Poems List

May

May


I cannot tell you how it was,
But this I know: it came to pass
Upon a bright and sunny day
When May was young; ah, pleasant May!
As yet the poppies were not born
Between the blades of tender corn;
The last egg had not hatched as yet,
Nor any bird foregone its mate.


I cannot tell you what it was,
But this I know: it did but pass.
It passed away with sunny May,
Like all sweet things it passed away,
And left me old, and cold, and gray.
160

Lullaby, Oh, Lullaby!

Lullaby, Oh, Lullaby!

Lullaby, oh, lullaby!
Flowers are closed and lambs are sleeping;
Lullaby, oh, lullaby!
Stars are up, the moon is peeping;
Lullaby, oh, lullaby!
While the birds are silence keeping,
(Lullaby, oh, lullaby!)
Sleep, my baby, fall a-sleeping,
Lullaby, oh, lullaby!
221

Maiden-Song

Maiden-Song


Long ago and long ago,
And long ago still,
There dwelt three merry maidens
Upon a distant hill.
One was tall Megan,
And one was dainty May,
But one was fair Margaret,
More fair than I can say,
Long ago and long ago.


When Megan plucked the thorny rose,
And when May pulled the brier,
Half the birds would swoop to see,
Half the beasts draw nigher;
Half the fishes of the streams
Would dart up to admire:
But when Margaret plucked a flag-flower,
Or poppy hot aflame,
All the beasts and all the birds
And all the fishes came
To her hand more soft than snow.


Strawberry leaves and May-dew
In brisk morning air,
Strawberry leaves and May-dew
Make maidens fair.
'I go for strawberry leaves,'
Megan said one day:
'Fair Margaret can bide at home,
But you come with me, May;
Up the hill and down the hill,
Along the winding way 30
You and I are used to go.'


So these two fair sisters
Went with innocent will
Up the hill and down again,
And round the homestead hill:
While the fairest sat at home,
Margaret like a queen,
Like a blush-rose, like the moon
In her heavenly sheen,
Fragrant-breathed as milky cow
Or field of blossoming bean,
Graceful as an ivy bough
Born to cling and lean;
Thus she sat to sing and sew.


When she raised her lustrous eyes
A beast peeped at the door;
When she downward cast her eyes
A fish gasped on the floor;



When she turned away her eyes
A bird perched on the sill,
Warbling out its heart of love,
Warbling warbling still,
With pathetic pleadings low.


Light-foot May with Megan
Sought the choicest spot,
Clothed with thyme-alternate grass:
Then, while day waxed hot,
Sat at ease to play and rest,
A gracious rest and play;
The loveliest maidens near or far,
When Margaret was away,
Who sat at home to sing and sew.


Sun-glow flushed their comely cheeks,
Wind-play tossed their hair,
Creeping things among the grass
Stroked them here and there;
Megan piped a merry note,
A fitful wayward lay,
While shrill as bird on topmost twig
Piped merry May;
Honey-smooth the double flow.


Sped a herdsman from the vale,
Mounting like a flame,
All on fire to hear and see,
With floating locks he came.
Looked neither north nor south,
Neither east nor west,
But sat him down at Megan's feet
As love-bird on his nest,
And wooed her with a silent awe,
With trouble not expressed;
She sang the tears into his eyes,
The heart out of his breast:
So he loved her, listening so.


She sang the heart out of his breast,
The words out of his tongue;
Hand and foot and pulse he paused
Till her song was sung.
Then he spoke up from his place
Simple words and true:
'Scanty goods have I to give,
Scanty skill to woo;


But I have a will to work,
And a heart for you:
Bid me stay or bid me go.'



Then Megan mused within herself:
'Better be first with him,
Than dwell where fairer Margaret sits,
Who shines my brightness dim,
For ever second where she sits,
However fair I be:
I will be lady of his love,
And he shall worship me;
I will be lady of his herds
And stoop to his degree,
At home where kids and fatlings grow.'


Sped a shepherd from the height
Headlong down to look,
(White lambs followed, lured by love
Of their shepherd's crook):
He turned neither east nor west,
Neither north nor south,
But knelt right down to May, for love
Of her sweet-singing mouth;
Forgot his flocks, his panting flocks
In parching hill-side drouth;
Forgot himself for weal or woe.


Trilled her song and swelled her song
With maiden coy caprice
In a labyrinth of throbs,
Pauses, cadences;
Clear-noted as a dropping brook,
Soft-noted like the bees,
Wild-noted as the shivering wind
Forlorn through forest trees:
Love-noted like the wood-pigeon
Who hides herself for love,
Yet cannot keep her secret safe,
But coos and coos thereof:
Thus the notes rang loud or low.


He hung breathless on her breath;
Speechless, who listened well;
Could not speak or think or wish
Till silence broke the spell.
Then he spoke, and spread his hands,
Pointing here and there:
'See my sheep and see the lambs,
Twin lambs which they bare.
All myself I offer you,
All my flocks and care,
Your sweet song hath moved me so.'


