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Journal articles on the topic 'Poetry of Christina Rossetti'

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Published: 4 June 2021
Last updated: 9 February 2022

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1

Powers, Janet M. "Christina Rossetti: poetry, ecology, faith." Religion 50, no. 3 (December 12, 2019): 457–60. http://dx.doi.org/10.1080/0048721x.2019.1695176.

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2

Arseneau, Mary, and Emery Terrell. "“Our Self-Undoing”: Christina Rossetti’s Literary and Somatic Expressions of Graves’ Disease." Humanities 8, no. 1 (March 21, 2019): 57. http://dx.doi.org/10.3390/h8010057.

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Victorian poet Christina Rossetti (1830–1894) was frequently troubled by poor health, and her mid-life episode of life-threatening illness (1870–1872) when she suffered from Graves’ disease provides an illuminating case study of the ways that illness can be reflected in poetry and prose. Rossetti, her family, and her doctors understood Graves’ disease as a heart condition; however, Rossetti’s writing reflects a different paradigm, presenting themes of self-attack and a divided self that uncannily parallel the modern understanding of Graves’ disease as autoimmune in nature. Interestingly, these creative representations reflect an understanding of this disease process that Rossetti family documents and the history of Victorian medicine demonstrate Rossetti could not have been aware of. When the crisis had passed, Rossetti’s writing began to include new rhetoric and imagery of self-acceptance and of suffering as a means of spiritual improvement. This essay explores the parallels between literary and somatic metaphors: Rossetti’s body and art are often simultaneously “saying” the same thing, the physical symptoms expressing somatically the same dynamic that is expressed in metaphor and narrative in Rossetti’s creative writing. Such a well-documented case history raises questions about how writing may be shaped by paradigms of illness that are not accessible to the conscious mind.
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3

Leavy, Barbara Fass, and Dolores Rosenblum. "Christina Rossetti: The Poetry of Endurance." South Central Review 5, no. 4 (1988): 87. http://dx.doi.org/10.2307/3189060.

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4

Flowers, Betty S., and Dolores Rosenblum. "Christina Rossetti: The Poetry of Endurance." Tulsa Studies in Women's Literature 6, no. 2 (1987): 358. http://dx.doi.org/10.2307/464289.

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5

Johnson, Stephanie L. "CHRISTINA ROSSETTI'S GHOSTS, SOUL-SLEEP, AND VICTORIAN DEATH CULTURE." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 381–402. http://dx.doi.org/10.1017/s1060150318000062.

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Ghosts haunt Christina Rossetti's poetry. Amidst the lyrics, devotional poems, and children's verse, poems about ghosts and hauntings recur as material evidence of Rossetti's fascination with spectral presences. That fascination poses a particular interpretive puzzle in light of her religious convictions and piety. We might be tempted to identify the recurring ghosts as just another nineteenth-century flirtation with spiritualism – the spiritualism by which her brothers William and Gabriel were intrigued, attending séances and testing the validity of communications from the dead. Rossetti, however, clearly dismissed spiritualism as false belief and a means to sin. We might also be tempted to divide Rossetti's poetry into the secular and the sacred and to categorize the ghost poems as the former, yet much recent criticism on Rossetti has argued successfully for the pervasiveness of her religious voice even in works that seem not to be religious. Finally, in seeking to hear a religious resonance, we might be tempted to interpret her ghosts as representative of the Holy Ghost, yet that interpretation could only be asserted at the expense of the poems themselves; as narrative poems, most of them involve ghosts of dead lovers, desired by the living for themselves – not as experiences of God's presence. Rossetti's use of ghosts within short narrative or dialogic poems of the late 1850s and 60s concerning human desire for lost love invites closer inspection, especially when such poems overtly treat her religious beliefs.
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6

Crisp, Shelley J., and Katherine Mayberry. "Christina Rossetti and the Poetry of Discovery." South Atlantic Review 56, no. 1 (January 1991): 122. http://dx.doi.org/10.2307/3200159.

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7

Ward, Frankie. "Emma Mason, Christina Rossetti: Poetry, Ecology, Faith." Theology 122, no. 4 (June 25, 2019): 294–96. http://dx.doi.org/10.1177/0040571x19843769.

