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Christina Rossetti's poem about love and relationships
Relevance of religion to Christina Rossetti
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Christina Rossetti's No Thank-You John and Robert Graves' A Slice of Wedding Cake
Poetry is a completely malleable form of expression that writers use as an outlet for emotion and advocacy. Because each poet is distinct in form and content, a poet may harbor some characteristics that bare a resemblance to work of another. If there is no room for comparison, a poem may have a literary complement that sets up an interesting contrast between poems, or a poem may reinforce the ideas of another poem. The works of Christina Rossetti and Robert Graves are no exception. Though the two lived in different centuries, they both wrote about relationships between the sexes. Rossetti and Graves’ forms differed even as their contents played upon one another in the poems “No Thank-You John” and “A Slice of Wedding Cake” respectively.
Christina Rossetti was nothing if she were not a true artist. Rossetti was born in 1830 and lived until 1894 as a poet who had an early passion for art and literature (“Christina Rossetti” 1583). The driving force in Rossetti’s life was religion. She was a self-regulator who made decisions based on rigid religious values. In the midst of her unfaltering spiritual devotion, Rossetti gave up theater, opera, and chess (“Christina Rossetti” 1583). Rossetti never married, but that is not to say that she never had plans for marriage. She was engaged twice and both times broke the engagements for religious reasons. Rossetti wrote pure lyric, narrative fable, ballad, and devotional verse (“Christina Rossetti” 1583). She wrote poetry that dealt with deflection and negation. The Norton Anthology writes, “[Her] very denials and constraints give her a powerful way to articulate a poetic self in critical relationsh...
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...g the line roll without incident. Specifically, the sound “s” is repeated throughout the work using the words “simple, self-sacrifice, self-pitying, [and] sly” create the effect. The alliteration in the work makes the poem flow from word to word, line to line, and stanza to stanza. The alliteration creates an impression in the poem that stresses Graves’ key idea: the men are not worthy of the women that married them.
Graves and Rossetti are poets of a different era. Rossetti’s speaker’s action towards John is something that Graves would have been in favor of. Both poets were not afraid to express themselves through their verse. The differences in gender between Rossetti and Graves do not prevent them from sharing an opinion on the topic of relationships. Each poet knew how to use poetic devices such as alliteration and vivid diction to achieve his point.
The idea of graves serving memory is introduced in Part I of the collection within the poem
On the surface, the poems “Goblin Market” by Christina Rossetti and “The Thorn” by William Wordsworth appear to be very different literary works. “Goblin Market” was written by a young woman in the Victorian period about two sisters who develop a special bond through the rescue of one sister by the other. “The Thorn” was written by the Romantic poet William Wordsworth about a middle-aged man and his experience overlooking a woman’s emotional breakdown. Material to understanding the works “Goblin Market” and “The Thorn” is recognizing the common underlying themes of sex and gender and how these themes affect perspective in both poems.
“Like a river flows so surely to the sea darling, so it goes some things are meant to be.” In literature there have been a copious amount of works that can be attributed to the theme of love and marriage. These works convey the thoughts and actions in which we as people handle every day, and are meant to depict how both love and marriage can effect one’s life. This theme is evident in both “The Storm” by Kate Chopin and “The Yellow Wallpaper” by Charlotte Gilman; both stories have the underlying theme of love and marriage, but are interpreted in different ways. Both in “The Storm” and in “The Yellow Wallpaper,” the women are the main focus of the story. In “The Storm” you have Calixta, a seemingly happy married woman who cheats on her husband with an “old-time infatuation” during a storm, and then proceeds to go about the rest of her day as if nothing has happened when her husband and son return. Then you have “The Yellow Wallpaper” where the narrator—who remains nameless—is basically kept prisoner in her own house by her husband and eventually is driven to the point of insanity.
There are many different themes that can be used to make a poem both successful and memorable. Such is that of the universal theme of love. This theme can be developed throughout a poem through an authors use of form and content. “She Walks in Beauty,” by George Gordon, Lord Byron, is a poem that contains an intriguing form with captivating content. Lord Byron, a nineteenth-century poet, writes this poem through the use of similes and metaphors to describe a beautiful woman. His patterns and rhyme scheme enthrall the reader into the poem. Another poem with the theme of love is John Keats' “La Belle Dame sans Merci,” meaning “the beautiful lady without mercy.” Keats, another nineteenth-century writer, uses progression and compelling language throughout this poem to engage the reader. While both of these poems revolve around the theme of love, they are incongruous to each other in many ways.
In Rossetti’s poem “In an Artist’s Studio”, she illustrates a man in the art studio surrounded around his canvases. On each of his canvases, he has painted the same woman in different positions, as depicted in, “One selfsame figure sits or walks or leans” (Rossetti 104). This man continuously paints the same women, each time depicting her differently as demonstrated, “A saint, and angel…” (Rossetti 104). Similarly, in McKay’s poem he illustrates for the readers, a dark skinned, half clothed woman dancing. Both of these poems focus on how men view women, and how men idealize women for their beauty, or some other desirable part of them. Both of these poets express that men do not appreciate the wholeness and complexity of both of these women. McKay’s idealized woman is also a woman of colour, which may lead into a discussion of race gender, and sexuality. In Rossetti’s poem, the artist “feeds upon” (Rossetti 104) the object of his affection, “not as she is, but as she fills his dreams” (Rossetti 104). Also, McKay’s narrator idealizes her physical beauty and describes how everyone “devoured” her beauty, even though “her self was not in that strange place” (McKay 18). The main difference is that McKay’s narrator sees his desired woman as having “grown lovelier for passing through a storm” (McKay 18), whereas Rossetti’s artist uses his art to wash away the pain-and by extension, the
The poetry by these two poets creates several different images, both overall, each with a different goal, have achieved their purposes. Though from slightly different times, they can both be recognized and appreciated as poets who did not fear the outside, and were willing to put themselves out there to create both truth and beauty.
