Poems — Reading Companion

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Rossetti, Christina Georgina, 1830-1894 Project Gutenberg 2006 Not confirmed
English poetry Readers of public-domain and historical texts
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Words 72,305
Reading time 315 min
Text sections 13

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Christina Rossetti's 1876 collection reveals a poet who balances devotional longing with sharp, earthly observation. Her diction shifts between colloquial directness and liturgical formality, while her verse structures—from ballad stanzas to sonnets—shape meaning as much as her imagery of locked gardens, fading light, and persistent voices.
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One had a cat's face, One whisked a tail, One tramped at a rat's pace, One crawled like a snail, One like a wombat prowled obtuse and furry, One like a ratel tumbled hurry-scurry. She heard a voice like voice of doves Cooing all together: They sounded kind and full of loves In the pleasant weather.

Laura stretched her gleaming neck Like a rush-imbedded swan, Like a lily from the beck, Like a moonlit poplar branch, Like a vessel at the launch When its last restraint is gone.

Backwards up the mossy glen Turned and trooped the goblin men, With their shrill repeated cry, "Come buy, come buy." When they reached where Laura was They stood stock still upon the moss, Leering at each other, Brother with queer brother; Signalling each other, Brother with sly brother. One set his basket down, One reared his plate; One began to weave a crown Of tendrils, leaves, and rough nuts brown (Men sell not such in any town); One heaved the golden weight Of dish and fruit to offer her: "Come buy, come buy," was still their cry. Laura stared but did not stir, Longed but had no money: The whisk-tailed merchant bade her taste In tones as smooth as honey, The cat-faced purr'd, The rat-paced spoke a word Of welcome, and the snail-paced even was heard; One parrot-voiced and jolly Cried "Pretty Goblin" still for "Pretty Polly";-- One whistled like a bird.

But sweet-tooth Laura spoke in haste: "Good folk, I have no coin; To take were to purloin: I have no copper in my purse, I have no silver either, And all my gold is on the furze That shakes in windy weather Above the rusty heather." "You have much gold upon your head," They answered altogether: "Buy from us with a golden curl." She clipped a precious golden lock, She dropped a tear more rare than pearl, Then sucked their fruit globes fair or red: Sweeter than honey from the rock, Stronger than man-rejoicing wine, Clearer than water flowed that juice; She never tasted such before, How should it cloy with length of use? She sucked and sucked and sucked the more Fruits which that unknown orchard bore; She sucked until her lips were sore; Then flung the emptied rinds away, But gathered up one kernel stone, And knew not was it night or day As she turned home alone.

Lizzie met her at the gate Full of wise upbraidings: "Dear, you should not stay so late, Twilight is not good for maidens; Should not loiter in the glen In the haunts of goblin men. Do you not remember Jeanie, How she met them in the moonlight, Took their gifts both choice and many, Ate their fruits and wore their flowers Plucked from bowers Where summer ripens at all hours? But ever in the noonlight She pined and pined away; Sought them by night and day, Found them no more, but dwindled and grew gray, Then fell with the first snow, While to this day no grass will grow Where she lies low: I planted daisies there a year ago That never blow. You should not loiter so." "Nay, hush," said Laura: "Nay, hush, my sister: I ate and ate my fill, Yet my mouth waters still; To-morrow night I will Buy more,"--and kissed her. "Have done with sorrow; I'll bring you plums to-morrow Fresh on their mother twigs, Cherries worth getting; You cannot think what figs My teeth have met in, What melons icy-cold Piled on a dish of gold Too huge for me to hold, What peaches with a velvet nap, Pellucid grapes without one seed: Odorous indeed must be the mead Whereon they grow, and pure the wave they drink, With lilies at the brink, And sugar-sweet their sap."

