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Books : Literature & Fiction : Authors, A-Z : ( R ) : Rossetti, Christina
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Features 32 works — among them "The Convent Threshold," "Up-hill," "Cousin Kate," "Winter: My Secret," "Maude Clare," and celebrated title poem.
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Superb treasury of time-honored poetic gems includes Lewis Carroll's "The Walrus and the Carpenter," Edward Lear's "The Owl and the Pussy-Cat," Eugene Field's "Wynken, Blynken and Nod," Emily Dickinson's "I’m Nobody! Who are you?," Robert Louis Stevenson's "The Swing," many more. Printed in large, easy-to-read type.
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This anthology presents over 170 poems by the major poets of the 19th century, including Alfred, Lord Tennyson, Robert Browning, Elizabeth Barrett Browning, Arthur Hugh Clough, Edward FitzGerald, Matthew Arnold, Dante Gabriel Rossetti, Christina Rossetti, Rudyard Kipling, and many others. An introduction and brief biographical notes on the poets are included.
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Rossetti is unique among Victorian poets for the sheer range of her subject matter and the variety of her verse form. This collection brings together fantasy poems, such as Goblin Market, and terrifyingly vivid verses for children, love lyrics and sonnets, and the vast body of her devotional poetry. Rossetti's poems weave connections between love and death, triumph and loss, heavenly joys and earthly pleasures. The directness and clarity of her lyrics still have the power to startle us with their truth and beauty.
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Experience the temptation, pleasure, punishment, and redemption of Christina Rossetti's brilliant poetic masterpiece in this classic keepsake edition, gorgeously illustrated with Pre-Raphaelite paintings by Christina's brother, Dante Gabriel Rossetti. Published in 1862, this phantasmagoric tale of two maidens seduced by lewd goblin men provides a startling glimpse into the depths of the Victorian psyche. Full color throughout .
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Morning and evening Maids heard the goblins cry: 'Come buy our orchard fruits; Come buy; come by¿' -Excerpt from Goblin Market
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A captivating selection of enduring verse by one of the Victorian era’s most beloved poets
Christina Rossetti is unique among Victorian poets for the sheer range of her subject matter and the variety of her verse forms. Weaving connections between love and death, triumph and loss, heavenly joys and earthly pleasures, Rossetti’s poems startle the imagination with their extraordinary truth, beauty, and intensity. This first fully annotated collection, based on the definitive texts, brings together love lyrics, sonnets, hymns, ballads, the vast body of her devotional poetry, and fantasy poems like “Goblin Market,” Rossetti’s terrifyingly vivid verses for children.
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These Everyman's Library Pocket Poets hardcover editions are popular for their compact size and reasonable price which do not compromise content. Poems: Rossetti contains a full selection of Rossetti's work, including her lyric poems, dramatic and narrative poems, rhymes and riddles, sonnet sequences, prayers and meditations, and an index of first lines.
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Poetry of Dante Gabriel Rossetti crowns this outstanding collection: highlights include "The Blessed Damozel," "My Sister's Sleep," and selections from The House of Life. Christina Rossetti is represented by "Remember," "Cousin Kate," and "Song"; Swinburne's "The Garden of Proserpine," Morris' "The Haystack in the Floods," and Meredith's "Lucifer by Starlight."
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A beautifully illustrated gift book edition of Rossetti's musical nineteenth-century poetry includes such familiar works as ""Repining,"" ""A Birthday,"" ""Amor Mundi,"" and ""Goblin Market.""
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The first full-scale biography of the Victorian poet explains her recurrent bouts of depression following rumors of sexual abuse, traces her ties to London's literati, and discusses her place in the Pre-Raphaelite movement.
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One 65-minute cassette of the finest love poems in the English language — from Shakespeare to Edna St. Vincent Millay. Works by Ben Jonson, John Donne, Christina Rossetti, Thomas Hardy, Andrew Marvell and many others, all beautifully and sensitively read by Brian Murray and Suzanne Toren and accompanied by paperback edition of Great Love Poems.
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Christina Rossetti is widely regarded as the most considerable woman poet in England before the twentieth century. No reading of nineteenth century poetry can be complete without attention to this prolific and popular poet. Rosetti s inner life dominates her poetry, exploring loss and unattainable hope. Her divine poems have a freshness and toughness of thought, while many of her love poems are erotic, and as often express love for women as for men. The varied threads of Rossetti's concerns are drawn together in what is perhaps her greatest poem, the strange and ambiguous Goblin Market.304
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My heart is like a singing bird
Whose nest is a watered shoot;
My heart is like an apple-tree
Whose boughs are bent with thickest fruit.
--From A Birthday
From the sensuous, deliciously scary, and popular Goblin Market to the delicate and musical Sing-Song, Christina Rossetti's verses feature earthy, almost tactile images. As the sole woman among the Pre-Raphaelites, her work has a unique feminine perspective. Among the selections by Jan Marsh, author of an acclaimed biography of Christina and her brother, Dante Gabriel Rossetti, are At Home, Confluents, Maude Clare, and Songs for Strangers and Pilgrims.
Victorian women poets lived in a time when religion was a vital aspect of their identities. Cynthia Scheinberg examines Anglo-Jewish (Grace Aguilar and Amy Levy) and Christian (Elizabeth Barrett Browning and Christina Rossetti) women poets, and argues that there are important connections between the discourses of nineteenth-century poetry, gender and religious identity. Broadly interdisciplinary, the book's methodology relates to studies in poetics, religious studies, feminist literary criticism, and little-known Anglo-Jewish primary sources.
Rossetti was considered by many of her contemporaries to be Britain's finest living poet; technically virtuous and full of mystic yearning, her poetry ranges from the immensely popular "Goblin Market" to ballads, love lyrics, sonnets, and religious poetry. This long awaited edition recalls a poet of breathtaking variety and strange magic to a public that has too long neglected her.
Despite new historical study of her contexts, Christina Rossetti continues to haunt the reader as a displaced subjectivity emptied of history. Through an analysis of the posthumous in her work, the construction of "Christina Rossetti" by her brothers, and the history of her reception, this study asks how "speaking with the dead" can avoid critical ventrilogquy. The figure of the mother is offered as a paradigm for theorizing a new reading that refuses to exorcise the ghost of "Christina Rossetti."
Readers do not always take into account how books that combine image and text make their meanings. But for the Pre-Raphaelite poet Chriistina Rossetti, such considerations were central. This volume maps the production and reception of Rossetti's illustrated poetry, devotional poetry and work for children, both in the author's lifetime and in posthumous 20th-century reprints. The author, Lorraine Janzen Kooistra's reading of Rossetti's illustrated works reveals the visual-verbal aesthetic that was fundamental to Rossetti's poetics. Her archival research brings to light information on how Rossetti's commitment to illustration and attitudes to copyright and control influenced her transactions with publishers and the books they produced. Kooistra also tracks the poet's reception in the 20th century through a complex web of illustrated books produced of a wide range of audiences. Analyzing an impressive array of empirical data, Kooistra shows how Rossetti's packaging for commodity consumption - by religious presses, publishers of academic editions and children's picture books, and makers of erotica and collectibles - influenced the reception of her work and her place in literary history.
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