bible ; she took no interest in Biblical criticism ; perhaps
she was not intellectual and philosophical enough to
reason about these matters. To her the creed taught to
her in her youth was entirely satisfactory. The God
she worshipped was what Shelley would have called the
 94

Tyrant who desired sacrifice ; she was content to suffer,

she did not desire to be free from this bondage. Her
sole hope was that after a life of austere self-denial she

might, through the grace of Christ, the mediator, attain

to the perfect rest of eternal bliss. She hoped that in

this future life the souls would meet and recognise each
other, either immediately after death or later, after the

day of judgment; she also believed in a resurrection of

the body, so that cremation seemed wrong to her.

The beauties of this earth were not indifferent to her

artistic soul, but seen in the light of eternal beauty, they

seemed of little value to her ; in Consider the Lilies of

the Field she writes :

"The rose saith in the dewy morn:

I am most fair

Yet all my loveliness is born

Upon a thorn.'*

In Sweet Death we read: "The sweetest blossoms

die**, and: "Sweet is life but sweeter death'*, and in the
last stanza:

"Better than Beauty and than Youth

Are Saints and Angels, a glad company."
Her brother William was right in saying that she
would have made a good nun. He tells us in the Memoir
 95

that later in life her religious strictness went so far that

she shut her mind to almost all things save the Bible

and the admonitions of priests. Her spiritual life would

have been happier, she would probably not have been
so subject to her fits of depression, if she had had the
mystic's awareness of the constant nearness of her God.
As it was, she suffered the same qualms and misgivings
as the poet Cowper whose religious convictions seem to

have been very similar to hers. In his poem entitled

The Castaway he gives expression to the same religious

melancholy that often tortured Christina. Their God was
a revengeful and severe God, who might even cast out
into eternal darkness those of his creatures who had

striven earnestly to reach perfection.

Christina was convinced that human beings were vile

and unworthy and only to be saved by grace ; she herself
was the most unworthy of sinners. "Give me the lowest
place** she prays.
Notwithstanding her strict religious convictions she
was not intolerant to those who did not share her views.
She was lenient to others but austere to herself ; self-

denial was her joy and she took herself severely to task
for any real or imagined backsliding.
Her heaven lay beyond the grave ; not in this life

could perfect happiness be found. She did not hold that

 96

in ourselves we carry heaven or hell, that we may be

blessed now, that this life is beautiful and worthy of
being gratefully accepted.
It is not very easy to answer the question whether
Christina Rossetti was a mystic or not, because the term
'mysticism' is hardly susceptible of exact definition some ;

call mysticism what others describe as religiousness in

the usual sense. Still if we read what is to be found
under the heading 'Mysticism' in the Encyclopaedia
Brittanica, there would seem to be little doubt that
Christina Rossetti ought not to be considered a mystic.
In this article we find the following:

'It (mysticism) appears in connection with the endea-

vour of the human mind to grasp the divine essence or

the ultimate reality of things and to enjoy the blessed-

ness of actual communion with the Highest. The first

is the philosophical side of mysticism, the second the

religious side. The thought that is most intensely present
with the mystic is that of a supreme all pervading and
indwelling power in whom all things are one. Hence
the speculative utterancess of mystics are always more
or less pantheistic in character.* (As regards the first

part of this definition, Christina Rossetti was too little

intellectual to philosophise on religion; as to the latter

part, she could not be called pantheistic, for she did not
 97

conceive of the universe as being the dwelling place of

the supreme power; her God dwelled in his heaven,

apart from his creation.)

'On the practical side mysticism maintains the possi-

bility of direct intercourse with the Being of beings,

intercourse, not through any external media, such as
historical revelation, oracles, answers to prayer and the
like, but by a species of ecstatic transfusion or identifi-
cation in which the individual becomes in very truth
partaker of the divine nature. God ceases to be an object
to him and becomes an experience. In the writings of

the mystics ingenuity exhausts itself in the invention of

phrases to express the closeness of this union.* (There
is nothing in Christina Rossettf s writings, nor in the
testimony of her relations and friends that indicates such
endeavours or experiences on her side. On the contrary,
to her, historic revelation and prayer were the means
to reach the Deity, and not ecstatic transfusion. One
might say that she was too matter-of-fact and that what
might be called her sound common sense made her unfit
for this side of religion.)

'In full-blown mysticism the individual may be said

to be deprived of the right which belongs to him as an
ethical personality.' (With regard to this part of the

definition it may be observed that Christina Rossetti's

7
 98

ethical personality was always endeavouring to reach

higher perfection through self-correction.)
'Mysticism strains after the present realisation of an
ineffable union.' (Christina expected this union to take

place after death.)

'The union which sound religious teaching presents

as realised by the submission of the will and ethical

harmony of a whole life, is there reduced to a passive

experience. The sense of personality is weakened the ;

mystic so vividly realises God that he is lost in the ex-

cess of divine light.*

This last part of the definition no more applies to

Christina Rossetti than what precedes. Her personality

was strong and as we know that she tried, all her life,

to submit her will to that of her God and to achieve

ethical harmony, the conclusion that she was not a

mystic does not seem unfounded.
As has been mentioned above, she was lenient in her
judgment of others. Only in the poetry of her early

youth do we find some severity and harshness and this

may be condoned on the plea that the young are often

hard in their attitude towards errors, because they are

still ignorant and inexperienced. From the first she was
appreciated as a poet of great refinement by a certain
class of readers. The subject matter of her poems is, on
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99

the whole, too abstract, too restricted and too uniform

for the general taste. To devout minds her work has

been a great help and consolation.
That death so frequently forms the subject of her

poems and that her mind seemed so little antagonistic

to this, to healthy people as a rule so little attractive

subject, is no doubt to a great extent owing to the fact

that during her frequent and severe illnesses she so
often stood face to face with the enemy of life that she
had become familiar with his appearance. He became
to her the reliever from the burden of this earthly life

and the means to enter the great happiness that she felt

sure was in store for all believers. That there is not a

more jubilant tone in the poems which deal with this

after life, finds its cause in her fear that she might not
prove worthy to inherit this great bliss; her humility
and doubt of herself made her afraid to count on having
a share in the great happiness promised hereafter.
Christina Rossetti began to write poetry in 1842.
Her grandfather Polidori published her first juvenile ef-
fusions; later they were illustrated in water colours by
Christina herself. In a preface, A few Words to the Readers,
Mr. Polidori says
"As her maternal grandfather I may be excused for

desiring to retain these early spontaneous efforts in a

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100

permanent form and for having silenced the objections

urged by her modest diffidence and persuaded her to
allow me to print them for my own gratification at my
own private press ; and though am ready to acknow-
I

ledge that the well-known partial affection of a grand-

parent may perhaps lead me to overrate the merit of

her youthful strains, am still confident that the lovers of

I

poetry will not wholly attribute my judgment to partiality."