Golden head by golden head, Like two pigeons in one nest Folded in each other's wings, They lay down in their curtained bed: Like two blossoms on one stem, Like two flakes of new-fallen snow, Like two wands of ivory Tipped with gold for awful kings. Moon and stars gazed in at them, Wind sang to them lullaby, Lumbering owls forbore to fly, Not a bat flapped to and fro Round their rest: Cheek to cheek and breast to breast Locked together in one nest.

Early in the morning When the first cock crowed his warning, Neat like bees, as sweet and busy, Laura rose with Lizzie: Fetched in honey, milked the cows, Aired and set to rights the house, Kneaded cakes of whitest wheat, Cakes for dainty mouths to eat, Next churned butter, whipped up cream, Fed their poultry, sat and sewed; Talked as modest maidens should: Lizzie with an open heart, Laura in an absent dream, One content, one sick in part; One warbling for the mere bright day's delight, One longing for the night.

At length slow evening came: They went with pitchers to the reedy brook; Lizzie most placid in her look, Laura most like a leaping flame. They drew the gurgling water from its deep; Lizzie plucked purple and rich golden flags, Then turning homeward said: "The sunset flushes Those furthest loftiest crags; Come, Laura, not another maiden lags, No wilful squirrel wags, The beasts and birds are fast asleep." But Laura loitered still among the rushes And said the bank was steep.

And said the hour was early still, The dew not fallen, the wind not chill: Listening ever, but not catching The customary cry, "Come buy, come buy," With its iterated jingle Of sugar-baited words: Not for all her watching Once discerning even one goblin Racing, whisking, tumbling, hobbling; Let alone the herds That used to tramp along the glen, In groups or single, Of brisk fruit-merchant men.

Till Lizzie urged: "O Laura, come; I hear the fruit-call, but I dare not look: You should not loiter longer at this brook: Come with me home. The stars rise, the moon bends her arc, Each glow-worm winks her spark, Let us get home before the night grows dark; For clouds may gather Though this is summer weather, Put out the lights and drench us through; Then if we lost our way what should we do?"

Laura turned cold as stone To find her sister heard that cry alone, That goblin cry, "Come buy our fruits, come buy." Must she then buy no more such dainty fruit? Must she no more such succous pasture find, Gone deaf and blind? Her tree of life drooped from the root: She said not one word in her heart's sore ache; But peering thro' the dimness, naught discerning, Trudged home, her pitcher dripping all the way; So crept to bed, and lay Silent till Lizzie slept; Then sat up in a passionate yearning, And gnashed her teeth for balked desire, and wept As if her heart would break.

Day after day, night after night, Laura kept watch in vain, In sullen silence of exceeding pain. She never caught again the goblin cry: "Come buy, come buy";-- She never spied the goblin men Hawking their fruits along the glen: But when the noon waxed bright Her hair grew thin and gray; She dwindled, as the fair full moon doth turn To swift decay, and burn Her fire away.

One day remembering her kernel-stone She set it by a wall that faced the south; Dewed it with tears, hoped for a root, Watched for a waxing shoot, But there came none; It never saw the sun, It never felt the trickling moisture run: While with sunk eyes and faded mouth She dreamed of melons, as a traveller sees False waves in desert drouth With shade of leaf-crowned trees, And burns the thirstier in the sandful breeze.

She no more swept the house, Tended the fowls or cows, Fetched honey, kneaded cakes of wheat, Brought water from the brook: But sat down listless in the chimney-nook And would not eat.

Tender Lizzie could not bear To watch her sister's cankerous care, Yet not to share. She night and morning Caught the goblins' cry: "Come buy our orchard fruits, Come buy, come buy." Beside the brook, along the glen, She heard the tramp of goblin men, The voice and stir Poor Laura could not hear; Longed to buy fruit to comfort her, But feared to pay too dear. She thought of Jeanie in her grave, Who should have been a bride; But who for joys brides hope to have Fell sick and died In her gay prime, In earliest winter-time, With the first glazing rime, With the first snow-fall of crisp winter-time.

