Complete Poetical Works of Dante Gabriel Rossetti

by Dante Gabriel Rossetti

  Where night-rack shrouds the Old Love fugitive.

  There is a change in every hour’s recall,

  And the last cowslip in the fields we see

  On the same day with the first corn-poppy.

  Alas for hourly change! Alas for all

  The loves that from his hand proud youth lets fall,

  Even as the beads of a told rosary!

  The distinguishing excellence of craftsmanship in Rossetti’s sonnets was early recognised; but the fertility of thought, and range of emotion compassed by this part of his work constitute an excellence far higher than any that belongs to perfection of form, rhythm, or metre. Mr. Palgrave has well said that a poet’s story differs from a narrative in being in itself a creation; that it brings its own facts; that what we have to ask is not the true life of Laura, but how far Petrarch has truly drawn the life of love. So with Rossetti’s sonnets. They may or may not be “occasional.” Many readers who enter with sympathy into the series of feelings they present will doubtless insist upon regarding them as autobiographical. Others, who think they see the stamp of reality upon them, will perhaps accept them (as Hallam accepted the Sonnets of Shakspeare) as witnesses of excessive affection, redeemed sometimes by touches of nobler sentiments — if affection, however excessive, needs to be redeemed. Others again will receive them as artistic embodiments of ideal love upon which is placed the imprint of a passion as mythical as they believe to be attached to the autobiography of Dante’s early days. But the genesis and history of these sonnets (whether the emotion with which they are pervaded be actual or imagined) must be looked for within. Do they realise vividly Life representative in its many phases of love, joy, sorrow, and death? It must be conceded that he House of Life touches many passions and depicts life in most of its changeful aspects. It would afford an adequate test of its comprehensiveness to note how rarely a mind in general sympathy with the author could come to its perusal without alighting upon something that would be in harmony with its mood. To traverse the work through its aspiration and foreboding, joy, grief, remorse, despair, and final resignation, would involve a task too long and difficult to be attempted here. Two sonnets only need be quoted as at once indicative of the range of thought and feeling covered, and of the sequent relation these poems bear each to each.

  By thine own tears thy song must tears beget,

  Singer! Magic mirror thou hast none

  Except thy manifest heart; and save thine own

  Anguish or ardour, else no amulet.

  Cisterned in Pride, verse is the feathery jet

  Of soulless air-flung fountains; nay, more dry

  Than the Dead Sea for throats that thirst and sigh,

  That song o’er which no singer’s lids grew wet.

  The Song-god — He the Sun-god — is no slave

  Of thine: thy Hunter he, who for thy soul

  Fledges his shaft: to the august control

  Of thy skilled hand his quivered store he gave:

  But if thy lips’ loud cry leap to his smart,

  The inspired record shall pierce thy brother’s heart.

  This is not meant to convey the same idea as Shelley’s “learn in suffering,” etc., but merely that a poem must move the writer in its composition if it is to move the reader.

  With the following The House of Life is made to close:

  When vain desire at last and vain regret

  Go hand in hand to death, and all is vain,

  What shall assuage the unforgotten pain

  And teach the unforgetful to forget?

  Shall Peace be still a sunk stream long unmet, —

  Or may the soul at once in a green plain

  Stoop through the spray of some sweet life-fountain,

  And cull the dew-drenched flowering amulet?

  Ah! when the wan soul in that golden air

  Between the scriptured petals softly blown

  Peers breathless for the gift of grace unknown, —

  Ah! let none other alien spell soe’er

  But only the one Hope’s one name be there, —

  Not less nor more, but even that word alone.

  A writer must needs be loath to part from this section of Rossett’s work without naming some few sonnets that seem to be in all respects on a level with those to which attention has been drawn. Of such, perhaps, the most conspicuous are: — A Day of Love; Mid-Rapture; Her Gifts; The Dark Glass; True Woman; Without Her; Known in Vain; The Heart of the Night; The Landmark; Stillborn Love; Lost Days. But it would be difficult to formulate a critical opinion in support of the superiority of almost any of these’ sonnets over the others, — so balanced is their merit, so equal their appeal to the imagination and heart. Indeed, it were scarcely rash to say that in the language (outside Shakspeare) there exists no single body of sonnets characterised by such sustained excellence of vision and presentment. It must have been strange enough if the all but unexampled ardour and constancy with which Rossetti pursued the art of the sonnet-writer had not resulted in absolute mastery.