Mr. Polidori must be considered to have been right
in saving these early productions from destruction, for

there are among them poems of such great melodious-

ness and imagination that one wonders how any one so
young could produce them.
The same subjects that constantly recur in her later
work one finds already treated here : religion and love,

death and nature are the chief, while here and there,
at rare intervals, her fun finds expression.
In these juvenilia the religious faith of the girl poet

appears in a short Hymn written when she was thirteen

in Earth and Heaven where she compares the beauties
of the earth which cannot satisfy the human soul, with
those of heaven, which are indestructible. In Burial

Anthem we find, besides the expression of sadness and

regret at the loss of a beloved one, the rather morbid
idea, in one so young, — the poet was fifteen when this
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101

piece was composed, — that those who are left behind

have still their 'weary race to run*,

"In doubt and want and sin and pain,

Whilst thou wilt never sin again,

And it is better far for thee

To reach at once thy rest,

Than share with us earth's misery
Or tainted joy at best.**

In Mother and Child the child is thinking of heaven

and wants to go there and wait for the coming of the

mother. In The Martyr the certainty is expressed that

the believing soul has of the existence of God
"On she went, on faster,
Trusting in her Master,
Feeling that His eye watched o*er her lovingly;
He would prove and try her,
But would not deny her
When her soul had past, for His sake, patiently.**

"On she went, on quickly,

And her breath came thickly,

With the longing to see God coming pantingly

Now the fire is kindled,
And her flesh has dwindled
Unto dust; — but her soul is mounting up on high.**
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102

and in the last two lines

"Trouble lies behind her

Satisfied with hopeful rest, and replete with God.**

The end of the dramatic poem : The Dying Man to

his Betrothed also expressed this trust of the dying

Christian in his God.
In The Time of Waiting an unpleasant, harsh side
of religious faith finds utterance. As has been said
above, Christina Rossetti was still very young so that
life had not yet had time to mellow her and make her
tolerant. This alone could explain and excuse her ex-
pressing herself in the merciless, uncompromising terms
sometimes adopted by narrow-minded believers. She
says in this poem that life and joy are of short
duration, that sorrow and care meet her on all sides

that on earth she finds dreariness and dearth, that the

Holy Church is rent and yet, she adds, 'who tremble

or repent?*

"All cry out with pleading strong:

'Vengeance, Lord*, how long, how long
Shall we suffer this great wrong?**

and further: "When this world shall be no more,

The oppressors shall endure
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103

The great vengeance which is sure.

And the sinful shall remain

To an endless death and pain
But the good shall live again,

Never more to be oppressed.*'

No doubt she did not realise what 'endless death and

pain* would mean. In Will these Hands neer be clean

there is the same rigid and hard tone, witness the

following lines of the last stanza

"Though to thee earth shall be hell and breathe

Vengeance, yet thou shalt tremble more at death,

And one by one thy friends will learn to fear thee,

And thou shalt live without a hope to cheer thee,

Lonely amid a thousand, chained though free,

The curse of memory shall cling to thee,

Ages may pass away, worlds rise and set,

But thou shalt not forget.**

The love-poems in this early volume are many. In

Love and Hope the higher kind of love, the perfect
love is sung, in Love Ephemeral the other kind of
love which is as transitory as other things earthly that
are all sullied and bear the seed of decay in them. That
a girl of fifteen could write such poems as: Love
Attacked and Love Defended is nothing short of
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104

marvellous, especially if it is taken into consideration

that she was not a great reader, so that she probably
did not merely repeat the ideas she had read in other
love-poetry. For the same reason the situation repre-

sented in The Dying Man to his Betrothed is astonishing,

both as regards its choice as a subject and the way

of its treatment, the strong but thwarted passion of the
dying man makes the tone fierce in which he reproaches
his unfaithful love with her betrayal:

"One word — 't is all I ask of thee;

One word — and that is little now
That I have learned thy wrong of me;
And thou too art unfaithful — thou
O thou sweet poison, sweetest death,
0 honey between serpent's teeth,
Breathe on me with thy scorching breath

The last poor hope is fleeting now,

And with it life is ebbing fast

1 gaze upon thy cold white brow,

And loathe and love thee to the last.

And still thou keepest silence — still

Thou look'st on me: for good or ill

Speak out, that I may know thy will.

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105

Thou weepest woman, and art pale

Weep not, for thou shalt soon be free;

My life is ending like a tale
That was, but never shall be more.
O blessed moments, ye fleet fast,

And soon the latest shall be past,

And she will be content at last.**

Then follow some stanzas in which the dying man

relents and his tone loses its harshness ; he forgives and
only begs her to think of him sometimes he ; will pray
for her love and wait till the everlasting day. If the
date, 1 4 July 1 846, were not affixed to this poem one
would not believe it to be the work of a child of fifteen,

both as regards its form, and the thoughts expressed

in it.

The short, five-lined love poem, written in 1847,

beginning "Love is all happiness, love is all beauty**
sounds rather conventional; it makes the impression
of being a little poem, written by way of practise,

like the bous rimes that she was fond of trying her
hand at.

Of the poem called The Dream the vanity of unreal

love is the subject ; when the love-dream is over, weari-
ness alone remains
 106

"Oh, I am weary of life's passing show,

Its pageant and its pain,

I would I could lie down lone in my woe,
Ne'er to rise up again;
I would I could lie down where none might know;
For truly love is vain.**

Eleanor reminds one of a little china figure of a prim,

dainty lady, of the kind that decorated the escritoires
of our grand-mothers. Immalee is the country-girl

gathering thyme on the hills, living a free life amidst

nature. Isidora is a monologue of a loving wife who, in

the hour of her death, repents of her too great affection
for her husband which makes it hard for her to give up
earthly life ; Zora is a monologue of a deserted woman
who still loves her faithless lover. In Heart* s Chill

Between the longing of a woman for the lover who has

deserted her finds expression, as it also does in Deaths
Chill Between ; there is deep feeling in these poems such
as we are astonished to find in one so young. Both these
poems appeared in The Athenaeum of October 1 4 and
21, 1848.
The note of Death that so often sounds in her later
poetry, is struck in: The Martyr, The Dying Man to his

Betrothed, The Dead Bride, Gone for ever, Night and

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107

Death, in the last line of which latter poem running

"Death is Life and Death alone,'* a thought is ex-
pressed that is repeated again and again in her works
and that contains the essence of her faith.

In the very imaginative poem The Dead City the

same theme is treated as in Morris's The Writing on
the Image ; it also reminds one of this poem in its Pre-

Raphaelite attention to detail, and is remarkable for that

reason. The poet wanders through a strange, mysterious

wood, the birds fly around and with their 'everlasting*

singing make the place less desolate ; they are very tame
for they steal the black-berries from the poet's hand
some have 'bodies like a flame' while some are 'pure
and colourless as dew'. The birds have never seen
a human being before; they have lived in happy
solitude

"Happy solitude, and blest

With beatitude of rest;

Where the woods are ever vernal,

And the life and joy eternal
Without death's or sorrow's test."

In this mystic wood, there is 'full beatitude' and im-

perishable life and all things are good there. The sun,
 108

'never rising, never setting' shines warmly overhead.

The poet forgets the time and wanders long in the
'leafy shade*, till at last the trees get scarcer and the
'pale sun* shines with a 'strange, lurid sheen'. Then
a great darkness spreads around ; the poet goes on and
at last sees a 'pallid light, like a star at dawn of day*.

And drawing nearer sees a gate. This leads to a fair

city of white stone. No one is seen in its streets ; all the

doors are wide open, the lattices swing to and fro in
the wind, which whispers 'Go and see the end of pride*.

Every house is empty, there is no one in the market-

place. With a feeling of astonishment and awe the poet

reaches the palace of the king. The beauties of it are
described with Pre-Raphaelite precision:

"Golden was the turreting

And of solid gold the base.

The great porch was ivory

And the steps were ebony;
Diamond and chrysoprase
Set the pillars in a blase
Capi tailed with jewelry,**

The trees are all fresh and green, there is not a

withered leaf to be seen on them, they are full of fruit
 : ; ;

109

and flowers. At last the poet comes to a tent. Again the

wind whispers

"Enter in and look, and see

How for luxury and pride
A great multitude have died.**

A splendid banquet is laid in this tent; on the large

tables is rich and rare food:

"And each strange and luscious cate

Practised art makes delicate;

With a thousand fair devices,

Full of odours and of spices;

And a warm voluptuous state.

All the vessels were of gold,

Set with gems of worth untold.
In the midst a fountain rose

Of pure milk, whose rippling flows

In a silver basin rolled.