Till Laura, dwindling, Seemed knocking at Death's door: Then Lizzie weighed no more Better and worse, But put a silver penny in her purse, Kissed Laura, crossed the heath with clumps of furze At twilight, halted by the brook; And for the first time in her life Began to listen and look.

Laughed every goblin When they spied her peeping: Came towards her hobbling, Flying, running, leaping, Puffing and blowing, Chuckling, clapping, crowing, Clucking and gobbling, Mopping and mowing, Full of airs and graces, Pulling wry faces, Demure grimaces, Cat-like and rat-like, Ratel and wombat-like, Snail-paced in a hurry, Parrot-voiced and whistler, Helter-skelter, hurry-skurry, Chattering like magpies, Fluttering like pigeons, Gliding like fishes,-- Hugged her and kissed her; Squeezed and caressed her; Stretched up their dishes, Panniers and plates: "Look at our apples Russet and dun, Bob at our cherries, Bite at our peaches, Citrons and dates, Grapes for the asking, Pears red with basking Out in the sun, Plums on their twigs; Pluck them and suck them, Pomegranates, figs."

"Good folk," said Lizzie, Mindful of Jeanie, "Give me much and many";-- Held out her apron, Tossed them her penny. "Nay, take a seat with us, Honor and eat with us," They answered grinning: "Our feast is but beginning. Night yet is early, Warm and dew-pearly, Wakeful and starry: Such fruits as these No man can carry; Half their bloom would fly, Half their dew would dry, Half their flavor would pass by. Sit down and feast with us, Be welcome guest with us, Cheer you and rest with us." "Thank you," said Lizzie; "but one waits At home alone for me: So, without further parleying, If you will not sell me any Of your fruits though much and many, Give me back my silver penny I tossed you for a fee." They began to scratch their pates, No longer wagging, purring, But visibly demurring, Grunting and snarling. One called her proud, Cross-grained, uncivil; Their tones waxed loud, Their looks were evil. Lashing their tails They trod and hustled her, Elbowed and jostled her, Clawed with their nails, Barking, mewing, hissing, mocking, Tore her gown and soiled her stocking, Twitched her hair out by the roots, Stamped upon her tender feet, Held her hands and squeezed their fruits Against her mouth to make her eat.

White and golden Lizzie stood, Like a lily in a flood,-- Like a rock of blue-veined stone Lashed by tides obstreperously,-- Like a beacon left alone In a hoary roaring sea, Sending up a golden fire,-- Like a fruit-crowned orange-tree White with blossoms honey-sweet Sore beset by wasp and bee,-- Like a royal virgin town Topped with gilded dome and spire Close beleaguered by a fleet Mad to tug her standard down.

One may lead a horse to water, Twenty cannot make him drink. Though the goblins cuffed and caught her, Coaxed and fought her, Bullied and besought her, Scratched her, pinched her black as ink, Kicked and knocked her, Mauled and mocked her, Lizzie uttered not a word; Would not open lip from lip Lest they should cram a mouthful in; But laughed in heart to feel the drip Of juice that syrupped all her face, And lodged in dimples of her chin, And streaked her neck which quaked like curd. At last the evil people, Worn out by her resistance, Flung back her penny, kicked their fruit Along whichever road they took, Not leaving root or stone or shoot. Some writhed into the ground, Some dived into the brook With ring and ripple, Some scudded on the gale without a sound, Some vanished in the distance.

In a smart, ache, tingle, Lizzie went her way; Knew not was it night or day; Sprang up the bank, tore through the furze, Threaded copse and dingle, And heard her penny jingle Bouncing in her purse,-- Its bounce was music to her ear. She ran and ran As if she feared some goblin man Dogged her with gibe or curse Or something worse: But not one goblin skurried after, Nor was she pricked by fear; The kind heart made her windy-paced That urged her home quite out of breath with haste And inward laughter.