In her fluttered heart young May



Mused a dubious while:
'If he loves me as he says'--
Her lips curved with a smile:
'Where Margaret shines like the sun
I shine but like a moon;
If sister Megan makes her choice
I can make mine as soon;
At cockcrow we were sister-maids,
We may be brides at noon.'
Said Megan, 'Yes;' May said not 'No.'


Fair Margaret stayed alone at home,
Awhile she sang her song,
Awhile sat silent, then she thought:
'My sisters loiter long.'
That sultry noon had waned away,
Shadows had waxen great:
'Surely,' she thought within herself,
'My sisters loiter late.'
She rose, and peered out at the door,
With patient heart to wait,
And heard a distant nightingale
Complaining of its mate;
Then down the garden slope she walked,
Down to the garden gate,
Leaned on the rail and waited so.


The slope was lightened by her eyes
Like summer lightning fair,
Like rising of the haloed moon
Lightened her glimmering hair,
While her face lightened like the sun
Whose dawn is rosy white.
Thus crowned with maiden majesty
She peered into the night,
Looked up the hill and down the hill,
To left hand and to right,
Flashing like fire-flies to and fro.


Waiting thus in weariness
She marked the nightingale
Telling, if any one would heed,
Its old complaining tale.
Then lifted she her voice and sang,
Answering the bird:
Then lifted she her voice and sang,
Such notes were never heard
From any bird when Spring's in blow.


The king of all that country
Coursing far, coursing near,
Curbed his amber-bitted steed,



Coursed amain to hear;
All his princes in his train,
Squire, and knight, and peer,
With his crown upon his head,
His sceptre in his hand,
Down he fell at Margaret's knees
Lord king of all that land,
To her highness bending low.


Every beast and bird and fish
Came mustering to the sound,
Every man and every maid
From miles of country round:
Megan on her herdsman's arm,
With her shepherd May,
Flocks and herds trooped at their heels
Along the hill-side way;
No foot too feeble for the ascent,
Not any head too grey;
Some were swift and none were slow.


So Margaret sang her sisters home
In their marriage mirth;
Sang free birds out of the sky,
Beasts along the earth,
Sang up fishes of the deep--
All breathing things that move
Sang from far and sang from near
To her lovely love;
Sang together friend and foe;


Sang a golden-bearded king
Straightway to her feet,
Sang him silent where he knelt
In eager anguish sweet.
But when the clear voice died away,
When longest echoes died,
He stood up like a royal man
And claimed her for his bride.
So three maids were wooed and won
In a brief May-tide,
Long ago and long ago.
242

Love From The North

Love From The North

I had a love in soft south land,
Beloved through April far in May;
He waited on my lightest breath,
And never dared to say me nay.


He saddened if my cheer was sad,
But gay he grew if I was gay;
We never differed on a hair,
My yes his yes, my nay his nay.


The wedding hour was come, the aisles
Were flushed with sun and flowers that day;
I pacing balanced in my thoughts:
'It's quite too late to think of nay.'—


My bridegroom answered in his turn,
Myself had almost answered 'yea:'
When through the flashing nave I heard
A struggle and resounding 'nay.'


Bridemaids and bridegroom shrank in fear,
But I stood high who stood at bay:
'And if I answer yea, fair Sir,
What man art thou to bar with nay?'


He was a strong man from the north,
Light-locked, with eyes of dangerous grey:
'Put yea by for another time
In which I will not say thee nay.'


He took me in his strong white arms,
He bore me on his horse away
O'er crag, morass, and hairbreadth pass,
But never asked me yea or nay.


He made me fast with book and bell,
With links of love he makes me stay;
Till now I've neither heart nor power
Nor will nor wish to say him nay.
226

Lord Jesus, Who Would Think That I Am Thine?

Lord Jesus, Who Would Think That I Am Thine?

Lord Jesus, who would think that I am Thine?
Ah, who would think
Who sees me ready to turn back or sink,
That Thou art mine?


I cannot hold Thee fast though Thou art mine:
Hold Thou me fast,
So earth shall know at last and heaven at last
That I am Thine.
204

Lie A-Bed

Lie A-Bed

Lie a-bed,
Sleepy head,
Shut up eyes, bo-peep;
Till daybreak
Never wake: -
Baby, sleep.
206

Light Love

Light Love

'Oh, sad thy lot before I came,
But sadder when I go;
My presence but a flash of flame,
A transitory glow
Between two barren wastes like snow.
What wilt thou do when I am gone,
Where wilt thou rest, my dear?
For cold thy bed to rest upon,
And cold the falling year
Whose withered leaves are lost and sere.'


She hushed the baby at her breast,
She rocked it on her knee:
'And I will rest my lonely rest,
Warmed with the thought of thee,
Rest lulled to rest by memory.'
She hushed the baby with her kiss,
She hushed it with her breast:
'Is death so sadder much than this—
Sure death that builds a nest
For those who elsewhere cannot rest?'


'Oh, sad thy note, my mateless dove,
With tender nestling cold;
But hast thou ne'er another love
Left from the days of old,
To build thy nest of silk and gold,
To warm thy paleness to a blush
When I am far away—
To warm thy coldness to a flush,
And turn thee back to May,
And turn thy twilight back to day?'