In green emerald baskets were

Sun-red apples, streaked and fair

Here the nectarine and peach

And ripe plum lay, and on each
The bloom rested everywhere.
Grapes were hanging overhead,
Purple, pale, and ruby-red
 110

And in panniers all around

Yellow melons shone, fresh found,
With the dew upon them spread.
And the apricot and pear
And the pulpy fig were there,

Cherries and dark mulberries

Bunchy currants, strawberries
And the lemon wan and fair.'*

The poet goes on enumerating and describing all the

wealth and luxury displayed at this banquet, the flowers
and the jewelry, paying great attention to colour and
form, so that we see the picture clearly before us. The
guests are at last described sitting round the table as if

spell-bound, they have all turned to stone. It seems to

the poet that many of the silent guests look at her out

of their immovable eyes and she wants to fly ; but full

of fear, she shuts her eyes and on opening them again

she finds that all has vanished and that she is once more
in the happy sunlight, wondering why she should have
been allowed to see 'So much hidden mystery.' And
then she "straightway knelt and prayed."
This poem seems very remarkable to me. It shows
the Pre-Raphaelite characteristics referred to above and
it also proves that Christina Rossetti could describe the
 :

Ill

pleasures of nature, the singing of birds, flowers, fruit

etc. with an appreciation equal to that of Keats. That

she did not more frequently write in this strain, must
find its origin in the fact that moral scruples prevented
her from enjoying earthly things with the whole-hearted
pleasure of that great poet. To her it must have seemed
sinful to take great delight in the things which her
artistic nature made her love and desire. In The Dead
City the poet looks at all the pleasures the world has
to offer, but she does not partake of any of them and
when she has resisted the temptation she kneels and
prays. Christina's religion and her artistic tendencies
clash, the former gains the victory, but at the cost of
her lightheartedness and natural happiness. In the
thought expressed in this poem we find the keynote of
her further life. Apart from a few imperfections the
form of this poem is very beautiful. The weak endings
of the third and fourth lines break the monotony of the
otherwise almost too simple measure ; the Pre-Raphae-
lites also frequently made use of weak final syllables.
The sparks of humour that light up Christina's

youthful poetry are found in: On Albina, Forget Me

Not, On the Death of a Cat and in the little couplet
"'Come, cheer up, my lads, 't is to glory we steer*

As the soldier remarked whose post lay in the rear."

 112

In Christina Rossetti's later poetry we find the same

chords struck as in her juvenile work. Her views and
ideas do not seem to have altered much after her twen-
tieth year, though the manner in which she expressed
them is without the harshness that marred some of her
early productions. Her religious thought finds expression

in her poems on death, on the vanity of all earthy things

and the longing for rest ; her love of the mysterious in
her poems on ghosts, in From House to Home, Sleep

at Sea and, in a wider sense, in the fairy tale Goblin

Market. In the love poems the melancholy side of love

finds most frequent treatment. Of her poems that have
Death for their subject may be mentioned:
/ Jo set my Bow in the Clouds, Death is swallowed
up in Victory, Sweet Death, God is our Hope and Strength,
When I am dead, my dearest, Dream Land, After Death,
Rest, Sound sleep, At Home, Better So, Life and Death
and Sleeping at Last.

The vanity of all earthly things is the theme of:

Vanity of Vanities, The Lowest Room, Sleep at Sea,

One Certainty, A Testimony and others.

In / do set my Bow in the Cloud death is the

welcome reliever from earthly life and the opener of

the gates of Heaven. In this dramatic monologue a

dying Christian expresses his hope of a life hereafter.
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113

Death is swallowed up in Victory is also dramatic,

but is a dialogue between a sceptical questioner and the

dying man, in which the latter answers questions con-
cerning his faith and hope. It is good, says the dying
man, to pass away with the spring : why should one
long to see the autumn, when length of days is length
of sorrow too. Only in heaven one is safe at last.

In Sweet Death there is the same attempt to make

death appear desirable. "The sweetest blossoms die**,

says the poet. "Youth and beauty die, so be it, Better

than beauty and than youth, Are Saints, and Angels,
a glad company.'*
The beautiful Song beginning : 'When I am dead my
Dearest' the melody of which is so perfect that one
forgets to think of the melancholy contents, ends in the
haunting lines

"Haply may remember

I

And haply may forget."

William Rossetti said that his sister meant to express

here that she was uncertain in her mind about the

state of the soul between death and resurrection, won-
dering whether there would be recognition in that
stage, as shef elt sure there would be later in heaven.
The state of the soul immediately after death is also
8
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114

referred to in the poem called After Death. The dead

woman lies alone on her bed ; her lover bends over her
and thinking that she is sleeping her last sleep and
cannot hear him, says : "Poor child, poor child.** He does
not remove the cloth to see her face ; he never loved
her while she lived, but now he pities her and to her
it is sweet to think, that he is still alive,

"And very sweet it is

To know he still is warm though I am cold.**

In At Home one of her most perfectly beautiful

poems, we read of a soul returning to its former home
and finding the family gathered round the table, making
merry the ; talk is of life and what each wants to do the
next day ; the poor ghost feels that it does not belong to
life any more, that it is forgotten ; and 'sad to stay and
yet to part how loth*, it passes from the familiar room.
The delightfulness of the complete rest that death
brings to the weary human traveller is sung in many of

Christina Rossettfs poems, among others in: Rest,

Dream Land, Sound Sleep, Have Patience, Better So, and
Sleeping at Last.
In Rest we find again the period referred to between
death and the day of the last judgment
"Seal her sweet eyes weary of watching, Earth'*;
 : : ;

115

and: "She hath no questions, she hath no replies,

Hushed in and curtained with a blessed dearth
Of all that irked her from the hour of birth
With stillness that is almost Paradise."
The same thought is expressed in
Dream Land, the last stanza of which runs:

"Rest, rest, for evermore

Upon a mossy shore;
Rest, rest at the heart's core
Til! time shall cease;
Sleep that no pain shall wake;
Night that no morn shall break,
Till joy shall overtake
Her perfect peace."

The same sentiment is found in Sound Sleep which

is peculiar for the perfect balance there is between the
two halves of each line, the effect of which on the ear
is as that of the swinging of a pendulum

"Some are laughing, some are weeping;

She is sleeping, only sleeping.

Round her rest wild flowers are creeping;

There the wind is heaping, heaping
Sweetest sweets of summer's keeping,
By the corn-fields ripe for reaping."
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116

Better So means, better to be 'fast asleep at last*

than still living. Here the soul is imagined to have passed

to heaven at once without the intermediate period be-
tween death and the day of judgment

"Whilst I weep
Angels sing around thy singing soul.'*

The same theme is treated in: Sleeping at Last,

"Sleeping at last, the trouble and tumult over,

Sleeping at last, the struggle and horror past
Cold and white, out of sight of friend and of lover,

Sleeping at last.**

It is interesting to note that this last poem was written

in 1893, while Rest and Sound Sleep date from 1849
and Better So from 1862. The same thought is expres-
sed in words not very different; only the lines run
more smoothly and the melody has got more equally
perfect in the later poems. This proves again that the
poet did not change much as regarded her thought-life

with the advancing of her years. That the poems she

produced in her youth were more uniformly melan-
choly than those of her later life may be explained by
her having become reconciled to her state of ill -health

and the disappointment life had brought her.

 : : :

117

Have Patience with its

"The present hath even less

Joy than the past,

And more cares fret it;

Life is a weariness
From first to last.**

written in 1 849, and Looking Forward, beginning: "Sleep,

let me sleep, for I am sick of care**, dated 1849 and
Endurance 1 850 the first two lines of which are

"Yes, I too could face death and never shrink

But it is harder to bear hated life;**

are some of the many effusions written in gloomy moods.

That this earthly life, when seen in the light of eternity,

is nothing but vanity, is expressed in: One certainty,

written in 1 849, which is a paraphrase of the words of

the Preacher: 'Vanity of vanities', the Preacher saith,
and in A Testimony

"I said of laughter, it is vain,

Of mirth I said what profits it?'*

"All things are vanity, I said

Yea vanity of vanities
The rich man dies; and the poor dies
The worm feeds sweetly on the dead.**
 118

This somewhat morbid poem dates from 1849 when

the poet was eighteen years old.

