Showing posts with label Christina Rossetti. Show all posts
Showing posts with label Christina Rossetti. Show all posts

Sunday, January 31, 2021

The Dead City by Christina Rossetti: Living in a time of pandemic?

 

Christina Rossetti by Lewis Carroll,
October 7, 1863, NPG

The genius of the family. She was the Dante of our family. 
Christina, was the daughter of what was noblest in our father 
and beautiful in our mother. 
Dante Gabriel Rossetti speaks of his sister.

In 1847 poetess, Christina Rossetti believed to be inspired by the story of Zobeide in The Arabian Nights, wrote, The Dead City; a first person singular allegory where a woman narrates her walk through an abandoned city as she makes her way to a dinner already laid out on a table. The poet warns the reader of the dangers of 'urban materialism' in a consumer culture gone awry almost pleading for the need for spiritual awakening.  

As we live in the beginning of 2021, one hundred and seventy four years after The Dead City was written, I can see parallels to the detriment of urban living. Thus, resulting in the concrete, grey, desolation of city sidewalks deserted of humans where a light shines upon tents leading the way to a dinner meal already prepared atop a table.  Think of the tents that surround individual tables outside of restaurants across our pandemic cities around the world. I wanted to share this poem with you. Read it again. Read it for the first time. Grab your copy of, The Goblin Market and other poems sitting on your shelf right now, snuggle up with your tea or coffee in your favorite recliner or sofa and see if you don't see echoes of our Covid pandemic world.  

THE DEAD CITY
BY CHRISTINA ROSSETTI


Once I rambled in a wood
With a careless hardihood,
Heeding not the tangled way;
Labyrinths around me lay,
But for them I never stood.

On, still on, I wandered on,
And the sun above me shone;
And the birds around me winging
With their everlasting singing
Made me feel not quite alone.

In the branches of the trees,
Murmured like the hum of bees
The low sound of happy breezes,
Whose sweet voice that never ceases
Lulls the heart to perfect ease.

Streamlets bubbled all around
On the green and fertile ground,
Thro' the rushes and the grass,
Like a sheet of liquid glass,
With a soft and trickling sound.

And I went, I went on faster,
Contemplating no disaster;
And I plucked ripe blackberries,
But the birds with envious eyes
Came and stole them from their master:

For the birds here were all tame;
Some with bodies like a flame,
Some that glanced the branches thro'
Pure and colourless as dew;
Fearlessly to me they came.

Before me no mortal stood
In the mazes of that wood;
Before me the birds had never
Seen a man, but dwelt for ever
In a 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.

Oh most blessed solitude!
Oh most full beatitude!
Where are quiet without strife,
And imperishable life,
Nothing marred, and all things good.

And the bright sun, life begetting,
Never rising, never setting,
Shining warmly overhead,
Nor too pallid, nor too red,
Lulled me to a sweet forgetting,

Sweet forgetting of the time:
And I listened for no chime
Which might warn me to begone;
But I wandered on, still on,
'Neath the boughs of oak and lime.

Know I not how long I strayed
In the pleasant leafy shade;
But the trees had gradually
Grown more rare, the air more free,
The sun hotter overhead.

Soon the birds no more were seen
Glancing thro' the living green;
And a blight had passed upon
All the trees; and the pale sun
Shone with a strange lurid sheen.

Then a darkness spread around:
I saw nought, I heard no sound;
Solid darkness overhead,
With a trembling cautious tread
Passed I o'er the unseen ground.

But at length a pallid light
Broke upon my searching sight;
A pale solitary ray,
Like a star at dawn of day
Ere the sun is hot and bright.

Towards its faintly glimmering beam
I went on as in a dream;
A strange dream of hope and fear!
And I saw as I drew near
'Twas in truth no planet's gleam;

But a lamp above a gate
Shone in solitary state
O'er a desert drear and cold,
O'er a heap of ruins old,
O'er a scene most desolate.

By that gate I entered lone
A fair city of white stone;
And a lovely light to see
Dawned, and spread most gradually
Till the air grew warm and shone.

Thro' the splendid streets I strayed
In that radiance without shade,
Yet I heard no human sound;
All was still and silent round
As a city of the dead.

All the doors were open wide;
Lattices on every side
In the wind swung to and fro;
Wind that whispered very low:
Go and see the end of pride.

With a fixed determination
Entered I each habitation,
But they all were tenantless;
All was utter loneliness,
All was deathless desolation.

In the noiseless market-place
Was no care-worn busy face;
There were none to buy or sell,
None to listen or to tell,
In this silent emptiness.

Thro' the city on I went
Full of awe and wonderment;
Still the light around me shone,
And I wandered on, still on,
In my great astonishment,

Till at length I reached a place
Where amid an ample space
Rose a palace for a king;
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 blaze,
Capitalled with jewelry.

