Christina Rossetti, like her brother Dante, Rossetti, is one of the important representatives of the Pre-Raphaelite school and one of the most gifted female poets in England. Although only Tennyson, Robert Browning and Matthew Arnold are listed in the "Victorian Poetry" section of the history of English literature, and she is only listed in "Other Poets", the fact is that her poems start with It is famous for its rich background painting, exquisite detail description and strong visual experience. It contains strong mysticism, symbolism and religious colors, and pursues themes such as love and desire, dream and death. No wonder Swinburne exclaimed that "there is no more splendid poem", and praised her poems echoing "the clear and loud tide of heaven": Maddox admired her even more, thinking that she "is The greatest master of language the 19th century has contributed to us—at least of the English language": Wolff praised "she sang like a robin, and sometimes like a nightingale" number one."
Christina Rossetti's father, Gabrelle Rossetti, was a professor of Italian at Kings College in London, and her mother, Francis Pridaury, was Byron's doctor and secretary and loved Gothic novels. Inspired by her mother, Cristina began to write poetry at the age of 11. Her maternal grandfather, Gaetano Pridori, published Poetry for her in 1847, showing her creative genius. In 1862, her first The publication of a formal collection of poems, The Fairy and Other Poems, established her position in the British poetry world. In 1866, Christina published another collection of poems, "The Prince's Journey and Other Poems", which established her supreme position in the British poetry circle. She also published Nursery Rhymes in 1872 and Talking Portraits in 1874. In 1881 she published another important collection of poems, Celebration and Other Poems. Afterwards, between 1879 and 1892, she published five volumes of contemplative poetry, carrying out a very strict introspection on herself.
Love and death are two of Christina's creative themes. Her mother's influence converted her to Anglicanism, and her two marriages were dissolved due to differences of religious beliefs. Due to the sadness of losing love and the torment of Graves' illness, her works contain a religious color of mysticism, showing beautiful dreams and themes of death, and pursuing the morbid beauty of cold silence. Among her star-like love poems, "Birthday", "Bride Song" and "Love Trio" best reflect her ideal view of love.
"Birthday," originally published in Macmillan Magazine (1861) and later in "The Fairy Tale and Other Poems," is one of Christina's most celebrated and most beautiful poems. Although her poems reveal a strong asceticism, she is by no means a person with a dry heart. She is gentle and lovely, innocent and pure, passionate, good at fantasy, understands sensual enjoyment, and longs for ideal love. In this neat two-section eight-line poem, the author describes a young girl's unconcealed joy when she is about to meet her beloved. The author compares a young girl's heart to "birds," "apple trees," "Sea shells" and other beautiful images: "My heart is like a singing bird, / Her nest is built among the wet twigs; / My heart is like an apple tree, / Her branches Bent by luxuriant fruit; / My heart is like a splendid seashell, / Wandering in the calm sea; / My heart is more cheerful than all these, / For my love is coming to me Beside. /" These beautiful images give readers a beautiful sensory enjoyment, and the joy of the girl's pursuit of love is vivid on the paper. However, in Christina's inner world, true love is ideal, and eternal ideal love is short-lived. Beautiful sights in nature - birds among the wet twigs, apple branches with their fruits bent, seashells roaming in the sea. All indicate potential danger. Their joy and joy, like love, are short-lived and always in peril. Therefore, in the second section, the author returns her vision from the natural world to her boudoir, her own art world or her own inner world, and carefully prepares her birthday to replace the "bird" that is always in danger with a relatively stable "high seat" , "tree", and the "high seat" has been beautifully packaged in art: "Place me a high seat with satin and down: / Decorated with exquisite mouse fur and purple paint, / carved with peacocks and doves with hundred-eyed quills, The pattern of pomegranate; / with grapes in gold and silver, / with leaves and silver lily petals; / because my birthday has come, and my love is coming to me." The author conceived a picture The beautiful birthday picture reflects her hope to seek ideal love in the art world, as well as her helplessness for ideal love to be fleeting. This is consistent with her life background and life experience. The grief of losing her love twice led her to be a little disappointed in the earthly love, and turned to the ideal art world to seek the ideal love. In general, "Birthday" is not as gloomy and mournful as "My Anonymous", its language is fresh, its tone is bright, and its colors are rich, showing a distinct aestheticism tendency.
