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At Home

At Home

When I was dead, my spirit turned
To seek the much-frequented house:
I passed the door, and saw my friends
Feasting beneath green orange boughs;
From hand to hand they pushed the wine,
They sucked the pulp of plum and peach;
They sang, they jested, and they laughed,
For each was loved of each.


I listened to thier honest chat:
Said one: "To-morrow we shall be
Plod plod along the featureless sands,
And coasting miles and miles of sea."
Said one: "Before the turn of tide
We will achieve the eyrie-seat."
Said one: "To-morrow shall be like
To-day, but much more sweet."


"To-morrow," said they, strong with hope,
And dwelt upon the pleasant way:
"To-morrow," cried they, one and all,
While no one spoke of yesterday.
Their life stood full at blessed noon;
I, only I, had passed away:
"To-morrow and to-day," they cried;
I was of yesterday.


I shivered comfortless, but cast
No chill across the table-cloth;
I, all-forgotten, shivered, sad
To stay, and yet to part how loth:
I passed from the familiar room,
I who from love had passed away,
Like the remembrance of a guest
That tarrieth but a day.
208

Angels At The Foot

Angels At The Foot

Angels at the foot,
And Angels at the head,
And like a curly little lamb
My pretty babe in bed.
227

An End

An End

Love, strong as Death, is dead.
Come, let us make his bed
Among the dying flowers:
A green turf at his head;
And a stone at his feet,
Whereon we may sit
In the quiet evening hours.


He was born in the Spring,
And died before the harvesting:
On the last warm summer day
He left us; he would not stay
For Autumn twilight cold and grey.
Sit we by his grave, and sing
He is gone away.


To few chords and sad and low
Sing we so:
Be our eyes fixed on the grass
Shadow-veiled as the years pass
While we think of all that was
In the long ago.
206

An Echo from Willowood

An Echo from Willowood

“Oh Ye, All Ye That Walk in Willowwood”

Two gaz’d into a pool, he gaz’d and she,
Not hand in hand, yet heart in heart, I think,
Pale and reluctant on the water’s brink
AS on the brink of parting which must be.
Each eyed the other’s aspect, she and he,
Each felt one hungering heart leap up and sink,
Each tasted bitterness which both must drink,
There on the brink of life’s dividing sea.
Lilies upon the surface, deep below
Two wistful faces craving each for each,
Resolute and reluctant without speech:—
A sudden ripple made the faces flow
One moment join’d, to vanish out of reach:
So these hearts join’d, and ah! were parted so.
241

Amor Mundi

Amor Mundi

'Oh, where are you going with your love-locks flowing
On the west wind blowing along this valley track?'
'The downhill path is easy, come with me an' it please ye,
We shall escape the uphill by never turning back.'


So they two went together in glowing August weather,
The honey-breathing heather lay to their left and right;
And dear she was to doat on, her swift feet seemed to float on
The air like soft twin pigeons too sportive to alight.


'Oh, what is that in heaven where grey cloud-flakes are seven,
Where blackest clouds hang riven just at the rainy skirt?'
'Oh, that's a meteor sent us, a message dumb, portentous,—
An undeciphered solemn signal of help or hurt.'


'Oh, what is that glides quickly where velvet flowers grow thickly,
Their scent comes rich and sickly?'—'A scaled and hooded worm.'
'Oh, what's that in the hollow, so pale I quake to follow?'
'Oh, that's a thin dead body which waits th' eternal term.'


'Turn again, O my sweetest,—turn again, false and fleetest:
This way whereof thou weetest I fear is hell's own track.'
'Nay, too steep for hill-mounting,—nay, too late for cost-counting:
This downhill path is easy, but there's no turning back.'
242