She cried "Laura," up the garden, "Did you miss me? Come and kiss me. Never mind my bruises, Hug me, kiss me, suck my juices Squeezed from goblin fruits for you, Goblin pulp and goblin dew. Eat me, drink me, love me; Laura, make much of me: For your sake I have braved the glen And had to do with goblin merchant men."

Laura started from her chair, Flung her arms up in the air, Clutched her hair: "Lizzie, Lizzie, have you tasted For my sake the fruit forbidden? Must your light like mine be hidden, Your young life like mine be wasted, Undone in mine undoing And ruined in my ruin, Thirsty, cankered, goblin-ridden?" She clung about her sister, Kissed and kissed and kissed her: Tears once again Refreshed her shrunken eyes, Dropping like rain After long sultry drouth; Shaking with aguish fear, and pain, She kissed and kissed her with a hungry mouth.

Her lips began to scorch, That juice was wormwood to her tongue, She loathed the feast: Writhing as one possessed she leaped and sung, Rent all her robe, and wrung Her hands in lamentable haste, And beat her breast. Her locks streamed like the torch Borne by a racer at full speed, Or like the mane of horses in their flight, Or like an eagle when she stems the light Straight toward the sun, Or like a caged thing freed, Or like a flying flag when armies run.

Swift fire spread through her veins, knocked at her heart, Met the fire smouldering there And overbore its lesser flame; She gorged on bitterness without a name: Ah! fool, to choose such part Of soul-consuming care! Sense failed in the mortal strife: Like the watch-tower of a town Which an earthquake shatters down, Like a lightning-stricken mast, Like a wind-uprooted tree Spun about, Like a foam-topped water-spout Cast down headlong in the sea, She fell at last; Pleasure past and anguish past, Is it death or is it life?

Life out of death. That night long Lizzie watched by her, Counted her pulse's flagging stir, Felt for her breath, Held water to her lips, and cooled her face With tears and fanning leaves: But when the first birds chirped about their eaves, And early reapers plodded to the place Of golden sheaves, And dew-wet grass Bowed in the morning winds so brisk to pass, And new buds with new day Opened of cup-like lilies on the stream, Laura awoke as from a dream, Laughed in the innocent old way, Hugged Lizzie but not twice or thrice; Her gleaming locks showed not one thread of gray, Her breath was sweet as May, And light danced in her eyes.

Days, weeks, months, years Afterwards, when both were wives With children of their own; Their mother-hearts beset with fears, Their lives bound up in tender lives; Laura would call the little ones And tell them of her early prime, Those pleasant days long gone Of not-returning time: Would talk about the haunted glen, The wicked, quaint fruit-merchant men, Their fruits like honey to the throat, But poison in the blood; (Men sell not such in any town;) Would tell them how her sister stood In deadly peril to do her good, And win the fiery antidote: Then joining hands to little hands Would bid them cling together, "For there is no friend like a sister, In calm or stormy weather, To cheer one on the tedious way, To fetch one if one goes astray, To lift one if one totters down, To strengthen whilst one stands."

IN THE ROUND TOWER AT JHANSI,

A hundred, a thousand to one; even so; Not a hope in the world remained: The swarming, howling wretches below Gained and gained and gained.

Skene looked at his pale young wife:-- "Is the time come?"--"The time is come!"-- Young, strong, and so full of life: The agony struck them dumb.

Close his arm about her now, Close her cheek to his, Close the pistol to her brow-- God forgive them this!

"Will it hurt much?"--"No, mine own: I wish I could bear the pang for both." "I wish I could bear the pang alone: Courage, dear, I am not loth."

Kiss and kiss: "It is not pain Thus to kiss and die. One kiss more."--"And yet one again."-- "Good by."--"Good by."

Note.--I retain this little poem, not as historically accurate, but as written and published before I heard the supposed facts of its first verse contradicted.

Where sunless rivers weep Their waves into the deep, She sleeps a charmèd sleep: Awake her not. Led by a single star, She came from very far To seek where shadows are Her pleasant lot.

