CANZONE: A DISPUTE WITH DEATH
CINO DA PISTOIA: TO DANTE ALIGHIERI
SONNET: HE INTERPRETS DANTE’S DREAM, RELATED IN THE FIRST SONNET OF THE VITA NUOVA
TO DANTE ALIGHIERI
SONNET: HE CONCEIVES OF SOME COMPENSATION IN DEATH
TO DANTE ALIGHIERI
CANZONE: ON THE DEATH OF BEATRICE PORTINARI
MADRIGAL: TO HIS LADY SELVAGGIA VERGIOLESI; LIKENING HIS LOVE TO A SEARCH FOR GOLD
SONNET: TO LOVE, IN GREAT BITTERNESS
SONNET: DEATH IS NOT WITHOUT HUT WITHIN HIM
SONNET: A TRANCE OF LOVE
SONNET: OF THE GRAVE OF SELVAGGIA, ON THE MONTE DELLA SAMBUCA
CANZONE: HIS LAMENT FOR SELVAGGIA
TO GUIDO CAVALCANTI
SONNET: HE OWES NOTHING TO GUIDO AS A POET
SONNET. HE IMPUGNS THE VERDICTS OF DANTE’S COMMEDIA
LIST OF POEMS IN ALPHABETICAL ORDER
A-D E-H I-L M-O P-S T-V W-Z
A DARK DAY
A DAY OF LOVE
A DEATH-PARTING
A FAREWELL
A LAST CONFESSION (REGNO LOMBARDO-VENETO, 1848)
A LITTLE WHILE
A MARRIAGE OF ST KATHARINE, BY THE SAME IN THE HOSPITAL OF ST JOHN AT BRUGES
A MATCH WITH THE MOON
A NEW YEAR’S BURDEN
A SEA-SPELL
A SUPERSCRIPTION
A VENETIAN PASTORAL, BY GIORGIONE IN THE LOUVRE (1850 VERSION)
A VENETIAN PASTORAL, BY GIORGIONE IN THE LOUVRE (1870 VERSION)
A VIRGIN AND CHILD, BY HANS MEMMELING IN THE ACADEMY OF BRUGES
A YOUNG FIR-WOOD
ADIEU
AFTER THE FRENCH LIBERATION OF ITALY
AFTER THE GERMAN SUBJUGATION OF FRANCE, 1871
ALAS, SO LONG!
AN ALLEGORICAL DANCE OF WOMEN, BY ANDREA MANTEGNA IN THE LOUVRE
AN OLD SONG ENDED
ANONYMOUS: OF TRUE AND FALSE SINGING
ANTIPHONY
ARDOUR AND MEMORY
ASPECTA MEDUSA
ASTARTE SYRIACA
AT THE SUN-RISE IN 1848
AUTUMN IDLENESS
AUTUMN SONG
AVE
BALLATA: CONCERNING A SHEPHERD-MAID
BALLATA: HE PERCEIVES THAT HIS HIGHEST LOVE IS GONE FROM HIM
BALLATA: HE REVEALS, IN A DIALOGUE, HIS INCREASING LOVE FOR MANDETTA
BALLATA: HE WILL GAZE UPON BEATRICE
BALLATA: IN EXILE AT SARZANA
BALLATA: OF A CONTINUAL DEATH IN LOVE
BALLATA: OF HIS LADY AMONG OTHER LADIES
BARREN SPRING
BEAUTY AND THE BIRD
BEAUTY’S PAGEANT
BODY’S BEAUTY
BRIDAL BIRTH
BROKEN MUSIC
CANZONE: A DISPUTE WITH DEATH
CANZONE: A SONG AGAINST POVERTY
CANZONE: A SONG OF FORTUNE
CANZONE: HE BESEECHES DEATH FOR THE LIFE OF BEATRICE
CANZONE: HE LAMENTS THE PRESUMPTION AND INCONTINENCE OF HIS YOUTH
CANZONE: HIS LAMENT FOR SELVAGGIA
CANZONE: ON THE DEATH OF BEATRICE PORTINARI
CASSANDRA
CHIMES
CINO DA PISTOIA TO DANTE ALIGHIERI
CINO DA PISTOIA TO DANTE ALIGHIERI
CINO DA PISTOIA: TO DANTE ALIGHIERI
CLOUD AND WIND
CZAR ALEXANDER THE SECOND
DANTE ALIGHIERI
DANTE ALIGHIERI