The same morbid dwelling on the horrors of corruption

is found in: Two Thoughts of Death beginning:

"Her heart that loved me once is rottenness

Now and corruption.**

Sleep at sea reminds us, as regards its subject, of

Coleridge's Ancient Mariner. The crew lie in a deep

sleep that is to end in death, while the ship sails on and
the pale spirits, flitting to and fro, from mast to mast,

try in vain to wake them:

"They sleep to death in dreaming
Of length of days.
Vanity of vanities
The Preacher says,

Vanity is the end

Of all their ways.**

These last lines rather spoil the poem by destroying

the dreamy vagueness, and they are somewhat strangely
hung on to bring in the idea of the vanity of earthly

things.

That this poet writes of the imaginary world of ghosts

may seem strange if one remembers that she was a High
Church woman. It is difficult to say whether this was
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119

merely a Pre-Raphaelite feature in her, an artistic

attraction to the romantic, which had been fostered

in her home, or a real belief in the existence of a world
of spirits. When reading such poems as : A Chilly

Night, The Poor Ghost, The Ghosts Petition, The Hour

and the Ghost one feels inclined to think that there
must be more behind it than mere romanticism, that
there must be some belief in the existence of these

disembodied beings, whereas such a poem as A Night-

mare (Fragment) might make one inclined to judge the
other way. Lines like: "Bloodred seaweeds drip along
that coastland" and:

"If I wake he hunts me like a nightmare:

I feel my hair stand up, my body creep
Without light I see a blasting sight there
See a secret I must keep,*'

are too lurid, too much written with the purpose to

create an atmosphere of horror to be the expression of
genuine feeling. However, if one considers that Christina
Rossetti was naive and childlike all her life, one can
very well understand that she could both be a faithful

church woman and a believer in ghosts. The mystery

that surrounds human life always haunted her. She
could not believe, as her brothers did, that the life of
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120

human beings was as much a natural process as the life

of animals and plants; she could sooner conceive that

the human spirit, in the period between death and

resurrection, should haunt the old familiar places of its

former life. Shut Out, After Death, and At Home are

examples of poems in which the return of such spirits

is described.
The mysteriousness of human life also finds ex-

pression in one of her longer poems : An Old- World

Thicket and in another : A Ballad of Boding.
The vague, mysterious first lines of An Old-World
Thicket at once create the right atmosphere

"Awake or sleeping, for I know not which

I was or was not mazed within a wood.**

With Pre-Raphaelite love of colouring the birds are

described

"Like spots of azure heaven upon the wing,

Like downy emeralds that alight and sing,

Like actual coals on fire.*'

The poet does not find pleasure in all this beauty,

because the fear of death oppresses her and the transi-

toriness of earthly things ; her heart revolts at the misery

of human life which is "an imprisoning fate'*. Suffering
 121

grows familiar "habit trains us not to break but bend"

under it ; the wood seems to mourn with her but ; at

last despair makes place for self-pity and resignation;

looking up she sees the wood lie "in a glow'*.

"From golden sunset and from ruddy sky,

The Sun had stooped to earth though once so high;
Had stooped to earth, in slow,
Warm dying loveliness brought near and low.**

The wood that had grown gloomy and dark, now not
only regains its beauty, but is more lovely because the

perfect peace of faith pervades it.

The first lines of the Ballad of Boding also tend to

create the atmosphere of dream-life.

"There are sleeping dreams and waking dreams;

What seems is not always as it seems.**

But here the moral is more clearly pointed. The ser-

vants of pleasure and the worshippers of Mammon go

to perdition, unless they resolve in time to save their
souls by denying the world and choosing the difficult

way of duty.

'Love is all happiness, love is all beauty* Christina

Rossetti sang in one of her early love-songs, yet most
of her love poems deal with the sad side of love. The
 122

Sequence of Sonnets entitled: Monna Innominata has

for its subject the necessity of self-abnegation because an
insurmountable barrier divides the lovers. Christina
Rossetti writes a short preface to these sonnets in which
she says that in her opinion the ladies to whom Dante
and Petrarch dedicated their love-sonnets are too remote
and remain too strange to us to attract us; that many
unnamed ladies to whom the troubadours sang may
have been prevented, by religious or other obstacles,
from accepting and returning the love offered to them;
and that if one of these ladies had been a poet she might
have expressed the thoughts that are laid down in these

sonnets. To Christina Rossetti it seems that the tragedy

of love that is debarred from satisfaction has more

poetical charm than the happy love which is the subject
of the Portuguese sonnets. The self-denial of the ima-
ginary lady of these sonnets, goes so far that, in one of
the last of the series, she says that:

"If there be any one can take my place

And make you happy whom I grieve to grieve
Think not that I can grudge it, but believe
I do commend you to that nobler grace.*'

There is no doubt that it is Christina herself speaking

 123

here, who had schooled hereself in complete self-repres-

sion and found satisfaction in her ascetism.

One of her longer poems: The Princes Progress

tells a love-story that ended sadly because the prince
was a 'laggard in love' and lingered too long on the
road. The uncanny, not entirely human, milkmaid, who
cast her spell on him, makes the story more romantic.
She reminds us of La Belle Dame Sans Merci and of
the witches that played such a great part in William
Morris's romantic stories. The medieval prince, taking

his ease on his cushion and mat, at last takes up his

staff and starts off to seek his bride, who is waiting for
him patiently amidst her women.
"By her head lilies and rosebuds grow
The lilies droop, will the rosebuds blow?
The silver slim lilies hang the head low.

Red and white poppies grow at her feet

The blood-red wait for summer heat
Wrapped in bud-coats, hairy and neat;
But the white buds swell, one day they will burst,
Will open their death cups drowsy and sweet;
Which will open the first?"

The red poppies got no chance to open, for the prince

tarried, first with the fairy milkmaid, then with a goblin
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in a cave who was making the elixir of life, so that, when

at last he arrived, the bride was dead. The last part of

the poem, beginning: "Too late for love, too late for

joy** is particularly melodious and beautiful. William

Rossetti tells in a note that this song existed by itself,

written at an earlier date, and that the poet wrote the

first part to it at the suggestion of her brother Gabriel.

He adds that this was almost the only occasion on which

she wrote at the suggestion of some one else.

The Convent Threshold is also a love poem. The lovers

are separated by a blood-feud and the woman rises above
what she conceives to be their guilt and enjoins the man
to lift his eyes heavenward and repent. She derives
strength to renounce happiness in this life from her
conviction that much greater bliss will follow on the

other side of the grave, if penance is done on earth.

Rejected love is sung in Twice

"I took my heart in my hand,

(O my love, O my love)
I said, Let me fall or stand

Let me live or die,

But this once hear me speak

(O, my love, O, my love)
Yet a woman's words are weak
You should speak, not I.'*
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125

This is one of the few instances where Christina

Rossetti makes use of the refrain, a medieval revival, much
favoured by other romantic poets. Betrayed love finds
expression in Margery where the lover deserts his bride,
in Sister Maude, where the sister proves treacherous, in
Cousin [Kate where the sad fate is told of a cottage-

maiden, lured to her lover's palace home and afterwards,

when she is a mother, deserted for one fairer than her-
self. Here, as in some other poems, Christina Rossetti
proves herself lenient to errors committed through love
her austerity to herself had not made her sour or bitter.

Likewise in The Iniquity of the Fathers upon the Children

not the slip made by the lady is reproved, but her lack of
courage to acknowledge her error before the world and to
love her child as the deserted mother does in Cousin Kate.
Many more songs of unhappy love might be quoted,
such as: Two Parted, Light Love and Mirage.
Not all the love-songs are sad. We find the lighter,

more cheerful side of love in: Listening, a melodious

little poem, which, once read, cannot easily be forgotten;
also in May:
"I cannot tell you how it was
But this I know, it came to pass

Upon a bright and breezy day

When May was young, ah pleasant May!"
 126

Happy love is also sung in : Annie, In the Lane, and

Love from the North. The latter is a true romantic song
of the strong man carrying off the bride from the church
where she is marrying a gentler bridegroom, and forcing
her, by the power of his will, to be his. A Triad is of

an entirely different kind, it is almost sarcastic; it tells

of three ladies who were incapable of true love ; one

was too coarse, the second too placid, the third too

hungry after love, so that they all just missed it.

