Rossetti - A Level English Literature

When and where was Rossetti born?

London in 1830

Rossetti's father

Gabrielle Rossetti - political Italian immigrant

Rossetti's mother

Frances Polidori - daughter of an Italian immigrant

Rossetti's siblings

Maria (nun), Dante Gabriel (artist and poet), William Michael (editor and literary critic)

Rossetti's suitors - why did she turn them down?

Religious reasons (one was agnostic and one was Catholic) - the third was John Brett, the focus of "No, Thank You, John"

Who did she live with for most of her adult life?

Mother, sister and brother, William

Early evidence for writing

She was exposed to a literary and artistic environment from a young age, where her talents were encouraged - she has a large collection of juvenilia, with her clearest writing beginning to be produced at the age of 12, and her first writing being published at 17

Rossetti's religion

She, her mother and her sister were all members of the Oxford Movement, which aimed to revive the Catholic tradition within Anglicanism (going back to pre-Reformation England)

What illnesses did she have?

Grave's Disease and bouts of mental illness, dying in 1894

What group were her brother founding members of?

Pre-Raphaelite Brotherhood (1848)

What was the Pre-Raphaelite Brotherhood?

Created moralistically and stylistically controversial art (dissatisfied with the artistic establishment) - wanted to return to artistic principles which pre-dated Raphael - looked as myths and biblical stories in new ways (similarly to Rossetti)

Rossetti's links to the Pre-Raphaelite Brotherhood

Never a member - with several founding members objecting when Dante Gabriel suggested it - was used as an artist's model by the group, particularly Dante Gabriel (e.g. "The Girlhood of Mary Virgin," and "Ecce Ancilla Domini! (Behold, the Handmaiden of the Lord!)" - published poems in the Pre-Raphaelite's literary journal, The Germ, which was launched in 1850

What did Rossetti's brothers do with her poems?

She frequently allowed her brothers to make editorial changes to her poems

Which women's rights group did Rossetti have an association with?

The Langham Place circle, a group of middle-class women involved in the women's rights movement, although she was never a member

What work did Rossetti do and what impact would this have had on her?

She had to work as a governess to help the family finances, meaning that she would have been aware of the limited choice women had in terms of work

Which laws were changed in favour of women in the second half of the 19th century?

Regarding divorce and retaining ownership of properties after marriage

What was Rossetti in favour of for women?

Allowing them to preach and speak in parliament

Evidence that Rossetti was not in favour of women's suffrage

In 1871 she refused to sign a bill supporting women's suffrage, writing to Anna Jamieson that she had "no doubt that the highest functions are not in this world open to both sexes"

What were Rossetti's views on gender informed by?

Her religious beliefs - she used the fact that the Bible grants different roles to men and women for her own thoughts

Where did Rossetti work from 1859?

St Mary Magdalene Penitentiary in Highgate from 1859, for fallen women, in order to rehabilitate young prostitutes back into society

1864 act about women

The 1864 Contagious Diseases Acts made it legal for women suspected of being prostitutes to be examined (but it was illegal for men to be subjected to the same treatment)

Coveture

Coverture was the fact that anything owned by or earned by a married women belonged to her husband, although he was also responsible for any legal wrongdoings she committed before or after marriage

Alison Chapman difference interpretation

Rossetti's work is a "resistance to inscribing the personal" (it does not reveal much of her own personal opinions), and she does this to avoid being reduced to a simplified version of herself by the male-dominated market

Gilbert and Gubar (The Madwoman in the Attic) different interpretation

Rossetti's poetry is limited by her attempts to make a virtue out of the weakened position she is subjected to by the patriarchal society

Dinah Roe different interpretation

The Bible is "easily Rossetti's greatest literary influence" - and her religious belief and poetry were so closely intertwined that her poetry was a sort of religious practice

Anna Barton different interpretation

Rossetti had a "scripturally literate readership"

Rhian Williams different interpretation

Rossetti's work is "infused with religiosity," even though some of it appears quite secular

Song - "When I..."

When I am dead, my dearest,/Sing no sad songs for me

Song - "And if..."

And if thou wilt, remember,/And if thou wilt, forget

Song - "I shall not..."

I shall not hear the nightingale/Sing on, as if in pain

Song - "And dreaming..."