DANTE ALIGHIERI TO CINO DA PISTOIA
DANTE ALIGHIERI TO GUIDO CAVALCANTI
DANTE ALIGHIERI’S The New Life (La Vita Nuova)
DANTE AT VERONA
DANTIS TENEBRÆ
DAWN ON THE NIGHT-JOURNEY
DEATH’S SONGSTERS
DEATH-IN-LOVE
DENNIS SHAND
DOWN STREAM
DURING MUSIC
EDEN BOWER
ENGLISH MAY
EQUAL TROTH
EVEN SO
FAREWELL TO THE GLEN
FAZIO DEGLI UBERTI
FIAMMETTA
FIN DI MAGGIO
FIRST LOVE REMEMBERED
FIVE ENGLISH POETS
FOR ‘AN ANNUNCIATION EARLY GERMAN’
FOR ‘OUR LADY OF THE ROCKS’ BY LEONARDO DA VINCI
FOR ‘SPRING’ BY SANDRO BOTTICELLI IN THE ACCADEMIA OF FLORENCE
FOR ‘THE HOLY FAMILY’ BY MICHELANGELO IN THE NATIONAL GALLERY
FOR ‘THE WINE OF CIRCE’ BY EDWARD BURNE JONES
FOUND
FRA GUITTONE D’AREZZO
FRANCESCA DA RIMINI
FRANCO SACCHETTI
FROM DAWN TO NOON
FROM PART I: POETS CHIEFLY BEFORE DANTE
FROM PART II: DANTE AND HIS CIRCLE Introduction to the Vita Nuova
FROM THE CLIFFS: NOON (1850 VERSION)
GENIUS IN BEAUTY
GIACOMINO PUGLIESI
GIOVENTÛ E SIGNORIA - YOUTH AND LORDSHIP
GRACIOUS MOONLIGHT
GUIDO CAVALCANTI
GUIDO CAVALCANTI TO DANTE ALIGHIERI
GUIDO CAVALCANTI TO DANTE ALIGHIERI
GUIDO GUINICELLI
GUIDO ORLANDI TO GUIDO CAVALCANTI
HE AND I
HEART OF THE NIGHT
HEART’S COMPASS
HEART’S HAVEN
HEART’S HOPE
HER GIFTS
HERO’S LAMP*
HIS MOTHER’S SERVICE TO OUR LADY
HIS PORTRAIT OF HIS LADY, ANGIOLA OF VERONA
HIS TALK WITH CERTAIN PEASANT GIRLS
HOARDED JOY
HOPE OVERTAKEN
I. HERSELF
I. ST. LUKE THE PAINTER
I. THOMAS CHATTERTON
II. HER LOVE
II. NOT AS THESE
II. WILLIAM BLAKE
III. HER HEAVEN
III. SAMUEL TAYLOR COLERIDGE
III. THE HUSBANDMEN
INCLUSIVENESS
INSOMNIA
INTRODUCTORY SONNET
IV. JOHN KEATS
JACOPO DA LENTINO
JENNY
JOHN OF TOURS
KNOWN IN VAIN
LA BELLA MANO (ENGLISH)
LA BELLA MANO (ITALIAN)
LA PIA
LAST FIRE
LIFE THE BELOVED
LIFE-IN-LOVE
LOST DAYS
LOST ON BOTH SIDES
LOVE AND HOPE
LOVE ENTHRONED
LOVE’S BAUBLES
LOVE’S FATALITY
LOVE’S LAST GIFT
LOVE’S LOVERS
LOVE’S NOCTURN
LOVE-LILY
LOVESIGHT
LOVE-SWEETNESS
MADRIGAL: TO HIS LADY SELVAGGIA VERGIOLESI; LIKENING HIS LOVE TO A SEARCH FOR GOLD
MARY MAGDALENE AT THE DOOR OF SIMON THE PHARISEE
MARY’S GIRLHOOD
MEMORIAL THRESHOLDS
MEMORY
MICHELANGELO’S KISS
MID-RAPTURE
MNEMOSYNE
MY FATHER’S CLOSE
MY SISTER’S SLEEP (1850 VERSION)
MY SISTER’S SLEEP (1870 VERSION)
NEAR BRUSSELS - A HALF-WAY PAUSE
NEWBORN DEATH
NICCOLO DEGLI ALBIZZI
NOTEBOOK FRAGMENTS
NUPTIAL SLEEP
OF HIS DEAD LADY
OF HIS LADY’S FACE
OF THE GENTLE HEART
OLD AND NEW ART
ON A FINE DAY
ON A WET DAY
ON BURNS
ON CERTAIN ELIZABETHAN REVIVALS
ON REFUSAL OF AID BETWEEN NATIONS