  In 1850 The Germ was started under the editorship of Mr. William Michael Rossetti, and to the four issues, which were all that were published of this monthly magazine (designed to advocate the views of the pre-Raphaelite brotherhood), Rossetti contributed certain of his early poems — The Blessed Damozel among the number. In 1856 he contributed many of the same poems, together with others, to The Oxford and Cambridge Magazine, of which Canon Dixon has kindly undertaken to tell the history. He says:

  My knowledge of Dante Gabriel Rossetti was begun in connection with The Oxford and Cambridge Magazine, a monthly periodical, which was started in January 1856, and lasted a year. The projectors of this periodical were Mr. William Morris, Mr. Ed. Burne Jones, and myself. The editor was Mr. (now the Rev.) William Fulford. Among the original contributors were the late Mr. Wilfred Heeley of Cambridge, Mr. Faulkner, now Fellow of University College, Oxford, and Mr. Cormel Price. We were all undergraduates. The publishers of the magazine were the late firm of Bell and Daldy. We gradually associated with ourselves several other contributors: above all, D. G. Rossetti.

  Of this undertaking the central notion was, I think, to advocate moral earnestness and purpose in literature, art, and society. It was founded much on Mr. Ruskin’s teaching: it sprang out of youthful impatience, and exhibited many signs of immaturity and ignorance: but perhaps it was not without value as a protest against some things. The pre-Raphaelite movement was then in vigour: and this Magazine came to be considered as the organ of those who accepted the ideas which were brought into art at that time; and, as in a manner, the successor of The Germ, a small periodical which had been published previously by the first beginners of the movement. Rossetti, in many respects the most memorable of the pre-Raphaelites, became connected with our Magazine when it had been in existence about six months: and he contributed to it several of the finest of the poems that were afterwards collected in the former of his two volumes of poems: namely, The Burden of Nineveh, The Blessed Damozel, and The Staff and Scrip. I think that one of them, The Blessed Damozel, had appeared previously in The Germ. All these poems, as they now stand in the author’s volume, have been greatly altered from what they were in the Magazine: and, in being altered, not always improved, at least in the verbal changes. The first of them, a sublime meditation of peculiar metrical power, has been much altered, and in general happily, as to the arrangement of stanzas: but not always so happily as to the words. It is, however, pleasing to notice that in the alterations some touches of bitterness have been effaced. The second of these pieces has been brought with great skill into regular form by transposition: but again one repines to find several touches gone that once were there. The last of them, The Staff and Scrip, is, in my judgment, the finest of all Rossetti’s poems, and one of the most glorious writings in the language. It exhibits in flawless perfection the gift that he had above all other writers, absolute beauty and pure action. Here again it is not possible to see without regret some of the verb
al alterations that have been made in the poem as it now stands, although the chief emendation, the omission of one stanza and the insertion of another, adds clearness, and was all that was wanted to make the poem perfect in structure.

  I saw Rossetti for the first time in his lodgings over Blackfriars Bridge. It was impossible not to be impressed with the freedom and kindness of his manner, not less than by his personal appearance. His frank greeting, bold, but gentle glance, his whole presence, produced a feeling of confidence and pleasure. His voice had a great charm, both in tone, and from the peculiar cadences that belonged to it I think that the leading features of his character struck me more at first than the characteristics of his genius; or rather, that my notion of the character of the man was formed first, and was then applied to his works, and identified with them. The main features of his character were, in my apprehension, fearlessness, kindliness, a decision that sometimes made him seem somewhat arbitrary, and condensation or concentration. He was wonderfully self-reliant. These moral qualities, guiding an artistic temperament as exquisite as was ever bestowed on man, made him what he was, the greatest inventor of abstract beauty, both in form and colour, that this age, perhaps that the world, has seen. They would also account for some peculiarities that must be admitted in some of his works, want of nature, for instance. I heard him once remark that it was “astonishing how much the least bit of nature helped if one put it in;” which seemed like an acknowledgment that he might have gone more to nature. Hence, however, his works always seem abstract, always seem to embody some kind of typical aim, and acquire a sort of sacred character.