Christina felt ashamed of having written this poem,

Mr. Mackenzie Bell tells in his Biography, and would
not publish it at first. This was probably because in it a
side of her nature was revealed which she thought it

her duty to repress. It also appears in the coquettish

No thank you John.

As examples of other poems (not love-songs) written
in the lighter vein, may be mentioned the well-

known and even parodied A Birthday; also Maidensong,

and the curious My Dream, in which the story is told of a
crocodile that wrings his hands and sheds 'appropriate
tears.'

The result of the repression and restraint that Christina

Rossetti forced upon herself was the unnatural gloom
already referred to in the discussion of her poems
on death. When reading such works as: Up-Hill t
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127

Repining and Introspection one would think that life was

nothing but weariness. In Beauty is Vain, the poet,
whose artistic nature of course loved beauty, who
created beauty and could not help creating beauty all

her life, went so far as to say that beauty in a woman

is of no importance at all, because in the end she
must die.

Goblin Market is a poem which is not marred by

unnatural sadness. It is entirely delightful. Here, and
still more so in her poetry for children, published under
the name of Sing Song, she puts herself on the level of
a child. A symbolic meaning may easily be found in
Goblin Market and has been read into it, but William
Rossetti says that his sister more than once asserted
that she did not mean anything profound by this fairy-

tale. The closing lines of it

"For there is no friend like a sister,

In calm or stormy weather

To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands.*'

are supposed to have been written with reference to

 128

her sister Maria, for whom she felt great admiration

and deep love and who often seems to have given her
spiritual support, when she accused herself of real or

imaginary backsliding. There are other, similar refe-

rences to her sister in her poetry, so, for instance in
The Lowest Room and in Noble Sisters.

It has been said in a preceding chapter that Christina

had not much motherly love for children. Her delightful

poetry written for children might be considered to

disprove this statement. But this seeming contradiction
can be explained by the poet's simple, childlike nature,
which made it easy for her to see and imagine things as
children would do. A clear example of this capacity to

enter into the thoughts of children is Winter, the first

two stanzas of which are:

"Sweet blackbird is silenced with chaffinch and thrush,

Only waistcoated robin still chirps in the bush : *

Soft sun-loving swallows have mustered in force

And winged to the spice-teeming southlands their course.

Plump housekeeper dormouse has tucked himself neat

Just a brown ball in moss with a morsel to eat;
Armed hedgehog has huddled him into the hedge
White frogs scarce miss freezing deep down in the sedge.**
 129

This poem is also illustrative of the love which the

poet, who in this respect resembled her brother Gabriel,
bore birds and animals. Among birds it was chiefly the

robins in their red waist-coats, the thrushes and the

blackbirds, the wrens and owls that appealed to her.

"Wrens and robins in the hedge

Wrens and robins here and there
Building, perching, pecking, fluttering
Everywhere.**

In The Months, A Pageant, we also hear of Robin

Redbreast.

"In your scarlet waist-coat,

With your keen bright eye,
Where are you loitering
Wings made to fly!**

Of the other animals that particularly attracted her

and found a place in her poetry may be mentioned the

mole, the frog, the mouse, the lamb and the lizard ; they
occur in From House to Home, in A Pageant, An Old
World Thicket etc.

Among the flowers it is the rose that she sang most

frequently. Her preference is expressed in Queen
Rose:
9
 ;

130

"Let others choose sweet jessamine,

Or weave their lily-crown aright,

And let who love it pluck and twine

Loose clematis, or draw delight
From meadowsweets* cluster downy white —
The rose, the perfect rose be mine."

In A Years Windfalls a stanza is devoted to it:

"In the wind of sunny June

Thrives the red rose crop,
Every day fresh blossoms blow
While the first leaves drop
White rose and yellow rose
And moss rose choice to find,

And the cottage cabbage rose

Not one whit behind.*'

There are many more references to the 'lovely red rose*

in Christina's poetry. Her preference for this simple
flower is characteristic. If one compares Christina
Rossetti's way of approaching nature to that of other
poets one is struck by the almost childlike simplicity of
her attitude. Only the obvious qualities of natural objects
are expressed. The poet had lived chiefly in London
and had not had the same chances as, for instance,
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131

Tennyson, Shelley, Wordsworth, Keats or William

Morris to watch nature in her varying moods. Besides,
she was perhaps too much taken up with spiritual things
to give very much attention to natural life around her, a
rose was just a rose to her ; when she gave it an epithet
she called it fair, or red, or lovely. The opening lines of

A Dirge run

"She was as sweet as violets in the Spring,

As fair as any rose in Summertime

she says elsewhere

"The rose that blushes rosy red

She must hang her head"

and: "The rose with such a bonny blush

What has the rose to blush about.'*

In Seasons we are told no more out-of-the-way things

than that in Spring the leaves are young, that in Summer
the young birds leave the nest, that in Autumn the
swallows fly across the seas and in Winter the sun shines
on the snow ; but all this is said in such a melodious way
and there is such a very expressive reference to the sun
as 'starved-looking', and to the dew-drops as 'gleaming
like jewels hung on the boughs' that one cannot help
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132

being pleased. Also in Spring we are told of the obvious

features of that season ; the young shoots appear, the
thaw- wind blows, young grass springs on the plain,
birds sing and pair. When the poet sings (in Seasons) :

"Oh the cheerful budding- time

When thorn-hedges turn to green,
When new leaves of elm and lime
Cleave and shed their winter screen
Tender lambs are born and baa,
North wind finds no snow to bring

Vigorous nature laughs 'Ha ha!*

In the miracle of Spring."

and in Summer:
"Winter is cold-hearted,
Spring is yea and nay,
Autumn is a weather-cock
Blown every way.'*

or in To-day and To-Morrow :

"All the world is out in leaf

Half the world in flower
Earth has waited weeks and weeks
For this special hour;
Faint the rainbow comes and goes
On a sunny shower.'*
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133

it is her melodious expression rather than her power of

observation that we admire.
Christina's great love for her mother which is so
important a feature in her letters, is also revealed in

her work. In Valentines to my Mother she writes

of her

"Blessed Dear and Heart s Delight,

Companion, Friend and Mother mine.*'

and: "My blessed Mother in her chair

On Christmas Day seemed an embodied Love."

Her affection for her brothers finds expression in

Portraits where she draws a likeness of Gabriel

"An easy, lazy length of limb,

Dark eyes and features from the South,
A short-legged meditative pipe
Set in a supercilious mouth;
Ink and a pen and papers laid
Down on a table for the night
Beside a semi- dozing man
Who wakes to go to bed by light.

A pair of brothers brotherly,

Unlike and yet how much the same,'* etc.

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134

Her love of 'the South*, of Italy, appears in En Route

which was written on the occasion of her short visit to

Italy in 1865, and in which she complains:

"Wherefore art thou strange and not my mother ?

Thou hast stolen my heart and broken it
Would that I might call thy sons 'My brothers*
Call thy daughters 'Sister sweet.**

In her Italia io ti saluto, which will be quoted later,

we find an expression of this same regret at having to

live in the cold north, far from Italy.

As has been said in a preceding chapter Christina

did not show much interest in political or social affairs.

Yet in 1 870 — *7 1 during the French — German campaign

she gave utterance to her feelings of sympathy for the

invaded country in : The Brother s Blood Crieth, and

To-day for Me; also on a social question, that of the
rights of women, she expresses her views. Concerning
the place that, in her opinion, belongs to woman in

her relations with man we read in : A Helpmeet for

Him that "meek compliances veil her might'* and, "him
she stays by whom she is stayed.** She was evidently
a very womanly woman. In one of his letters Gabriel
Rossetti speaks of 'the falsetto muscularity of the Barret
 135

Browning style' of which he fancies he sees a trace in

his sister's poetry. It does not seem to me that there is

much of Mrs. Browning's influence noticeable in Christina

Rossetti's poetry.