ON THE ‘VITA NUOVA’ OF DANTE
ON THE SITE OF A MULBERRY-TREE
ONE GIRL
PANDORA
PARTED LOVE
PARTED PRESENCE
PASSION AND WORSHIP
PAX VOBIS (1850 VERSION)
PENUMBRA
PLACE DE LA BASTILLE, PARIS
PLIGHTED PROMISE
POEMS BY DANTE ALIGHIERI, GUIDO CAVALCANTI AND CINO DA PISTOIA (from Introduction to Part II)
POSSESSION
PRIDE OF YOUTH
PROLONGED SONNET: HE FINDS FAULT WITH THE CONCEITS OF THE FOREGOING SONNET
PROSERPINA (ENGLISH)
PROSERPINA (ITALIAN)
RALEIGH’S CELL IN THE TOWER
REDEMPTION
RETRO ME, SATHANA!
ROSE MARY
ROSE MARY: PART I
ROSE MARY: PART II
ROSE MARY: PART III
RUGGIERO AND ANGELICA, BY INGRES
SECRET PARTING
SESTINA: OF THE LADY PIETRA DEGLI SCROVIGNI
SEVERED SELVES
SILENT NOON
SISTER HELEN
SLEEPLESS DREAMS
SONG AND MUSIC
SONNET TO DANTE ALIGHIERI: HE INTERPRETS DANTE’S DREAM, RELATED IN THE FIRST SONNET OF THE VITA NUOVA
SONNET. HE IMPUGNS THE VERDICTS OF DANTE’S COMMEDIA
SONNET. HE REBUKES CINO FOR FICKLENESS
SONNET: A RAPTURE CONCERNING HIS LADY
SONNET: A TRANCE OF LOVE
SONNET: DEATH IS NOT WITHOUT HUT WITHIN HIM
SONNET: GUIDO ANSWERS THE FOREGOING SONNET, SPEAKING WITH SHAME OF HIS CHANGED LOVE
SONNET: HE ANSWERS DANTE, CONFESSING HIS UNSTEADFAST HEART
SONNET: HE ANSWERS THE FOREGOING SONNET, AND PRAYS DANTE, IN THE NAME OF BEATRICE, TO CONTINUE HIS GREAT POEM
SONNET: HE COMPARES ALL THINGS WITH HIS LADY, AND FINDS THEM WANTING
SONNET: HE CONCEIVES OF SOME COMPENSATION IN DEATH
SONNET: HE IMAGINES A PLEASANT VOYAGE FOR GUIDO, LAPO GIANNI, AND HIMSELF, WITH THEIR THREE LADIES
SONNET: HE INTERPRETS DANTE’S DREAM, RELATED IN THE FIRST SONNET OF THE VITA NUOVA
SONNET: HE OWES NOTHING TO GUIDO AS A POET
SONNET: HE REBUKES DANTE FOR HIS WAY OF LIFE, AFTER THE DEATH OF BEATRICE
SONNET: HE REPORTS, IN A FEIGNED VISION, THE SUCCESSFUL ISSUE OF LAPO GIANNI’S LOVE
SONNET: OF AN ILL-FAVOURED LADY
SONNET: OF BEATRICE DE’ PORTINARI, ON ALL SAINTS’ DAY
SONNET: OF BEAUTY AND DUTY
SONNET: OF HIS PAIN FROM A NEW LOVE
SONNET: OF THE EYES OF A CERTAIN MANDETTA, OF THOULOUSE, WHICH RESEMBLE THOSE OF HIS LADY JOAN, OF FLORENCE
SONNET: OF THE GRAVE OF SELVAGGIA, ON THE MONTE DELLA SAMBUCA
SONNET: ON THE 9TH OF JUNE, 1290
SONNET: ON THE DETECTION OF A FALSE FRIEND
SONNET: TO A FRIEND WHO DOES NOT PITY HIS LOVE
SONNET: TO A NEWLY ENRICHED MAN; REMINDING HIM OF THE WANTS OF THE POOR
SONNET: TO BRUNETTO LATINI
SONNET: TO CERTAIN LADIES; WHEN BEATRICE WAS LAMENTING HER FATHER’S DEATH
SONNET: TO HIS LADY JOAN, OF FLORENCE