  I saw a good deal of Rossetti in London, and afterwards in Oxford, during the painting of the Union debating-room. In later years our personal intercourse was broken off through distance; though I saw him occasionally almost to the time of his lamented death, and we had some correspondence. My recollection of him is that of greatness, as might be expected of one of the few who have been “illustrious in two arts,” and who stands by himself and has earned an independent name in both. His work was great: the man was greater. His conversation had a wonderful ease, precision, and felicity of expression. He produced thoughts perfectly enunciated with a deliberate happiness that was indescribable, though it was always simple conversation, never haranguing or declamation. He was a natural leader because he was a natural teacher. When he chose to be interested in anything that was brought before him, no pains were too great for him to take. His advice was always given warmly and freely, and when he spoke of the works of others it was always in the most generous spirit of praise. It was in fact impossible to have been more free from captiousness, jealousy, envy, or any other form of pettiness than this truly noble man. The great painter who first took me to him said, “We shall see the greatest man in Europe.” I have it on the same authority that Rossetti’s aptitude for art was considered amongst painters to be no less extraordinary than his imagination. For example, that he could take hold of the extremity of the brush, and be as certain of his touch as if it had been held in the usual way; that he never painted a picture without doing something in colour that had never been done before; and, in particular, that he had a command of the features of the human face such as no other painter ever possessed. I also remember some observations by the same assuredly competent judge, to the effect that Rossetti might be set against the great painters of the fifteenth century, as equal to them, though unlike them: the difference being that while they represented the characters, whom they painted, in their ordinary and unmoved mood, he represented his characters under emotion, and yet gave them wholly. It may be added, perhaps, that he had a lofty standard of beauty of his own invention, and that he both elevated and subjected all to beauty. Such a man was not likely to be ignorant of the great root of power in art, and I once saw him very indignant on hearing that he had been accused of irreligion, or rather of not being a Christian. He asked with great earnestness, “Do not my works testify to my Christianity?” I wish that these imperfect recollections may be of any avail to those who cherish the memory of an extraordinary genius.

  Besides his contributions to The Germ, and to The Oxford and Cambridge Magazine, Rossetti contributed Sister Helen, in 1853, to a German Annual. Beyond this he made little attempt to publish his poetry. He had written it for the love of writing, or in obedience to the inherent impulse compelling him to do so, but of actual hope of achieving by virtue of it a place among English poets he seems to have had none, or next to none. In later life he used to say that Mr. Browning’s greatness and the splendour of Mr. Tennyson’s merited renown seemed to him in those early years to render all attempt on his part to secure rank by their side as hopeless as presumptuous. This, he asserted, was the cause that operated to restrain him from publication between 1853 and 1862, and after that (as will presently be seen), another and more serious obstacle than self-depreciation intervened. But in putting aside all hope of the reward of poetic achievement, he did not wholly banish the memory of the work he had done. He made two or more copies of the most noticeable of the poems he had written, and sent them to friends eminent in letters. To Leigh Hunt he sent The Blessed Damozel, and received in acknowledgment a letter full of appreciative comment, and foretelling a brilliant future. His literary friends at this time were Mr. Ruskin, Mr. and Mrs. Browning; he used to see Mr. Tennyson and Carlyle at intervals, and was in constant intercourse with the younger writers, Mr. Swinburne and Mr. Morris, whose reputations had then to be made; Mr. Arnold, Sir Henry Taylor, Mr. Aubrey de Vere, Mr. E. Brough, Mr. J. Hannay, and Mr. Monckton Milnes (Lord Houghton), he met occasionally; Dobell he knew only by correspondence. Though unpublished, his poems were not unknown, for besides the semi-publicity they obtained by circulation “among his private friends,” he was nothing loath to read or recite them at request, and by such means a few of them secured a celebrity akin in kind and almost equal in extent to that enjoyed by Coleridge’s Christabel during the many years preceding 1816 in which it lay in manuscript. Like Coleridge’s poem in another important particular, certain of Rossetti’s ballads, whilst still unknown to the public, so far influenced contemporary poetry that when they did at length appear they had all the appearance to the uninitiated of work imitated from contemporary models, instead of being, as in fact they were, the primary source of inspiration for writers whose names were earlier established.