And dreaming through the twilight/That doth not rise nor set

Song - Anna Barton

When the speaker implies that she does not care whether she is remembered or forgotten, it suggests her sense of her own insignificance - however, the speaker is also assertive, taking control of her afterlife (imperative language, three repetitions of "I shall not")

Song - personal different interpretation

The woman in this poem can be argued to be sacrificing her own happiness in the afterlife for that of her own lover

Song context - death

Victorian society had struct rules for the observance of death (the speaker could be argued to be going against them) and there was an obsession with it and how to treat it in Victorian society. This was largely inspired by Queen Victoria's years of mourning for Prince Albert, and the rites became more elaborate following this. Cypress trees traditionally represent death, mourning and the underworld because they fault to regenerate when cut back too severely

Song context - nightingales

Nightingales are integral to Greek myths representing the tragic story of a woman

Remember - "When you can..."

When you can no more hold me by the hand

Remember - "Nor I half..."

Nor I half turn to go yet turning stay

Remember - "You tell me..."

You tell me of our future that you planned

Remember - "Better by..."

Better by far you should forget and smile/Than that you should remember and be sad

Remember - Anna Barton

When she is dead, her lover will no longer exert any control over her; she "is not diminished in death," but is freed instead

Remember - personal different interpretation

The woman in this poem can be argued to be sacrificing her own happiness in the afterlife for that of her own lover

Remember context - gender

This has references to gender inequality within the relationship, and within society as a whole, portraying a relationship which is in line with the traditional, desirable Victorian ideal. Rossetti's ideas can be seen to link with this, as she said that men and women have "fundamental differences"

Echo - "Come to..."

Come to me in the silence of the night;/Come in the speaking silence of a dream

Echo - "Come with..."

Come with soft rounded cheeks and eyes as bright/As sunlight on a stream

Echo - "Where thirsting..."

Where thirsting longing eyes/Watch the slow door/That opening, letting in, lets out no more

Echo - "Yet come..."

Yet come to me in dreams, that I may live/My very life again though cold in death

Echo - "Speak low..."

Speak low, lean low,/As long ago, my love, how long ago!

Echo - personal different interpretation

Could be seen as a woman's lost relationship with God

Echo context - dreams and sexuality

During the Victorian era dreams became a means to explore the psychology of individuals (Freudian psychodyamic approach). While private sexuality was not as prude as often thought, the public discussion of it was characterised by embarrassment and an absence of plain speaking

Jhansi - "The swarming..."

The swarming howling wretches below/Gained and gained and gained

Jhansi - "Skene looked..."

Skene looked at his pale young wife:-/'Is the time come?'-The time is come!'

Jhansi - "Close his arm..."

Close his arm about her now,/Close her cheek to his,/Close the pistol to her brow-/God forgive them this!

Jhansi - "'I wish I could bear..."

'I wish I could bear the pang for both.'/'I wish I could bear the pang alone'

Jhansi - "Kiss and..."

Kiss and kiss: 'It is not pain/Thus to kiss and die'

Jhansi - Dr. F. Elizabeth Gray

"With the line "Skene looked at his pale young wife", Rossetti initiates a mirroring in which the two protagonists become virtually indistinguishable... the husband and wife truly seem 'one flesh'"

Jhansi context - India

India was a British colony and in 1857 there was a mutiny against the British East India Company, involving the deaths of innocent women and children - many believed that Captain Alexander Skene and his wife, Margaret, committed suicide to avoid being captured

Jhansi context - inaccuracy

It later emerged that Alexander Skene and Margaret had, in fact, been captured and killed (Rossetti acknowledged this but kept the poem)

Jhansi context - society and religion

This poem fits with the traditional Victorian idea of an obedient wife, and has biblical images within it, for example of demons

Soeur Louise - "I have desired..."

I have desired, and I have been desired

Soeur Louise - "Now dust..."

Now dust and dying embers mock my fire

Soeur Louise - "Oh vanity..."

Oh vanity of vanities, desire!

Soeur Louise - "Trickles, trickles..."

Trickles, trickles,/Drop by drop slowly, drop by drop of fire

Soeur Louise - Elizabeth Ludlow

Rossetti could be suggesting the idea of Sister Louise ("the nun) as the bride of Christ"

Soeur Louise context - historical

This is from the perspective of Louise de la Valliere, a former mistress of Louis XIV, who became a Carmelite nun as part of Jansenism (a Catholic movement in 17th century France, which encouraged renunciation and living in orders) in order to renounce her sins.