She left the rosy morn, She left the fields of corn, For twilight cold and lorn And water springs. Through sleep, as through a veil, She sees the sky look pale, And hears the nightingale That sadly sings.

Rest, rest, a perfect rest Shed over brow and breast; Her face is toward the west, The purple land. She cannot see the grain Ripening on hill and plain; She cannot feel the rain Upon her hand.

Rest, rest, forevermore Upon a mossy shore; Rest, rest at the heart's core Till time shall cease: Sleep that no pain shall wake, Night that no morn shall break, Till joy shall overtake Her perfect peace.

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 their 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.

FROM SUNSET TO STAR RISE.

Go from me, summer friends, and tarry not: I am no summer friend, but wintry cold, A silly sheep benighted from the fold, A sluggard with a thorn-choked garden plot. Take counsel, sever from my lot your lot, Dwell in your pleasant places, hoard your gold; Lest you with me should shiver on the wold, Athirst and hungering on a barren spot.

For I have hedged me with a thorny hedge, I live alone, I look to die alone: Yet sometimes when a wind sighs through the sedge, Ghosts of my buried years and friends come back, My heart goes sighing after swallows flown On sometime summer's unreturning track.

I had a love in soft south land, Beloved through April far in May; He waited on my lightest breath, And never dared to say me nay.

He saddened if my cheer was sad, But gay he grew if I was gay; We never differed on a hair, My yes his yes, my nay his nay.

The wedding hour was come, the aisles Were flushed with sun and flowers that day; I pacing balanced in my thoughts,-- "It's quite too late to think of nay."--

My bridegroom answered in his turn, Myself had almost answered "yea": When through the flashing nave I heard. A struggle and resounding "nay."

Bridemaids and bridegroom shrank in fear, But I stood high who stood at bay: "And if I answer yea, fair Sir, What man art thou to bar with nay?"

Christina Rossetti's Poems (1876 edition) opens with a dedication to her mother and a brief author's note to American readers, but the verse itself immediately establishes a distinctive voice. In 'Goblin Market,' the opening poem, Rossetti deploys irregular meter and internal rhyme to mimic the goblins' seductive cries: 'Come buy, come buy.' The collection as a whole moves between narrative ballads, devotional sonnets, and compressed lyrics, each mode revealing a poet attentive to the sound and weight of individual words.

Rossetti's diction often juxtaposes the homely and the sacred. In 'A Green Cornfield,' a skylark is 'a singing speck above the corn,' while in 'The Convent Threshold,' the speaker's language shifts to urgent, penitential address. This range—from the colloquial to the liturgical—marks her authorial choices throughout the volume.

Dialogue and Direct Address

Rossetti frequently uses direct address to create intimacy or tension. In 'No, thank you, John,' the speaker's repeated refusals are curt and conversational: 'No, thank you, John.' The poem's title itself mimics a spoken reply. Conversely, in devotional pieces like 'The Love of Christ which passeth Knowledge,' the address becomes reverent and expansive. The sonnet 'Remember' opens with a direct command—'Remember me when I am gone away'—that shifts to a concessive tone: 'Better by far you should forget and smile.' This pattern of address, whether to a lover, a friend, or a divine figure, reveals Rossetti's control over tone and the emotional stakes of each poem.

In 'The Convent Threshold,' the speaker exhorts a listener to 'repent' and 'look up,' blending spiritual urgency with personal appeal. The ghostly dialogue in 'The Poor Ghost' and the sisterly exchanges in 'Noble Sisters' further demonstrate her use of conversational structure to dramatize conflict or longing.

Recurring Imagery of Thresholds and Boundaries

Rossetti's poems repeatedly invoke thresholds, gates, and doors. 'The Convent Threshold' literalizes this in its title, while 'Shut out' describes a garden gate closed to the speaker. In 'They Desire a Better Country,' the speaker carries 'the golden key to ope the golden door / Of golden home,' yet the journey remains 'long' and the door distant. This imagery extends to natural boundaries: in 'A Green Cornfield,' the skylark hangs 'between the two' of earth and sky, a creature of the threshold. The 'outer darkness' in the same devotional sequence suggests a boundary between earthly exile and promised home.