  Towards the beginning of his artistic career Rossetti occupied a studio, with residential chambers, at Black-friars Bridge. The rooms overlooked the river, and the tide rose almost to the walls of the house, which, with nearly all its old surroundings, has long disappeared.

  A story is told of Rossetti amidst these environments which aptly illustrates almost every trait of his character: his impetuosity, and superstition especially. It was his daily habit to ransack old book-stalls, and carry off to his studio whatever treasures he unearthed, but when, upon further investigation, he found he had been deceived as to the value of a book that at first looked promising, he usually revenged himself by throwing the volume through a window into the river running below — a habit which he discovered (to his amusement, and occasionally to his distress), that his friends, Mr. Swinburne especially, imitated from him and practised at his rooms on his behalf. On one occasion he discovered in some odd nook a volume long sought for, and having inscribed it with his name and address, he bore it off joyfully to his chambers; but finding a few days later that in some respects it disappointed his expectations, he flung it through the window, and banished all further thought of it. The tide had been at the flood when the book disappeared, and when it ebbed, the offending volume was found by a little mud-lark imbedded in the refuse of the river. The boy washed it and took it back to the address it contained, expecting to find it eagerly reclaimed; but, impatient and angry at sight of what he thought he had destroyed, Rossetti snatched the book out of the muddy hand that proffered it and flung it again into the Thames, with rather less than the courtesy which might have been looked for as the rewa
rd of an act that was meant so well. But the haunting volume was not even yet done with. Next morning, an old man of the riverside labourer class knocked at the door, bearing in his hands a small parcel rudely made up in a piece of newspaper that was greasy enough to have previously contained his morning’s breakfast. He had come from where he was working below London Bridge: he had found something that might have been lost by Mr. Rossetti. It was the tormenting volume: the indestructible, unrelenting phantom that would not be laid! Rossetti now perceived that higher agencies were at work: it was not meant that he should get rid of the book: why should he contend against the inevitable? Reverently and with both hands he took the besoiled parcel from the brown palm of the labourer, placed half-a-crown there instead, and restored the fearful book to its place on his shelf.

  And now we come to incidents in Rossetti’s career of which it is necessary to treat as briefly as tenderly. Among the models who sat to him was Miss Elizabeth Eleanor Siddal, a young lady of great personal beauty, in whom he discovered a natural genius for painting and a noticeable love of the higher poetic literature. He felt impelled to give her lessons, and she became as much his pupil as model. Her water-colour drawings done under his tuition gave proof of a wonderful eye for colour, and displayed a marked tendency to style. The subjects, too, were admirably composed and often exhibited unusual poetic feeling. It was very natural that such a connection between persons of kindred aspirations should lead to friendship and finally to love.

  Rossetti and Miss Siddal were married in 1860. They visited France and Belgium; and this journey, together with a similar one undertaken in the company of Mr. Holman Hunt in 1849, and again another in 1863, when his brother was his companion, and a short residence on the Continent when a boy, may be said to constitute almost the whole sum of Rossetti’s travelling. Very soon the lady’s health began to fail, and she became the victim of neuralgia. To meet this dread enemy she resorted to laudanum, taking it at first in small quantities, but eventually in excess. Her spirits drooped, her art was laid aside, and much of the cheerfulness of home was lost to her. There was a child, but it was stillborn, and not long after this disaster, it was found that Mrs. Rossetti had taken an overdose of her accustomed sleeping potion and was lying dead in her bed. This was in 1862, and after two years only of married life. The blow was a terrible one to Rossetti, who was the first to discover what fate had reserved for him. It was some days before he seemed fully to realise the loss that had befallen him, and then his grief knew no bounds. The poems he had written, so far as they were poems of love, were chiefly inspired by and addressed to her. At her request he had copied them into a little book presented to him for the purpose, and on the day of the funeral he walked into the room where the body lay, and, unmindful of the presence of friends, he spoke to his dead wife as though she heard, saying, as he held the book, that the words it contained were written to her and for her, and she must take them with her for they could not remain when she had gone. Then he put the volume into the coffin between her cheek and beautiful hair, and it was that day buried with her in Highgate Cemetery.