If one compares the Monna Innominata Sonnets with

the Sonnets from the Portuguese little likeness is to be
found in feeling and in form, only so much as there is

between all sonnets. There is in Christina Rossetti's

sequence of sonnets nothing of the great passion and of

the self-abasement caused by that passion that we find

in the Sonnets from the Portuguese; there is not the same

giving up of individuality, the losing of the self in the

lover, the feeling of being transfigured and glorified

by the princely gift of his love. Mrs. Browning's ninth

sonnet may be quoted to illustrate this self-abasement:

"Can it be right to give what I can give?

To let thee sit beneath the fall of tears

As salt as mine, and hear the sighing years

Re-sighing on my lips renunciative
Through those infrequent smiles, which fail to live

For all thy adjurations? O my fears,

That this can scarce be right ! We are not peers

So to be lovers ; and I own and grieve
That givers of such gifts as mine are, must
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136

Be counted with the ungenerous. Out, alas!

I will not spoil thy purple with my dust,

Nor breathe my poison on thy Venice -glass

Nor give thee any love .... which were unjust,

Beloved, I only love thee! let it pass."

Christina would not have expressed her feelings in

this way, she could not have let herself go so much

nor would she have been capable of the error of taste
in the second and third lines which illustrate the saying
that there is but one step between pathos and ridicule.
Christina's natural reserve would have prevented her
from writing as Mrs. Browning did in the twelfth sonnet

"Indeed this very love which is my boast

And which, when rising up from breast to brow
Doth crown me with a ruby large enow
To draw men's eyes, and prove the inner cost"

nor as in the eighteenth sonnet,

I never gave a lock of hair away

To a man, Dearest, except this to thee,

Which now upon my fingers thoughtfully

I ring out to the full brown length, and say

"Take it."
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137

or in the closing lines of no. XVII

"How dearest, wilt thou have me for most use?

A hope, to sing by gladly ? .... or a fine

Sad memory, with thy songs to interfuse ? . . . .

A shade, in which to sing .... of palm or pine?

A grave, on which to rest from singing ? Choose.'*

Also in an other respect the difference between the

two poets is illustrated by the sonnets. The Sonnets
from the Portuguese contain many references to classical
literature ; for instance the opening lines of the series

run

"I thought once how Theocritus had sung

Of the sweet years, the dear and wished-for years
Who each one in a gracious hand appears
To bear a gift for mortals, old or young.*'

and the fifth sonnet begins

"I lift my heavy heart up solemnly

As once Electra her sepulchral urn."

Christina was not well read in the classics ; her tastes

went another way, hence we do not find any classical

references in her sonnets ; it is significant that in her

work there are allusions to the Bible, as in the sixth

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138

and the eighth sonnets. It may be interesting to quote

the former, the more so as it is a clear illustration of the

difference between the two poets in their attitude

towards love.

"Trust me, I have not earned your dear rebuke,

I love, as you would have me, God the most;
Would lose not Him, but you, must one be lost,

Nor with Lot's wife cast back a faithless look,

Unready to forego what I forsook

This say I, having counted up the cost,

This, though I be the feeblest of God's host,

The sorriest sheep Christ shepherds with His crook.

Yet while I love my God the most, I deem
That 1 can never love you overmuch
I love Him more, so let me love you too
Yea, as I apprehend it, love is such
I cannot love you if I love not Him,
I cannot love Him if I love not you.'*

There is also self-abasement here, but before God,

not before a human being. The intensity of passion

that is expressed in the Sonnets from the Portuguese is not

to be found in the Monna Innominata sonnets.

As another example of the more reserved tone and
 ; : ;

139

the greater dignity of expression of the Innominata

sonnets, the fourth of the series may be quoted
"I loved you first: but afterwards your love,
Outsoaring mine, sang such a loftier song
As drowned the friendly cooings of my dove.
Which owes the other most? My love was long
And yours one moment seemed to wax more strong
I loved and guessed at you, you construed me
And loved me for what might or might not be —
Nay, weights and measures do us both a wrong.
For verily love knows not 'mine* or 'thine'

With separate T and 'thou* free love has done,

For one is both and both are one in love;

Rich love knows nought of 'thine that is not mine*
Both have the strength and both the length thereof,
Both of us, of the love which makes us one.**

From what precedes it is evident that as regards the

spiritual and mental background of their poetry the

difference between the two women poets is very great.

Christina as has been mentioned above, had none of Mrs.
Browning's taste for and knowledge of the classics, nor
had she her philosophy, her wide outlook on life, her
knowledge of literature and of social and human affairs.

Christina's range was too limited for her to produce works

 140

like: Prometheus Bound, The Rhyme ofthe Duchess May, The

Lay ofthe Brown Rosary (which two latter poems have some
affinities with Gabriel's ballads), The Cry of the Children,
A Mans Requirements, To George Sand, Cowpers Grave,
On a Portrait of Wordsworth or Stanzas on Lord Byron.
A poem of general philosophic thought as : Insufficiency,

the subject of which is the impossibility for a human

being to find perfect expression for his ideas, would be
beyond Christina Rossetti's scope.

Mr. Mackenzie Bell draws attention to the very

characteristic fact that though Christina, being half Italian,
must have felt deeply for the cause of the liberation of
Italy, it was not she, but Mrs. Browning, who expressed
such feelings in the stirring poems: First News from
Villafranca, A Tale of Villafranca and Parted Lovers.
The writer adds that in Christina's : Italia io ti saluto

there is pathos also, but it is the personal, not the

national note that is struck in this exquisite poem:

Italia io ti Saluto.

To come back from the sweet south, to the North

Where was born, bred, look to die;
I

Come back to do my day's work in its day,

Play out my play —
Amen, amen, say I.
 141

To see no more the country half my own,

Nor hear the half familiar speech,

Amen, I say; I turn to that bleak North

Whence I came forth —
The south lies out of reach.

But when our swallows fly back to the south

To the sweet south, to the sweet south,

The tears may come again into my eyes
On the old wise
And the sweet name to my mouth.

But though Christina Rossetti was much more limited

in her range and was not by any means so intellectual
as Mrs. Browning, she had to a far greater extent the

poet's most pleasing gift of melodiousness. Nor was she

so apt to err, as Mrs. Browning was, in choosing unpoetic
subjects for her poetry.
Two influences may still be mentioned as being here
and there noticeable in Christina's poetry, viz: that of

Shelley, which we find, for instance, in the lyric March

of The Pageant, and that of Tennyson, of whose style

we are reminded in Repining, The Prince s Progress and

The Lowest Room, On the whole very little influence
of other poets is noticeable. When reading Christina
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142

Rossetti's writings one is conscious of being in the

company of a personality, of a woman who dared to be
herself. She had her own views of things, and though
the range of her interests was not great, though she did
not attempt to approach difficult political, economical or
philosophical questions, yet one feels that she is worth
listening to, because of the great truthfulness and
sincerity with which she expresses her thoughts on the
things that fall within her scope. She was very subjective
the poet's varying moods find utterance in her work.
She is often sad, at times hopeful, occasionally serenely
happy. She sings of her great Love of God, of her
Mother, of her brothers and sister ; also of her weariness

of a life that does not satisfy her.

Her greatest gift was her wonderful command of her

instrument, the English language. The meaning is never

obscured by the form. That she practised a great deal
before she attained this mastery is proved by the large
number of bouts rime's she wrote, some of which are
published in her collected works. Yet, when reading her
poetry, one never for a moment thinks of the cleverness
of the poet, as one cannot help doing, for instance, when
reading Swinburne. The current of her song flows so
smoothly that the art is forgotten.

The form the poet chooses is always very appropriate

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143

to her subject. In Goblin Market short lines are used

which, by their hopping motion indicate the movements
of the goblins ; the lines grow longer when the story of

the two sisters is told.