Soeur Louise context - Rossetti personally

This links to Rossetti's beliefs surrounding fallen women, and the St Mary Magdalene Penitentiary in Highgate (1852)

John - "I never said..."

I never said I loved you, John

John - "I dare say..."

I dare say Meg or Moll would take/Pity upon you, if you'd ask

John - "I have no heart?..."

I have no heart?-Perhaps I have not;/But then you're mad to take offence

John - "In open treaty..."

In open treaty. Rise above/Quibbles and shuffling off and on

John - Anna Barton

This poem offers a more positive view of "married and unmarried life" for women, ending with "a cheerful offer of friendship, established on the speaker's own terms"

John - Simon Avery

This poem "asserts... the woman's right to say 'no' and to claim independence and agency for herself," and resists the demands of the man and, more generally, convention

John - personal different interpretation

This could be from a prostitute's point of view - "Meg and Moll" are traditional names, "can't perform that task"

John context - gender

This goes against traditional gender roles, particularly as the women is using traditionally masculine language (political, "treaty") and is logical compared to John's emotional behaviour, as well as taking control of everything, including saying his words through her own voice

Winter - "It froze..."

It froze, and blows, and snows

Winter - "Only, my..."

Only, my secret's mine, and I won't tell

Winter - "I cannot ope..."

I cannot ope to every one who taps

Winter - "I wear my mask for..."

I wear my mask for warmth: who ever shows/His nose to Russian snows

Winter - "Perhaps my secret..."

Perhaps my secret I may say,/Or you may guess

Winter - Anna Barton

An an example of Rossetti's "subversive lyricism," which is when her poems promise intimacy and intensity, but refuse to give these away

Winter - feminist interpretation

The internal rhymes and playful nature of the poem represents how women have to behave in a more subtle way to achieve their aims

Maude Clare - "'To bless..."

'To bless the hearth, to bless the board,/To bless the marriage bed'

Maude Clare - "'The lilies are..."

'The lilies are budding now'

Maude Clare - "'Lady', he said..."

'Lady,' he said,-'Maude Clare,' he said,-/'Maude Clare:'-and hid his face

Maude Clare - "'And what you leave..."

'And what you leave,' said Nell, 'I'll take,/And what you spurn, I'll wear'

Maude Clare - "'I'll love him till..."

'I'll love him till he loves me best,/Me best of all, Maude Clare'

Maude Clare - Simon Avery

Thomas' behaviour compared with the women's is "a clear critique of dominant masculinity," and Nell and Maude Clare are "set up as opposites" throughout the poem

Maude Clare context - gender

High-born men could get away with this sort of behaviour, whereas woman were treated as "fallen" (relating to Rossetti's time at the St Mary Magdalene Penitentiary) - Madonna-***** dichotomy

Maude Clare context - gender when the poem is set

Maude Clare's almost incantatory threat could relate to how women were persecuted as witches during the time the poem is set

Antique - "It's a weary life..."

It's a weary life, it is, she said:/Doubly blank in a woman's lot

Antique - "I wish and..."

I wish and I wish I were a man:/Or, better than any being, were not

Antique - "Not so much..."

Not so much as a grain of dust

Antique - "Still the world..."

Still the world would wag on the same

Antique - "Would wake and..."

Would wake and weary and fall asleep

Antique - Anna Barton

The title "distances" the speaker from Rossetti "by implying that the poem is a translation"

Antique - personal different interpretation

This could be seen as an insight into someone without a spiritual belief

Antique context - Rossetti's relgiousity

Rossetti's religion was the most important part of her life (demonstrated by her rejection of suitors on religious grounds) and this, as well as the placing of religion over societal problems, fits with her worldview

Antique context - industrialisation

The idea of people replacing religiosity with more secular ideas reflects the Victorian idea of industrialisation

Up-Hill - "Will the day's..."

Will the day's journey take the whole long day?/From morn to night, my friend

Up-Hill - "May not the..."

May not the darkness hide it from my face?/You cannot miss that inn

Up-Hill - "Then must I..."

Then must I knock, or call when just in sight?/They will not keep you standing at that door