SONNET: TO LOVE, IN GREAT BITTERNESS
SONNET: TO THE LADY PIETRA DEGLI SCROVIGNI
SONNET: TO THE SAME LADIES; WITH THEIR ANSWER
SONNET: WRITTEN IN EXILE
SONNETHE MISTRUSTS THE LOVE OF LAPO GIANNI
SOOTHSAY
SOUL’S BEAUTY
SOUL-LIGHT
SPHERAL CHANGE
SPRING
STILLBORN LOVE
STRATTON WATER
SUDDEN LIGHT
SUNSET WINGS
SUPREME SURRENDER
THE BALLAD OF DEAD LADIES
THE BIRTH-BOND
THE BLESSED DAMOZEL (1850 VERSION)
THE BLESSED DAMOZEL (1870 VERSION)
THE BRIDE’S PRELUDE
THE BURDEN OF NINEVEH
THE CARD-DEALER
THE CARILLON
THE CHOICE
THE CHURCH PORCH I
THE CHURCH PORCH II
THE CLOUD, CONFINES
THE DARK GLASS
THE DAY-DREAM
THE HILL SUMMIT
THE HONEYSUCKLE
THE KING’S TRAGEDY
THE KISS
THE LADY’S LAMENT
THE LAMP’S SHRINE
THE LANDMARK
THE LAST THREE FROM TRAFALGAR AT THE ANNIVERSARY BANQUET, 21ST OCTOBER 187—
THE LEAF
THE LOVE-LETTER
THE LOVE-MOON
THE LOVERS’ WALK
THE MIRROR
THE MONOCHORD
THE MOONSTAR
THE MORROW’S MESSAGE
THE ONE HOPE
THE ORCHARD-PIT
THE PASSOVER IN THE HOLY FAMILY
THE PORTRAIT
THE PORTRAIT
THE QUESTION
THE SEA-LIMITS (1870 VERSION)
THE SEED OF DAVID
THE SONG OF THE BOWER
THE SONG-THROE
THE SOUL’S SPHERE
THE STAFF AND SCRIP
THE STAIRCASE OF NOTRE DAME, PARIS
THE STREAM’S SECRET
THE SUN’S SHAME
THE TREES OF THE GARDEN
THE VASE OF LIFE
THE WHITE SHIP: HENRY I OF ENGLAND - 25TH NOVEMBER, 1120
THE WOODSPURGE
THE YOUNG GIRL
THREE SHADOWS
THREE TRANSLATIONS FROM FRANÇOIS VILLON, 1450
THROUGH DEATH TO LOVE
TIBER, NILE, AND THAMES
TO ART
TO CINA DA PISTOIA
TO DANTE ALIGHIERI
TO DANTE ALIGHIERI
TO DANTE ALIGHIERI
TO DANTE ALIGHIERI
TO DEATH, OF HIS LADY
TO GUIDO CAVALCANTI
TO HIS LADY IN HEAVEN
TO PHILIP BOURKE MARSTON, INCITING ME TO POETIC WORK
TO THE BLESSED VIRGIN MARY
TO THOMAS WOOLNER: FIRST SNOW 9 FEBRUARY 1853
TRANSFIGURED LIFE
TROY TOWN
TRUE WOMAN
UNTIMELY LOST
V. PERCY BYSSHE SHELLEY
VAIN VIRTUES
VENUS VERTICORDIA
VENUS VICTRIX
VOX ECCLESIAE, VOX CHRISTI
WELLINGTON’S FUNERAL
WHEN THE TROOPS WERE RETURNING FROM MILAN
WILLOWWOOD
WINGED HOURS
WINTER
WITHOUT HER
WORDS ON THE WINDOW-PANE
WORLD’S WORTH
YOUTH AND LORDSHIP
YOUTH’S SPRING-TRIBUTE
The Prose
Cheyne Walk, South-West London, where Rossetti lived with the poet Algernon Charles Swinburne. Rossetti kept a menagerie in the back garden, much to the annoyance of his neighbours. It included a bull, a white peacock, a kangaroo, a raccoon and a wombat that reportedly had a liking for ladies’ hats. Consequently local house leases still forbid the keeping of such creatures.