None was there to bar my way--
And the breezes seemed to say:
Touch not these, but pass them by,
Pressing onwards: therefore I
Entered in and made no stay.

All around was desolate:
I went on; a silent state
Reigned in each deserted room,
And I hastened thro' the gloom
Till I reached an outer gate.

Soon a shady avenue
Blossom-perfumed, met my view.
Here and there the sun-beams fell
On pure founts, whose sudden swell
Up from marble basins flew.

Every tree was fresh and green;
Not a withered leaf was seen
Thro' the veil of flowers and fruit;
Strong and sapful were the root,
The top boughs, and all between.

Vines were climbing everywhere
Full of purple grapes and fair:
And far off I saw the corn
With its heavy head down borne,
By the odour-laden air.

Who shall strip the bending vine?
Who shall tread the press for wine?
Who shall bring the harvest in
When the pallid ears begin
In the sun to glow and shine?

On I went, alone, alone,
Till I saw a tent that shone
With each bright and lustrous hue;
It was trimmed with jewels too,
And with flowers; not one was gone.

Then the breezes whispered me:
Enter in, and look, and see
How for luxury and pride
A great multitude have died:--
And I entered tremblingly.

Lo, a splendid banquet laid
In the cool and pleasant shade.
Mighty tables, every thing
Of sweet Nature's furnishing
That was rich and rare, displayed;

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 every where.

Grapes were hanging overhead,
Purple, pale, and ruby-red;
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.

And unnumbered others too,
Fruits of every size and hue,
Juicy in their ripe perfection,
Cool beneath the cool reflection
Of the curtains' sky blue.

All the floor was strewn with flowers
Fresh from sunshine and from showers,
Roses, lilies, jasmine;
And the ivy ran between
Like a thought in happy hours.

And this feast too lacked no guest
With its warm delicious rest;
With its couches softly sinking,
And its glow, not made for thinking,
But for careless joy at best.

Many banquettes were there,
Wrinkled age, the young, the fair;
In the splendid revelry
Flushing cheek and kindling eye
Told of gladness without care.

Yet no laughter rang around,
Yet they uttered forth no sound;
With the smile upon his face
Each sat moveless in his place,
Silently, as if spell-bound.

The low whispering voice was gone,
And I felt awed and alone.
In my great astonishment
To the feasters up I went--
Lo, they all were turned to stone.

Yea they all were statue-cold,
Men and women, young and old;
With the life-like look and smile
And the flush; and all the while
The hard fingers kept their hold.

Here a little child was sitting
With a merry glance, befitting
Happy age and heedless heart;
There a young man sat apart
With a forward look unweeting.

Nigh them was a maiden fair;
And the ringlets of her hair
Round her slender fingers twined;
And she blushed as she reclined,
Knowing that her love was there.

Here a dead man sat to sup,
In his hand a drinking cup;
Wine cup of the heavy gold,
Human hand stony and cold,
And no life-breath struggling up.

There a mother lay, and smiled
Down upon her infant child;
Happy child and happy mother
Laughing back to one another
With a gladness undefiled.

Here an old man slept, worn out
With the revelry and rout;
Here a strong man sat and gazed
On a girl, whose eyes upraised
No more wandered round about.

And none broke the stillness, none;
I was the sole living one.
And methought that silently
Many seemed to look on me
With strange steadfast eyes that shone.

Full of fear I would have fled;
Full of fear I bent my head,
Shutting out each stony guest:--
When I looked again the feast
And the tent had vanished.

Yes, once more I stood alone
Where the happy sunlight shone
And a gentle wind was sighing,
And the little birds were flying,
And the dreariness was gone.

All these things that I have said
Awed me, and made me afraid.
What was I that I should see
So much hidden mystery?
And I straightway knelt and prayed.






Friday, November 27, 2020

Virginia Woolf reflects on Christina Rossetti and Annie Thackeray Ritchie from Virginia Woolf's A Writer's Diary

 

Virginia Woolf by George Charles Beresford
platinum print, July, 1902


What sort of diary should I like mine to be? Something loose knit and yet not slovenly, so elastic that it will embrace anything, solemn, slight or beautiful that comes into my mind. I should like it to resemble some deep old desk, or capacious hold-all, in which one flings a mass of odds and ends without looking  through them.