In Maiden Song the cheerful opening lines at once

strike the bright note that characterises the poem

"Long ago and long ago

And long ago still,

There dwelt three merry maidens

Upon a distant hill.
One was tall Meggan,
And one was dainty May
But one was fair Margaret
More fair than I can say,
Long ago and long ago.**

There is great variety in the measures she uses. As

a rule she writes in stanzas, but occasionally, as in
Repining, in rhyming couplets. In The Lowest Room the
stanzas are four-lined with only one rhyme in the second
and fourth lines ; the four-lined stanzas of From House
to Home rhyme a b a b. In The Prince's Progress we find
six-lined stanzas rhyming a a a b a b. In the sonnets

and in her other shorter poems also much variety is to

be noticed as regards length of stanzas and of lines,

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144

number of accents and distribution of rhyme. In the

Monna Innominata series the scheme of the first sonnet is

abba acca dcefdf;

of the second

abba abba cddccd

of the third

abba abba bcdcdb

of the fourth:

abab bccb dbadab.

A characteristic of all Christina Rossettfs poetry is

simplicity of language and the use of genuine English

words. To illustrate this a few examples may be quoted
from the various kinds of her poetry, from the work
of her youth, from her devotional and from the general
poems. The first quotation is from Repining, written in

1847, so when the poet was still very young:

"She sat alway through the long day,

Spinning the weary thread away:
And ever said in an undertone,
'Come, that I be no more alone.'

From early dawn to set of sun

Working, her task was still undone;
 ; ; ;

145

She heard the gentle turtle-dove

Tell to its mate a tale of love

She saw the glancing swallows fly,

Ever a social company.**

The following bears the title Two Pursuits and belongs

to the Devotional Poems :

"A voice said 'Follow, follow and rose

: ; I

And followed far into the dreamy night,

Turning my back upon the pleasant light.
It led me where the bluest water flows,

And would not let me drink where the corn grows :

I dared not pause, but went uncheered by sight

Or touch ; until at length in evil plight,

It left me wearied out with many woes.

Some time I sat as one bereft of sense
But soon another voice from very far

Called, 'Follow, follow*; and I rose again,

Now on my night has dawned a blessed star
Kind steady hands my sinking steps sustain,
And will not leave me till I shall go hence.**

From poems it is a pleasure

the general to quote the
beautiful The Summer is Ended.
10
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146

"Wreathe no more lilies in my hair,

For I am dying, Sister sweet

Or, if you will for the last time
Indeed, why make me fair

Once for my winding-sheet.

Pluck no more roses for my breast,

For I like them fade in my prime
Or, if you will, why pluck them still,

That they may share my rest

Once more for the last time.

Weep not for me when am I gone,

Dear tender one, but hope and smile
Or, if you cannot choose but weep,
A little while weep on,
Only a little while.'*
 : ;

VII.

CONTEMPORARY OPINION AND CRITICISM.

Christina Rossetti was so fortunate as to find favour

in the eyes of contemporary critics so that the reviews

written on the publication of the several volumes of her
poetry were full of praise. It is striking that those who
write about her work nearly all include the poet's
character in their praises. Among the literary men of

her own time who admired her was A. C. Swinburne.

In his Ballad of Appeal he expressed his admiration in
this way

'Blithe verse made all the dim sense clear

That smiles of babbling babes conceal

Prayer's perfect heart spake here: and here

Prose notes of blamelesswoe and weal
More soft than this poor song's appeal.
Where orchards bask, where cornfields wave,
They dropped like rains that cleanse and lave,
And scattered all the year along,
Like dewfall on an April grave,
Sweet water from the well of song.'
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148

In a letter dated 26 July 1 882 Christina, speaking of

Swinburne, writes to her brother William : "He has kindly
presented me with his volume" (Tristram of Lyonesse),
"a valued gift ; and I cannot forbear lending you the
letter which accompanied the book. This is the fourth
book he has sent me and I not one hitherto to him, so
for lack of aught else I am actually offering him a Called
to be Saints, merely however drawing his attention to

the verses."
On 28 July she writes : "Mr. Swinburne has acknow-
ledged with consummate graciousness Called to be Saints

and gives me great pleasure by liking the verses for St.

Barnabas, Holy Innocents S. S. Philip and James. I do not
think he is at all offended by my offering him the book."
In 1 883 Swinburne, in token of his admiration, dedi-

cated to Christina Rossetti his : A Century of Roundels.

In his Preface to A. C. Pollard's edition of Herrick,

Swinburne, after discussing the question whether Herrick

ought to be considered a sacred poet or not, writes as

follows
"But neither Herbert nor Crashaw could have bettered
such a divinely beautiful triplet as this

"We see Him come, and know Him ours

Who with His sunshine and His showers
Turns all the patient ground to flowers."
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149

That is worthy of Miss Rossetti herself: and praise

of such work can go no higher."
Gabriel Rossetti, in a letter to Hall Caine, wrote
"Mr. Swinburne who is a vast admirer of my sister's,
thinks the Advent perhaps the noblest of all her poems,
and also specially loves the Passing Away.*' And he goes
on, giving his own opinion : "I do not know that I quite
agree with your decided preference for the two sonnets
of hers your signalise, — the World is very fine, but
the other Dead before Death, a little sensational for her,
I think After Death one of her noblest, and the one
After Communion. In my own view the greatest of all her
poems is that on France after the siege,'* To-day for
Me. A very splendid piece of feminine ascetic passion
is The Convent Threshold.
William M. Rossetti also speaks of his sister in

connection with Swinburne's Poems and Ballads. In

A Criticism he writes:
"The last of our present poetic quartett, Christina
Rossetti, is a singer of a different order from all these,
reaching true artistic effects with apparently little study
and as little of mere chance, rather by an internal sense
of fitness, a mental touch as delicate as the fingertips of
the blind. She simply, as it were, pours words into the
mould of her idea ; and the resultant effigy comes right,
 150

because the idea, and the mind of which it is a phase,

are beautiful ones, serious, yet feminine and in part

almost playful. There is no poet with a more marked

instinct for fusing the thought into the image, and the
image into the thought the ; fact is always to her emotional,
not merely positive, and the emotion clothed in a sensible
shape, not merely abstract. No treatment can be more
artistically womanly in general scope than this which
appears to us the most essential distinction of Miss
Rossettfs writings.**
A little further the writer says that: "the prevalent

cadence of Swinburne's Rococo and Madonna Mia and

also of The Garden of Proserpine show some likeness
with some of Christina's productions.**
On Christina Rossettfs death Swinburne wrote his

Elegy, beginning:

"A Soul more sweet than the morning of new-born May

Has passed with the year that has passed from the world
away.**

Christina's volume: Goblin Market and other Poems

was well received. The British Quarterly of July 1 862
wrote : "All these (poems) are marked by beauty and
tenderness. They are frequently quaint and sometimes
a little capricious.**
 :

151

Goblin Market is, in the same article, said to be "the

poem which is most purely and completely a work of

art*'; but: "the devotional pieces are those we have

liked best."