She did not answer him again,
But leaned her face aside,
Weary with the pang of shame and pain,
And sore with wounded pride:
He knew his very soul had lied.
She strained his baby in her arms,
His baby to her heart:
'Even let it go, the love that harms:
We twain will never part;
Mine own, his own, how dear thou art.'


'Now never teaze me, tender-eyed,
Sigh-voiced,' he said in scorn:
'For nigh at hand there blooms a bride,
My bride before the morn;
Ripe-blooming she, as thou forlorn.
Ripe-blooming she, my rose, my peach;
She woos me day and night:
I watch her tremble in my reach;



She reddens, my delight,
She ripens, reddens in my sight.'


'And is she like a sunlit rose?
Am I like withered leaves?
Haste where thy spiced garden blows:
But in bare Autumn eves
Wilt thou have store of harvest sheaves?
Thou leavest love, true love behind,
To seek a love as true;
Go, seek in haste: but wilt thou find?
Change new again for new;
Pluck up, enjoy—yea, trample too.


'Alas for her, poor faded rose,
Alas for her her, like me,
Cast down and trampled in the snows.'
'Like thee? nay, not like thee:
She leans, but from a guarded tree.
Farewell, and dream as long ago,
Before we ever met:
Farewell; my swift-paced horse seems slow.'
She raised her eyes, not wet
But hard, to Heaven: 'Does God forget?'
228

L. e. l.

L. e. l.
'Whose heart was breaking for a little love.'

Downstairs I laugh, I sport and jest with all;
But in my solitary room above
I turn my face in silence to the wall;
My heart is breaking for a little love.
Though winter frosts are done,
And birds pair every one,
And leaves peep out, for springtide is begun.


I feel no spring, while spring is wellnigh blown,
I find no nest, while nests are in the grove:
Woe's me for mine own heart that dwells alone,
My heart that breaketh for a little love.
While golden in the sun
Rivulets rise and run,
While lilies bud, for springtide is begun.


All love, are loved, save only I; their hearts
Beat warm with love and joy, beat full thereof:
They cannot guess, who play the pleasant parts,
My heart is breaking for a little love.
While beehives wake and whirr,
And rabbit thins his fur,
In living spring that sets the world astir.


I deck myself with skills and jewelry,
I plume myself like any mated dove:
They praise my rustling show, and never see
My heart is breaking for a little love.
While sprouts green lavender
With rosemary and myrrh,
For in quick spring the sap is all astir.


Perhaps some saints in glory guess the truth,
Perhaps some angels read it as they move,
And cry one to another full of ruth,
'Her heart is breaking for a little love.'
Though other things have birth,
And leap and sing for mirth,
When springtime wakes and clothes and feeds the earth.


Yet saith a saint: 'Take patience for thy scathe;'
Yet saith an angel: 'Wait, for thou shalt prove
True best is last, true life is born of death,
O thou, heart-broken for a little love.
Then love shall fill they girth,
And love make fat thy dearth,
When new spring builds new heaven and clean new earth.'
209

Last Night

Last Night

Where were you last night? I watched at the gate;
I went down early, I stayed down late.
Were you snug at home, I should like to know,
Or were you in the coppice wheedling Kate?


She's a fine girl, with a fine clear skin;
Easy to woo, perhaps not hard to win.
Speak up like a man and tell me the truth:
I'm not one to grow downhearted and thin.


If you love her best speak up like a man;
It's not I will stand in the light of your plan:
Some girls might cry and scold you a bit,
And say they couldn't bear it; but I can.


Love was pleasant enough, and the days went fast;
Pleasant while it lasted, but it needn't last;
Awhile on the wax and awhile on the wane,
Now dropped away into the past.


Was it pleasant to you? To me it was;
Now clean gone as an image from glass,
As a goodly rainbow that fades away,
As dew that steams upward from the grass,


As the first spring day, or the last summer day,
As the sunset flush that leaves heaven grey,
As a flame burnt out for lack of oil,
Which no pains relight or ever may.


Good luck to Kate and good luck to you:
I guess she'll be kind when you come to woo.
I wish her a pretty face that will last,
I wish her a husband steady and true.


Hate you? not I, my very good friend;
All things begin and all have an end.
But let broken be broken; I put no faith
In quacks who set up to patch and mend.


Just my love and one word to Kate:
Not to let time slip if she means to mate;—
For even such a thing has been known
As to miss the chance while we weigh and wait.
218

Is The Moon Tired? She Looks So Pale

Is The Moon Tired? She Looks So Pale

Is the moon tired? she looks so pale
Within her misty veil:
She scales the sky from east to west,
And takes no rest.
Before the coming of the night
The moon shows papery white;
Before the dawning of the day
She fades away.
225

Comments (0)

Log in to post a comment.

NoComments

Identification and basic context

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

Childhood and education

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

Literary trajectory

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

Works, style, and literary characteristics

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

Cultural and historical context

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

Personal life

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

Recognition and reception

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

Influences and legacy

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

Interpretation and critical analysis

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

Curiosities and lesser-known aspects

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

Death and memory

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