This religious devotion played a major role in Rossetti's personal life for the rest of her life. In her late teens she became engaged to a painter James Collinson, but there commitment eventually ended because of religious differences that they had. James Collinson reverted back to Catholicism. Some time after that Christina Rosseti became involved with the linguist by the unfamiliar name of Charles Cayley, but she did not marry him either because of, once more religious issues.
Christina Rossetti was a pivotal key in the foundations of the Pre-Raphaelite movement, which can be seen, throughout her poetry. Rossetti, as a follower of the Pre-Raphaelite’s, endorsed ideas of unrequited love, acceptance of human mortality and redemption. These ideals both endorsed and challenged the Victorian morals of her era as Victorian morality was focused on repression, class structures, and religion often conflicting with the sexual desire and questioning nature of Rossetti’s poems. The poem Echo is a reflection of Rossetti’s view on the romance and grief in her life through her unwavering faith in religion that will reunite her with her love. Through her desire of a recreation of love in the poem, it is both accepted and challenged through her religious beliefs as the purity of distance in
Beneath Christina Rossetti’s poetry a subtext of conflict between the world of temptation and the divine kingdom exists. Hugely aware of her own and others desires and downfalls her poetry is riddled with fear, guilt and condemnation however her works are not two dimensional and encompass a myriad of human concerns expanding beyond the melancholy to explore love and fulfilment.
Alliteration is a key aspect to how the reader experiences the poem; it especially gives interest toward alliteration of the letter T. This alliteration begins in the very first line “Tell all the Truth but tell it slant-” (1.1). The alliteration on the T is used three times within the first line; however, it does not stop there. Dickinson uses the “T” sound to continually draw back to the theme of truth. Dickinson, through the use of two stanzas, four lines each, uses quite a distinct rhyme scheme to organize her poem. The second and fourth lines of each stanza are clearly examples of end rhyme, by using words such as “lies” (1.2) and “surprise” (1.4). However, every single line is not an example of end rhyme. The first and third lines rhyme words such as “slant” (1.1) and “delight” (1.3); which can be described as near rhymes for they give a small sensation of rhyming. This rhyming pattern continues for the second stanza as well. The sequence of rhyming is not arbitrarily put into practice, rather, it also adds on to the truth theme. The near rhymes Dickinson stresses to not tell the truth in its entirety, but rather, convey a little bit of truth. This is being directly compared to the almost rhyming sensatio...
Love plays an important role in most physical and emotional relationships. Love is a word that can prove difficult to define or even compare to other emotions. This is due to the diversity of meaning and the complexity of the emotion itself. Everyone has been in love at least once before and has gotten a taste of all the good and bad things that come with it. Christina Rossetti’s “Song” presents some of the good parts of love while Philip Larkin’s “Talking in Bed” shows us some of the bad parts of love. Larkin’s poem presents a failing relationship where communication has failed between a couple and things are getting more and more difficult. Rossetti’s poem presents a wholly different view on love; it is told from the viewpoint of someone talking to his or her lover about what said lover should do after the speaker dies. The love between them seems better, more powerful and good. The two poems also present wholly different attitudes towards “The End,” whether that is the end of life or the end of the relationship. Larkin presents the end as something dark and sad, difficult to cope with. Rossetti, on the other hand, talks about the end as just another beginning, a chance to start over in a new world. Finally, the two poems represent remembrance in different ways. Larkin’s presents memory as something extremely important while Rossetti implies that it does not matter whether we remember or not.
The third decade of the twentieth century brought on more explicit writers than ever before, but none were as expressive as Anne Sexton. Her style of writing, her works, the image that she created, and the crazy life that she led are all prime examples of this. Known as one of the most “confessional” poets of her time, Anne Sexton was also one of the most criticized. She was known to use images of incest, adultery, and madness to reveal the depths of her deeply troubled life, which often brought on much controversy. Despite this, Anne went on to win many awards and go down as one of the best poets of all time.
In this essay I will compare and contrast a collection of different poems by Carol Anne Duffy, Robert Browning, Ben Johnson and Simon Armitage.
Rossetti’s subject matter is erotic, with very visible sensual undertones. The language Rossetti uses insinuates sexual temptation, repression and desire, and it manages to be situated slightly between children’s folklore and adult prose fiction. Such as “Plump unpeck’d cherries,” “Pluck them, suck them,” and “juice that syrupp’d all her face”. Sisters, Lizzie and Laura, represent women’s double quandary in the Victorian sexual economy: either risk becoming a commodity yourself, or risk never tasting desire, never letting yourself in a sense be free and a whim to your natural physical urges. Rossetti’s repressed protagonists assume an inferior position in the presence of the...
Christina Rossetti's poem, “In An Artist’s Studio”, explores how men foster a need for control by creating unrealistic expectations for women through their fantasies. Through the use of repetition, contrast of imagery, and symbolism, Rossetti guides us through the gallery inside of an artist’s mind, portraying the fantasies that give him a sense of control over the women he creates.