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8

Avery, Simon. "PIETY, POETRY, PASSION: CONTEXTS FOR CHRISTINA ROSSETTI." History Workshop Journal 40, no. 1 (1995): 244–45. http://dx.doi.org/10.1093/hwj/40.1.244.

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9

Van Remoortel, Marianne. "CHRISTINA ROSSETTI AND THE ECONOMICS OF PUBLICATION: MACMILLAN'S MAGAZINE, “A BIRTHDAY,” AND BEYOND." Victorian Literature and Culture 41, no. 4 (October 25, 2013): 711–26. http://dx.doi.org/10.1017/s1060150313000181.

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Impelled to seek relief from a “peccant chest” (L233) at the seaside, Christina Rossetti travelled to Hastings in December 1864, taking a carefully wrapped bundle of unfinished manuscript poetry with her. Throughout the winter until the following March, a series of letters to Cheyne Walk kept her brother Dante Gabriel abreast not only of her gradual recovery, but also of her efforts to complete her second book of poetry, two years after she had made a successful debut with Goblin Market. Shortly after her arrival, Rossetti reported that she was struggling to finish “The Prince's Progress,” the long narrative poem that was to lend its title to the new volume: [M]y Alchemist still shivers in the blank of mere possibility: but I have so far overcome my feelings and disregarded my nerves as to unloose the Prince, so that string wrapping paper may no longer bar his “progress.” Also I have computed pages of the altogether-unexceptionable, and find that they exceed 120: this cheers though not inebriates. Amongst your ousted I recognize sundry of my own favourites, which perhaps I may adroitly re-insert when publishing day comes round. . . . Meanwhile I have sent 3 (I hope) pot-boilers to Mac's Mag. (L233) In the past few decades, Rossetti's lifelong effort to see what critics have variously called “the divine spiritual essence of material beauty” (Harrison 56), the “moral and spiritual significance in physical signs” (Arseneau 279), and “the spiritual in the sensuous, the numinous in the material” (Kooistra, Illustration 38) has become a mainstay of Rossetti scholarship. This excerpt from her correspondence, in contrast, reveals her equally profound preoccupation with the materiality and economics of writing. Issues of textual ownership, authorial control, and literary marketability confronted Rossetti in the 1860s as her financial situation forced her to balance book publication with regular contributions to the periodical press, notably Macmillan's Magazine, the magazine owned by Rossetti's publisher Macmillan and Co., which carried more of her poetry than any other British periodical in the nineteenth century. These issues extended beyond Rossetti's personal dealings with Macmillan, however, shaping the material and interpretive consumption of her work throughout her career. This arc may be seen in the publication and adaptation history of one of her most popular poems, “A Birthday,” from its first appearance in Macmillan's Magazine in 1861 until her death. Over time, the poem underwent various types of mediation: reprints in gift books and poetry anthologies, musical adaptation, vocal performance, and quotations in fictional works. Finally, her reaction to the three parodies of her poems published in an 1888 comic magazine – particularly to “An Unexpected Pleasure,” the parody of “A Birthday” – demonstrate her perspective on the increased commodity value of the original poem.
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10

Chatterjee, Ronjaunee. "PRECARIOUS LIVES: CHRISTINA ROSSETTI AND THE FORM OF LIKENESS." Victorian Literature and Culture 45, no. 4 (November 8, 2017): 745–62. http://dx.doi.org/10.1017/s1060150317000195.