Christina Rossetti by Lewis Carroll
albumen print, 7 October 1863
National Portrait Gallery

1918
Monday, August 4th

Christina (Rossetti) has the great distinction of being a born poet, as she seems to have known very well herself. But if I were bringing a case against God she is one of the first witnesses I should call. It is melancholy reading. First she starved herself of love, which meant also life; then of poetry in deference to what she thought her religion demanded. There were two good suitors. The first indeed had his peculiarities. He had a conscience.She could only marry a particular shade of Christian. He could only stay that shade for a few months at a time. Finally he developed Roman Catholicism and was lost. Worse still was the case of Mr. Collins a really delightful scholar an unworldly recluse a single-minded worshiper of Christina, who could never be brought into the fold at all. On this account she could only visit him affectionately in his lodgings, which she did to the end of her life. Poetry was castrated too. she would set herself to do the psalms into verse; and to make all her poetry subservient to the Christian doctrines. Consequently, as I think, she  starved into austere emaciation a very fine original gift, which only wanted licence to take to itself a far finer form than, shall we say Mrs. Browning's. She wrote very easily; in a spontaneous childlike kind of way one imagines, as is the case generally with a true gift; still underdeveloped. She has the natural singing power. She thinks too. She has fancy. One could say she is profane enough to guess, have been ribald and witty. And, as a reward for all her sacrifices, she died in terror, uncertain of salvation. I confess though that I have only turned her poetry over, making way inevitably to the ones I knew already.

Anne Thackeray Ritchie
Daughter of William Makepeace Thackeray
Albumen print taken by Julia Margaret Cameron
Freshwater Bay, Isle of Wight, 1867


1919
Wednesday, March 5th

But oh, dear, what a lot I've got to read! The entire works of Mr. James Joyce, Wyndham Lewis, Ezra Pound, so as to compare them to the entire works of Dickens and Mrs. Gaskell; besides that George Eliot; and finally Hardy. And I've just done Aunt Anny on a really liberal scale. Yes, since I wrote last she has died, a week ago today to be precise, at Freshwater, and was buried up at Hampstead yesterday, where six or seven years ago we saw Richmond buried in a yellow fog. I suppose my feeling for her is half moonshine, or rather half reflected from other feelings. Father cared for her, she goes down the last, almost of that old nineteenth century Hyde Park Gate world. Unlike most old ladies she showed very little anxiety to see one; felt, I sometimes think, a little painfully at the sight of us, as if we'd gone far off and recalled unhappiness, which she never liked to dwell on. Also, unlike most old Aunts she had the wits to feel how sharply we differed on current questions; and this, perhaps, gave her a sense, hardly existing with her usual circle, of age, obsoleteness, extinction. For myself though she need have had no anxieties on this head, since I admired her sincerely; but still the generations certainly look very different ways. Two or perhaps three years ago L. and I went to see her, found her much diminished in size,wearing a feather boa round her neck and seated alone in a drawing room almost the copy, on a smaller scale, of the old drawing room; the same subdued pleasant air of the eighteenth century and old  portraits and old china. She had our tea waiting for us. Her manner was a little distant, and more than a little melancholy. I asked her about father, and she said how those young men laughed in a "loud melancholy way" and how their generation was a very happy one, but selfish; and how ours seemed to her fine but very terrible; but we hadn't any writers such as they had, "Some of them have just a touch of that quality; Bernard Shaw has; but only a touch. The pleasant thing was to know them all us ordinary people, not great men" And then a story of Carlyle and father; Carlyle saying he'd as soon wash his face in a dirty puddle as write journalism. She put her hand down, I remember, into a bag or box standing beside the fire, and said she had a novel, three quarters written, but couldn't finish it. Nor do I suppose it ever was finished; but I've said all I can say, dressing it up a trifle rosily, in The Times tomorrow. I have written to Hester, but how I doubt the sincerity of my own emotion!



Monday, February 3, 2020

Christina Rossetti's Parents: Gabriele Rossetti (1783-1854) and Frances Rossetti nee Polidori (1800-1886)

I've been reading up on the patriarch of The Rossetti Family:  Gabriele Rossetti (1783-1854) out of curiosity. I've just started reading, Dinah Roe's family tome, The Rossettis in Wonderland, and my curiosity has been running wild! 

So, I am including a few fun tidbits from father of Poet, Christina Rossetti and painter and poet, Dante Gabriel Rossetti.  First a bit of background:

Gabriele Rossetti was born in Vesto, in Abruzzi, Italy, on the Adriatic coast of Naples. He was custodian in the Museo Barbonico of Naples. He was also a poet as well. He was part of a movement supporting the constitution to Ferdinand I of Naples in 1820. He fled to London after the king revoked the constitution and persecuted the abettors. 

Having settled in London, he married Frances Polidori in 1824 and became Professor of Italian in Kings College. He also published two works on Dante. Later in life, one of his sons, William Michael Rossetti, published his memoirs and letters. 

One Stanza from poem
 Life In Italy by Gabriele Rossetti,

My children, grow, grow up to patriot love
In you the blood and name of me is stored
To England from Abruzzo transmigrate.
Free you were born, and I was born a serf.
O Providence! Mine exiled seemed to me
To dive injustice of a Fate my foe;
But, if mine exiles was to prove
A family like this, I bless the ban.
Yes, for they deadly rage which hurled me forth,
Perfidious Bourbon King, I give thee thanks.