Even in love poems, boundaries appear. 'An Apple Gathering' describes a harvest that has passed the speaker by, and 'Winter: My Secret' withholds its titular secret behind a playful refusal. These repeated images of exclusion, waiting, and partial access give the collection a coherent symbolic vocabulary.

Variation in Verse Form and Meter

Rossetti moves fluidly between forms, from the ballad stanzas of 'Goblin Market' to the Petrarchan sonnets of 'They Desire a Better Country.' The sonnet 'A Pause of Thought' uses the octave-sestet structure to pivot from description to reflection. In 'The Prince's Progress,' the long narrative poem employs a varied line length that mimics the prince's halting journey. Shorter lyrics like 'Song' ('Oh roses for the flush of youth') use tight quatrains with alternating rhyme, while 'A Birthday' builds to a climactic refrain: 'My heart is like a singing bird.'

Rossetti also experiments with meter. 'Goblin Market' is famous for its irregular, almost sprung rhythm, but even in devotional pieces like 'Advent,' she uses a steady iambic beat that breaks at key moments. The effect is a collection that feels both formally disciplined and emotionally responsive to the demands of each subject.

The Role of Nature in Emotional Landscape

Rossetti's natural world is never merely decorative. In 'A Green Cornfield,' the skylark's song is set against a 'tender green' field, but the speaker's pause suggests a human loneliness: 'Perhaps his mate sat listening long, / And listened longer than I did.' The natural scene becomes a mirror for longing. In 'Spring,' the season's renewal contrasts with personal loss: 'Spring's a season, but love's a fever.'

Flowers carry specific symbolic weight. Violets appear in 'An Apple Gathering' as a marker of missed youth, while in 'Venus' Looking-Glass,' the flower named for the goddess is linked to vanity. The 'stately foxglove' in 'A Bride Song' hangs 'silent its exquisite bells,' a detail that combines beauty with a hint of danger. Rossetti's nature imagery is precise—she names plants, birds, and weather—and this specificity grounds her emotional and spiritual themes in a tangible world.

Readers approaching this collection will find a poet who rewards attention to word choice and structure. Rossetti's poems often resist easy resolution, preferring the tension of unanswered questions or the quiet acceptance of limitation. The devotional pieces, in particular, benefit from being read alongside the secular lyrics, as they share a vocabulary of longing and restraint. This edition, revised and enlarged by the author in 1876, represents Rossetti's own curation of her work, making it a valuable record of her artistic choices.

That rainy afternoon, I kept returning to Rossetti’s locked gardens and fading light, her voice half-prayer, half-sigh. Eventually, I set the book down and, almost by accident, picked up O May I Join the Choir Invisible! and Other Favorite Poems — Reading Notes, and the same quiet longing seemed to answer from another room.

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  • ...
    Matthew Cook - 3 weeks ago
    The ninth installment is a triumphant blend of introspection and timeless wisdom. Each poem feels like a conversation with the soul, tackling themes of love, loss, and nature with startling clarity. The author's craftsmanship is evident in every line, making this a standout collection. A must-read for poetry devotees.

  • ...
    Hannah Cruz - 2 weeks ago
    This volume has its highlights, with several poems that capture the essence of human experience. However, some pieces are too abstract for my taste, and the lack of a cohesive theme makes it feel disjointed. Still, there is enough depth here to make it worthwhile for readers who appreciate experimental poetry.

  • ...
    Dennis Kenneth Edwards - 1 week ago
    Overhyped and underwritten. The poems are verbose and often meaningless, using obscure language to mask a lack of substance. The author tries too hard to sound profound, but it comes off as forced and artificial. This collection ultimately fails to connect on an emotional level, leaving the reader frustrated.


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