After This The Judgement

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:
That gate stands open of perennial ease;
I view the glory till I partly long,
Yet lack the fire of love which quickens these.
O passing Angel, speed me with a song,
A melody of heaven to reach my heart
And rouse me to the race and make me strong;
Till in such music I take up my part
Swelling those Hallelujahs full of rest,
One, tenfold, hundredfold, with heavenly art,
Fulfilling north and south and east and west,
Thousand, ten thousandfold, innumerable,
All blent in one yet each one manifest;
Each one distinguished and beloved as well
As if no second voice in earth or heaven
Were lifted up the Love of God to tell.
Ah, Love of God, which Thine own Self hast given
To me most poor, and made me rich in love,
Love that dost pass the tenfold seven times seven,
Draw Thou mine eyes, draw Thou my heart above,
My treasure ad my heart store Thou in Thee,
Brood over me with yearnings of a dove;
Be Husband, Brother, closest Friend to me;
Love me as very mother loves her son,
Her sucking firstborn fondled on her knee:
Yea, more than mother loves her little one;
For, earthly, even a mother may forget
And feel no pity for its piteous moan;
But thou, O Love of God, remember yet,
Through the dry desert, through the waterflood
(Life, death) until the Great White Throne is set.
If now I am sick in chewing the bitter cud
Of sweet past sin, though solaced by Thy grace
And ofttimes strengthened by Thy Flesh and Blood,
How shall I then stand up before Thy face
When from Thine eyes repentance shall be hid
And utmost Justice stand in Mercy's place:
When every sin I thought or spoke or did
Shall meet me at the inexorable bar,
And there be no man standing in the mid
To plead for me; while star fallen after star
With heaven and earth are like a ripened shock,
And all time's mighty works and wonders are
Consumed as in a moment; when no rock
Remains to fall on me, no tree to hide,
But I stand all creation's gazing-stock
Exposed and comfortless on every side,



Placed trembling in the final balances
Whose poise this hour, this moment, must be tried?—
Ah Love of God, if greater love than this
Hath no man, that a man die for his friend,
And if such love of love Thine Own Love is,
Plead with Thyself, with me, before the end;
Redeem me from the irrevocable past;
Pitch Thou Thy Presence round me to defend;
Yea seek with pierced feet, yea hold me fast
With pierced hands whose wounds were made by love;
Not what I am, remember what Thou wast
When darkness hid from Thee Thy heavens above,
And sin Thy Father's Face, while thou didst drink
The bitter cup of death, didst taste thereof
For every man; while Thou wast nigh to sink
Beneath the intense intolerable rod,
Grown sick of love; not what I am, but think
Thy Life then ransomed mine, my God, my God.
219

Aloof

Aloof


THE irresponsive silence of the land,

The irresponsive sounding of the sea,

Speak both one message of one sense to me:--
Aloof, aloof, we stand aloof, so stand
Thou too aloof, bound with the flawless band

Of inner solitude; we bind not thee;

But who from thy self-chain shall set thee free?
What heart shall touch thy heart? What hand thy hand?
And I am sometimes proud and sometimes meek,

And sometimes I remember days of old
When fellowship seem'd not so far to seek,

And all the world and I seem'd much less cold,

And at the rainbow's foot lay surely gold,
And hope felt strong, and life itself not weak.
169

A White Hen Sitting

A White Hen Sitting

A white hen sitting
On white eggs three:
Next, three speckled chickens
As plump as plump can be.
An owl, and a hawk,
And a bat come to see:
But chicks beneath their mother's wing
Squat safe as safe can be.
233

Advent

Advent


This Advent moon shines cold and clear,
These Advent nights are long;
Our lamps have burned year after year
And still their flame is strong.
'Watchman, what of the night?' we cry,
Heart-sick with hope deferred:
'No speaking signs are in the sky,'
Is still the watchman's word.


The Porter watches at the gate,
The servants watch within;
The watch is long betimes and late,
The prize is slow to win.
'Watchman, what of the night?' But still
His answer sounds the same:
'No daybreak tops the utmost hill,
Nor pale our lamps of flame.'


One to another hear them speak
The patient virgins wise:
'Surely He is not far to seek'—
'All night we watch and rise.'
'The days are evil looking back,
The coming days are dim;
Yet count we not His promise slack,
But watch and wait for Him.'


One with another, soul with soul,
They kindle fire from fire:
'Friends watch us who have touched the goal.'
'They urge us, come up higher.'
'With them shall rest our waysore feet,
With them is built our home,
With Christ.'—'They sweet, but He most sweet,
Sweeter than honeycomb.'


There no more parting, no more pain,
The distant ones brought near,
The lost so long are found again,
Long lost but longer dear:
Eye hath not seen, ear hath not heard,
Nor heart conceived that rest,
With them our good things long deferred,
With Jesus Christ our Best.


We weep because the night is long,
We laugh for day shall rise,
We sing a slow contented song
And knock at Paradise.
Weeping we hold Him fast, Who wept
For us, we hold Him fast;
And will not let Him go except



He bless us first or last.


Weeping we hold Him fast to-night;
We will not let Him go
Till daybreak smite our wearied sight
And summer smite the snow:
Then figs shall bud, and dove with dove
Shall coo the livelong day;
Then He shall say, 'Arise, My love,
My fair one, come away.'
216

A Toadstool Comes Up In A Night

A Toadstool Comes Up In A Night

A toadstool comes up in a night, -
Learn the lesson, little folk: -
An oak grows on a hundred years,
But then it is an oak.
269

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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.