Double Works
This critical introduction was originally published at the Rossetti Archive: http://www.rossettiarchive.org/racs/doubleworks.rac.html
Two Rossetti Sonnets Commemorating a Momentous Occasion
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A Sonnet is a moment's monument,— Memorial from the soul's eternity To one dead deathless hour. Look that it be, Whether for lustral rite or dire portent, Of its own intricate fulness reverent: Carve it in ivory or in ebony, As Day or Night prevail; and let Time see Its flowering crest impearled and orient. A Sonnet is a coin: its face reveals |
The Sonnet and the Sequence
Rossetti's “Sonnet on the Sonnet” served not only as a gift for his mother's birthday and a reflection on a favorite poetic form. Placed at the head of The House of Life, a sonnet sequence on which Rossetti had been working for more than a dozen years, it also introduced the best known and most complete version of that work when it was published in 1881.
General Introduction
Dante Gabriel Rossetti's poem, "The Sonnet," is a testament to the ideals of the aesthetic movement; wedding form and content, it makes a statement about the idealizing purposes of art while illustrating the best way to achieve that purpose in the very stylistic features of a poem. The poem also betrays a number of concerns about the relation of a given aesthetic production to its reader. Is this poem a personal gift (pro Matre fecit) made for the occasion of DGR’s mother’s eightieth birthday?
In an Artist's Studio
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[A Sonnet is a Moment's Monument]
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Introduction to the Omnibus Critical Edition of Christina Rossetti’s “In an Artist’s Studio”
Introduction
Omnibus Critical Edition of Christina Rossetti’s “In an Artist’s Studio”
Dino Franco Felluga, A Momentous Edition
Kenneth Crowell, Sonnet: Genre and Intertext
Herbert F. Tucker, Sonnet: Structure and Inner Form
A Momentous Edition
Dino Franco Felluga
Editorial Introduction to Heart of Darkness
Editorial Introduction to Heart of Darkness
Magazine and Book Illustrations for The Were-Wolf
Magazine and Book Illustrations for The Were-Wolf
Clemence Housman published The Were-Wolf twice in her lifetime: first as a story in a popular magazine and then as a book. Each time the novella was accompanied by a unique set of illustrations that shaped its reception. This essay examines the contrasting meanings for The Were-Wolf created by their accompanying illustrations, modes of production, and publication venues.