‘Dante Gabriel Rossetti reading proofs of Sonnets and Ballads to Theodore Watts Dunton in the drawing room at 16 Cheyne Walk’ by Henry Treffry Dunn, 1882
HAND AND SOUL
A Short Story
Rivolsimi in quel lato
Là ‘nde venia la voce,
E parvemi una luce
Che lucca quanto Stella:
La mia mente era quella.
Bonaggiunta Urbiciani (1250)
Before any knowledge of painting was brought to Florence, there were already painters in Lucca, and Pisa, and Arezzo, who feared God and loved the art. The keen, grave workmen from Greece, whose trade it was to sell their own works in Italy and teach Italians to imitate them, had already found rivals of the soil with skill that could forestall their lessons and cheapen their crucifixes and addolorate, more years than is supposed before the art came at all into Florence. The pre-eminence to which Cimabue was raised at once by his contemporaries, and which he still retains to a wide extent even in the modern mind, is to be accounted for, partly by the circumstances under which he arose, and partly by that extraordinary purpose of fortune born with the lives of some few, and through which it is not a little thing fo
r any who went before, if they are even remembered as the shadows of the coming of such an one, and the voices which prepared his way in the wilderness. It is thus, almost exclusively, that the painters of whom I speak are now known. They have left little, and but little heed is taken of that which men hold to have been surpassed; it is gone like time gone, - a track of dust and dead leaves that merely led to the fountain.
Nevertheless, of very late years and in very rare instances, some signs of a better understanding have become manifest. A case in point is that of the triptic and two cruciform pictures at Dresden, by Chiaro di Messer Bello dell’ Erma, to which the eloquent pamphlet of Dr Aemmster has at length succeeded in attracting the students. There is another still more solemn and beautiful work, now proved to be by the same hand, in the gallery at Florence. It is the one to which my narrative will relate.
This Chiaro dell’ Erma was a young man of very honourable family in Arezzo; where, conceiving art almost, as it were, for himself, and loving it deeply, he endeavoured from early boyhood towards the imitation of any objects offered in nature. The extreme longing after a visible embodiment of his thoughts strengthened as his years increased, more even than his sinews or the blood of his life; until he would feel faint in sunsets and at the sight of stately persons. When he had lived nineteen years, he heard of the famous Giunta Pisano; and, feeling much of admiration, with, perhaps, a little of that envy which youth always feels until it has learned to measure success by time and opportunity, he determined that he would seek out Giunta, and, if possible, become his pupil.
Having arrived in Pisa, he clothed himself in humble apparel, being unwilling that any other thing than the desire he had for knowledge should be his plea with the great painter; and then, leaving his baggage at a house of entertainment, he took his way along the street, asking whom he met for the lodging of Giunta. It soon chanced that one of that city, conceiving him to be a stranger and poor, took him into his house, and refreshed him; afterwards directing him on his way.
When he was brought to speech of Giunta, he said merely that he was a student, and that nothing in the world was so much at his heart as to become that which he had heard told of him with whom he was speaking. He was received with courtesy and consideration, and shown into the study of the famous artist. But the forms he saw there were lifeless and incomplete; and a sudden exultation possessed him as he said within himself, ‘I am the master of this man.’ The blood came at first into his face, but the next moment he was quite pale and fell to trembling. He was able, however, to conceal his emotion; speaking very little to Giunta, but, when he took his leave, thanking him respectfully.
After this, Chiaro’s first resolve was, that he would work out thoroughly some of his thoughts, and let the world know him. But the lesson which he had now learned, of how small a greatness might win fame, and how little there was to strive against, served to make him torpid, and rendered his exertions less continual. Also Pisa was a larger and more luxurious city than Arezzo; and when, in his walks, he saw the great gardens laid out for pleasure, and the beautiful women who passed to and fro, and heard the music that was in the groves of the city at evening, he was taken with wonder that he had never claimed his share of the inheritance of those years in which his youth was cast. And women loved Chiaro; for, in despite of the burthen of study, he was well-favoured and very manly in his walking; and, seeing his face in front, there was a glory upon it, as upon the face of one who feels a light round his hair.
Complete Poetical Works of Dante Gabriel Rossetti Page 47