The National Review said of the volume: "The

principal poem has rare delicacy and beauty of a
modest kind and several of the sonnets are fine." On
30 November 1875 the poet writes to her brother
Gabriel: "I have had one favourable review of my new
edition in the Glasgow News'* (the reference is to Sing

Song). She writes on 17 December 1879: Seek and Find

has been favourably mentioned in the Saturday Review,
and on 5 Sept. 1881 : "I am much pleased with his
(Hall Caine's) Academy article (on the Pageant and
other Poems). I cannot forbear adding how delighted
I am at the favourable verdict on the Pageant which is,

I fancy, among the best and most wholesome things

I have produced." Concerning this work, which was
published in 1 88 the British Quarterly wrote :
" The
1 ,

Pageant is full of grace and fancifulness there ; is playful

freshness in it; it abounds in delicate pictures which
claim for themselves a place apart in the imagination.**
The Guardian said in a review of the same volume
"She (the poet) breathes habitually the atmosphere of

wonder and aspiration. But she is also a student of high

 152

literary models and can express herself, on an occasion,

with the clearness, directness and precision which are
the usual indications of a thoroughly trained mind.**
The Daily News wrote: "A more finished grace,
however, is traceable in some of these pieces than she
has hitherto attained; they are characterised by grave
tenderness.** And the verdict of the Westminster Review
was: "Very good work in Miss Rossettfs new volume
of poems.'*

Mr. W. Sharp was among the admirers of her work,

as we hear from a letter written by Christina to her
brother William on 7 Dec. 1882, in which we read:
"I have had a narrow escape of seeing my birthday
memorialised in the Atheneum by a sonnet from Mr.
Sharp. He tells me he can explain the reason of its

non-appearance ; but in my secret soul,** she adds

jocularly, "I suspect that reason of being the cogent one
that it is not a good sonnet.** On 9 Nov. 1 892 the poet
sent to her brother William a review from The Rock on
her Face of the Deep which, she says, "is a pleasing one,
laudatory to a high degree.** In a letter written on
8 February 1 893 she writes to the same brother, con-
cerning the edition of the Collected Verse : It sold beyond
what was anticipated so that a second edition was not
out quite in time to meet the demand.
 153

On 115—116
p. p. of Mr. Mackenzie Bell's biogra-

phy we read: "When reviewing in The Atheneum of

February 15, 1896 Christina Rossetti's New Poems,

Mr. Watts Dunton has some touching remarks respecting
her mother's influence on Christina and Christina's own
influence on Dante Gabriel: "Christina Rossetti's

peculiar form of the Christian sentiment she inherited

from her mother, the sweetness of whose nature was
never disturbed by that exercise of the egoism of the
artist in which Christina indulged, and without whose
influence it is difficult to imagine what the Rossetti
family would have been .... All that is noblest in
Christina's poetry, an ever-present sense of the beauty
and power of goodness, must surely have come from
the mother."
In the same article Mr. Watts Dunton says that
Christina's youthfulness of temperament, which had
such a great charm for her brother Gabriel, must have
come to her from her mother and that the beauty of
Christina's life and her religious system had an extra-
ordinary influence on her brother. The writer thinks
in Christina's poetry it becomes evident what Christianity
may be as the motive power of poetry. We quote from
this article : "Mr. W. M. Rossetti speaks of "the very wide
and exceedingly strong outburst of eulogy'* of his sister
 :

154

which appeared in the public press after her death. Yet

that outburst was far from giving adequate expression to

what was felt by some of her readers — those between

whom and herself there was a bond of sympathy so
sacred and so deep as to be something like religion." —
And: "They feel that at every page of her writing the
beautiful poetry is only the outcome of a life whose
almost unexampled beauty fascinates them. Although
Christina Rossetti had more of what is called the uncon-

sciousness of poetic inspiration than any other poet of

her time, the writing of poetry was not by any means
the chief business of her life. No one felt so deeply as
she that poetic art is only at best the imperfect body in
which dwelt the poetic soul.**

Mr. William Sharp in his Reminiscences of Christina

Rossetti mentions the discrimination the poet showed in
her admiration of the masterpieces of English poetry. He
also remembers the beautiful and melodious way in

which she repeated poetry. Her reading was not exten-

sive, but she was a good critic of literature.

Mr. Arthur Symons in his: The Poets and the Poetry

of the Century says of her style

"The secret of a style which seems innocently unaware
of its own beauty is, no doubt, its sincerity, leading to

the employment of homely words where homely words

 155

are wanted, and always of natural and really expressive

words yet not;
sincerity only, but sincerity as the servant

of a finely touched and exceptionally seeing nature. A

power of seeing finely beyond the scope of ordinary
vision ; that, in a few words, is the note of Miss Rossettfs
genius, and it brings with it a subtle and as if instinctive

power of expressing subtle and yet as if instinctive

conceptions; always clearly, always simply, with a singular

and often startling homeliness, yet in a way and about
subjects as far removed from the borders of the common-
place as possible. This power is shown in every division
of her poetry; in the peculiar witchery of the poems
dealing with the supernatural, in the exaltations of the
devotional poems, in the particular charm of the child-

songs, in the special variety and excellence of the poems

of affection and meditation. The union of homely yet
always select literalness of treatment with mystical
visionariness constitutes the peculiar quality of her
poetry."
Mr. Arthur C. Benson wrote an appreciative article

on Christina Rossetti in The National Review of February

1 895 and Mrs. Meynell in The New Review of the same
month and year points out that Christina Rossetti is always
poetical. Soon after the poet's death Katherine Tynan
(Mrs. Hinkson) contributed an essay on her life and
 :

156

writings to the Bookman. She remarks that Christina was

fond of the very book one felt sure she must have been
fond of, namely Mrs. Gaskell's Cranford.
Mr. Mackenzie Bell mentions (p. 1 67) that in 1 893
or 1 894 Henri Jacottet wrote some good articles about
Christina in a Swiss Review.
In The Dictionary of National Biography Dr. Prichard
Garnett observes
"Her Goblin Market is original in conception, style

and structure, as imaginative as the 'Ancient Mariner*

and comparable only to Shakespeare for the insight

shown into unhuman and yet spiritual natures.'*
And Mr. Lionel Johnson, in 'the Academy* of 25
July 1896 says that, in his opinion, her characteristic

greatness lies in her most intimate, most severe, most

passionate and sacred poems ; in the work which sets

her in the company of Herbert, Vaughan, Crashaw,

Father Southwell, Her rick and Cardinal Newman. "By
this**, says Mr. Lionel Johnson, "is not meant that her

obviously and ostensibly sacred poems are alone her

greatest; many others, poems of meditation or of passion

with no distinct Christian cry in them, stand side by side

with the poems divine and devout. Her more external
work, with its gaieties and beautiful imaginings is full

of delights.**
 157

Among her admirers who did not write essays or

biographies or criticisms on her was Mr. W. Gladstone
who pronounced her sonnets to be perfect of form and
finish and who, on one occasion, recited her Maiden
Song. An admirer of long standing was her maternal
grandfather, Mr. Polidori, who is reported to have said
of her, when she was twelve, that she was going to be
"the cleverest of the set.'*

Some of her poems were considered fit to be set to

music, e. g. Songs in a Cornfield, Passing Away and

Goblin Market (to the latter Mr. E. Aguilar wrote an

accompaniment). When Christina Rossetti died her loss

was mourned and her gifts were praised by many. The
bishop of Durham wrote a letter to William M. Rossetti
on the occasion of Christina's death, which expresses
feelings of the deepest regret. "Not a week passes, he
wrote, when I do not find some fresh pleasure from
fragments of your sister's work. And my experience is,

I am sure, that of very many. Those who so teach us

and reveal themselves to us cannot be lost."
 CONCLUSION.
Christina Rossetti was a noble, warm-hearted woman
who took life seriously and who, through self-denial and
devotion to those dear to her, tried to live like a true
Christian. She was a personality; she tried, indepen-
dently of others, to find salvation in her own way.
She took a certain interest in social and political

questions of the day and, when asked, expressed a

decided opinion or them, but she did not come forward
to assert these views. Christina Rossetti was of a reserved,
retiring nature, happy to live in the seclusion of her
home. She was greatly loved and respected by those
who knew her well ; to her brother Gabriel she repre-
sented the ideal of womanhood and her brother William
wrote about her with great love and appreciation.
Her life was in keeping with the fine thoughs ex-
pressed in her verse ; she practised what she preached.
Her devotional prose and poetry were of great moral
support to those for whom it was written.
Knowing her own limitations she never attempted to
write about things she did not understand.
As regards form her verse has not been surpassed
in melodiousness by any poet England has produced.
She takes a foremost place in English literature. She
is the greatest religious poet of the nineteenth century in
England and among the poetesses only Mrs. Browning
can be considered to compete with her in excellence.
 ..

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