Frances Mary Lavinia Rossetti (nee Polidori)
Drawing by her son, Dante Gabriel Rossetti
1877
(Rossetti Archive)

Frances Polidori was the daughter of Gaetano Polidori. She was English on her mother's side and Italian, from Tuscany, on her father's side. The Polidori's were a prominent family with ties to some who would become some of the greatest Romantic poets of our day. She married Gabriele Rossetti and had four children all academics and poets in their own right: 
Maria Rossetti, Christina Rossetti, Dante Gabriel Rossetti, William Michael Rossetti.

Two samples from letters written by husband, Gabriele Rossetti to his wife, Frances Rossetti:

38 Charlotte Street, London
29th May 1832

My Dearly Loved Frances,

Every word you wrote pierced like a dagger into my heart. My sweetest Gabriel, there is so ill! My baby Christina suffers with her teeth and has wounded her forehead! Oh my poor children! If the distance were less great, I would come immediately to see my four treasures, and you, my beloved wife, who must be immeasurably afflicted, as I am myself. Good-bye, dearly loved, Frances, I am going to bed for it is 1 o'clock. I bless one by one the infant pledges of our love, and invoke on them health and prosperity. Kiss them for me, speak about me to them, and along with theirs-preserve your precious health, which is my greatest treasure. 

Your most affectionate husband,
Gabriele Rossetti
Gabriele Rossetti drawn by son,
Dante Gabriel Rossetti
1848
(Rossetti Archive)

50 Charlotte Street, London
21 October 1836

My Dearest Frances,

Oh that I had two arms as long as from here to Holmer Green! You would find your neck clasped of a sudden by the warmest marital embrace, and you would then be softly seized hold of and deposited in Charlotte Street, saving you the trouble of the journey by road: Yours should be aerial...The true one treasure of my life is my dear Frances, and to restore her to me renewed in health is to restore my existence. Good-bye to the better portion of myself. Three days hence you, by God's help, will be here with me and I will prove to you how much you are loved by 

Your Husband,
Gabriele

In closing, while reading through my source material; the opening pages consisted of a copied handwritten letter from Dante Gabriel Rossetti, painter and poet, to his mother, Frances Rossetti, a month before his wedding. He talks about his girlfriend, Elizabeth Siddal 'Lizzie'  which he spells (Lizzy not Lizzie), her ill health, and his concerns. The typed version is below the handwritten letter.  

Mrs. Rossetti, photographer unknown.

This miniature is in fact a photograph (probably an albumen print) painted over in gouache. The over-painting has been attributed to Elizabeth Siddall's husband, Dante Gabriel Rossetti, the English poet and founding member of the Pre-Raphaelite Brotherhood, formed in London in 1848. The lavish frame in gold, opal, sapphires and diamonds (made in London) was added in 1906 by J. Pierpont Morgan, a previous owner, and it was cataloged by G.C. Williamson in the same year as "Mrs. Rossetti." The story attached to the photograph is that, after Siddall's death in February 1862, Rossetti gave it to a nurse who had attended at the birth of Siddall's still-born child, and that it passed to the nurse's daughter, who in difficult financial times sold it to a clergyman (see G.C. Williamson, "Catalogue of the Collection of Miniatures, the Property of J. Pierpont Morgan," vol. 2, London: Chiswick Press, 1906, p. 116). This story is also told by Williamson with some variations in "Mr. J. Pierpont Morgan's Pictures, the English Miniatures, V.," Connoisseur, 8:70, June 1907, pp. 71-76, p. 75; "Stories of an Expert," 1935, pp. 36-39; and "The Cases of an Art Expert, II, The Rossetti Miniature," Country Life, 80, 11 July 1936, p. 35-6.). The costume is correct for ca. 1860 and the portrait shows strong resemblances to Siddall as depicted in several studies and paintings by Rossetti. The pose recalls the posthumously completed painting "Beata Beatrix" (ca.1864-70), Tate Britain, London, N01279. --  Archived at The Walters Art Museum, Baltimore, MD.



 Dante Gabriel Rossetti

Frances Rossetti (DGRs mother)

SOURCE for letters from Gabriele to Frances Rossetti and poem
Gabriele Rossetti: A Verified Autobiography by Gabriele Rossetti, Translated by William Michael Rossetti, London, 1901

SOURCE for letter from Dante Gabriel Rossetti to his mother, Frances Rossetti
US Edition: Handwritten version:  Dante Gabriel Rossetti: Family Letters by Dante Gabriel Rossetti, Volume II, Boston, Roberts Brothers, 1895.

UK Edition: Typed version:  (same book as above), Volume II, London, Ellis + Elvey, 1895.

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