The Love Trio, written in 1856, is a Petrarch-style sonnet that reveals the repression of women's sexuality in the Victorian period, vividly describing the three emotions of Victorian women's pursuit of ideal love, and the inability to The helplessness and disappointment of finding the ideal love. This little poem has won wide acclaim for its witty language and bizarre conception. The first is a voluptuous woman with "blood-red lips, beautiful buttocks and breasts shining with blond hair and fingertips", who makes herself feel ashamed in love and misses the ideal love. The second is a vain, calculating woman, like a "showy hyacinth", too shrewd to get herself into a "lack of marriage" and become "a lazy wife." The third is a woman who "plays tiresome and noisy tunes like a broken organ", who is full of helplessness and disappointment in her "seeking life and death" and unable to pursue her ideal love. Christina uses a playful tone to vividly show us three female singers: no matter how fancy, no matter how shrewd, no matter how "seeking life and death", they can't pursue the ideal love and can only sing "true love is difficult." The helplessness and disappointment of looking for.
"Bride Song" was created in 1861 and included in "The Prince's Journey". It mainly describes a prince who was repeatedly delayed by various temptations on his way to the wedding. When he arrived, the princess was sad and desperate because he could not wait for him. And die. There are six stanzas in the whole poem. Each stanza rhymes independently. The rhythm is fresh and beautiful. In the first stanza, the author pointed out that everything was too late. Due to the delay of the prince, the enchanted princess died because she could not wait for the prince. "It's too late to love, too late to rejoice, / Too late, too late! / You've been wandering on the road too long, / You've been wandering outside the door: / A dove on a branch dies in sorrow without a mate ;/The enchanted princess in the castle sleeps behind the fireplace and returns to her hometown:/Her heart is always full of longing,/You make it hopeless." The princess was full of sorrow and died in despair and melancholy, expressing the poet's longing for love And the despair of losing love, the more the love is, the more painful it is to lose. In the second stanza, the poet laments sadly that if he had come sooner, he would have seen the living face of the princess, but it is too late, the frozen spring will always jump, the withered flower bud will always bloom, and the sleeping princess will never wake up . In the third stanza the poet once again displays a poignant beauty: "She lay there so charming? / She was so charming before. / Her hair is sprayed with golden powder, and no king, no matter how noble, can match her." Although the princess has left the world that made her despair, her beauty is still there, reflecting the author's aesthetic style. The fourth and fifth stanzas describe the heroine's poignant face and mournful tone, respectively: "We never saw her smile, / We never saw her frown", "Her face under the flower crown always seems to be in pain...", "We have never heard her speak so fast, / Her tone is so sweet...", "Her heart is so calm in the noise of the street". The poet lays out a cold and beautiful corpse in front of the reader, destroying the beautiful things in front of the reader, expressing the cold and silent "morbid beauty" in the author's soul. In the last stanza, the poet expresses his reproach for the prince and his sympathy for the heroine: "Yesterday you should have grieved for her, / Stand by her bed: / Why do you cry today? She is gone forever. / Today we love her without weeping, / To put a wreath on her noble head...".
Although "Birthday," "Love Trio," and "Bride Song" all focus on the pursuit of ideal love, their stylistic undertones vary. "Birthday" is fresh, lively, cheerful and cheerful, with an idealistic mood; "Love Trio" is humorous, playful and lively, and has a more romantic style; "Bride Song" is sad and lingering, gloomy and low, not only with aestheticism characteristics, religiousism and mystery more ideological. In addition, Christina also wrote "Dream of Love", "Missing" and other exquisite poems in pursuit of ideal love.
As the "Queen of the Pre-Raphaelites", Christina Rossetti, like Mrs. Browning, is regarded as one of the most gifted poetess in the history of English literature. She is a religious and mysterious poet. Poet of breath. Although her devout religious feelings caused her to lose her love twice, the sorrow of losing her love did not make her give up her pursuit of ideal love. Her love poems have both "the hope of love under religious devotion" and the double tension of "eager and unrestrained self-control in the cold"; they have both Gothic mystery and Byronic romance. The "incomprehensible" aesthetic poet.
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