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In its anonymous reviewof Christina Rossetti'sSpeaking Likenesses(1874), theAcademynotes rather hopelessly: “this will probably be one of the most popular children's books this winter. We wish we could understand it” (606). The reviewer – who later dwells on the “uncomfortable feeling” generated by this children's tale and its accompanying images – still counts as the most generous among the largely puzzled and horrified readership of Rossetti's story about three sets of girls experiencing violence and failure in their respective fantasy worlds (606). While clearly such dystopic plots are not out of place in Victorian literature about children, something about Rossetti's unusual narrative bothered her contemporaries. John Ruskin, for instance, bluntly wondered how Rossetti and Arthur Hughes, who illustrated the story, together could “sink so low” (qtd. in Auerbach and Knoepflmacher 318). In any case, the book still sold on the Christmas market, and a few months later, Rossetti would publishAnnus Domini, a benign pocketbook of daily prayers that stands in stark contrast to the grim prose ofSpeaking Likenesses.It is therefore tempting to cast this work of children's fiction as a strange anomaly in Rossetti's oeuvre, which from the 1870s, beginning withAnnus Domini, to her death in 1894, became almost exclusively dominated by devotional prose and poetry. In contrast, I argue in the following essay thatSpeaking Likenessespoints to a widespread interest throughout Rossetti's writing – but especially in her most well-known poems fromGoblin Market and Other Poems(1862) andA Prince's Progress(1866) – in alternative modes of sociality that refract a conceptual preoccupation with likeness, rather than difference. Following traditions of critical thought that have paid increasing attention to relations that resist oppositional logic – Stephanie Engelstein and Eve Kosovsky Sedgwick's late work comes to mind here – I establish the primacy of a horizontal axis of similarity in bothSpeaking Likenessesand Rossetti's most canonical poem, “Goblin Market.” For Rossetti, the lure of similarity, or minimal difference, manifests itself most often in siblinghood and more specifically, sisterhood, the dominant kinship relation throughout her lyrics fromGoblin Market and Other Poems. Sisterhood anchors the title poem I will examine in this essay, as well as shorter verses such as “Noble Sisters” and “Sister Maude.” At issue in such relations of likeness is the discreteness of a (typically) feminine self. For Rossetti, shunning oppositional structures of desire and difference that typically produce individuation (exemplified in the heterosexual couple form and the titles of her uneasy lyrics “He and She” and “Wife to Husband”) allows for a new (albeit perilous) space to carve out one's particularity as a gendered being.
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11

Broggi, Alicia. "Christina Rossetti: Poetry, Ecology, Faith. By Emma Mason." Literature and Theology 34, no. 3 (March 30, 2020): 386–87. http://dx.doi.org/10.1093/litthe/fraa005.

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12

Burstein, Miriam Elizabeth. "Christina Rossetti: Poetry, Ecology, Faith, by Mason, Emma." Religion and the Arts 23, no. 3 (June 10, 2019): 312–13. http://dx.doi.org/10.1163/15685292-02303008.

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13

James, Serenhedd. "Christina Rossetti: Poetry, Ecology, Faith. By Emma Mason." Journal of Theological Studies 70, no. 2 (July 10, 2019): 913–15. http://dx.doi.org/10.1093/jts/flz101.

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14

Shaw, W. David. ": Christina Rossetti: The Poetry of Endurance. . Dolores Rosenblum." Nineteenth-Century Literature 42, no. 3 (December 1987): 387–89. http://dx.doi.org/10.1525/ncl.1987.42.3.99p0122t.

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15

Mazel, Adam. "“YOU, GUESS”: THE ENIGMAS OF CHRISTINA ROSSETTI." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 511–33. http://dx.doi.org/10.1017/s1060150316000073.

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Throughout her life, Christina Rossetti was an enthusiastic writer and player of word games in verse. When she was seventeen, for instance, she spent the summer of 1848 in Brighton playing bouts-rimés sonnets with her brother, William. Together they timed themselves to see how fast they could write lines of verse to a given set of end rhymes: “emotional devastation in ten minutes or less,” Anne Jamison wittily puts it (145). Two years later, Rossetti published under her initials instances of different word games – an enigma (“Name any gentleman you spy”) and a charade (“My first is no proof of my second”) – as part of a series of riddling word games in verse by various authors in the Marshall's Ladies Daily Remembrancer: For 1850. They count among Rossetti's first poetic publications. These popular riddling genres, while perhaps less familiar to readers today, were immediately recognizable to Rossetti's contemporaries. In his 1872 riddle anthology, Guess Me, F. D. Planché defines an “Enigma” as a riddle in verse, or “the most ancient form of Riddle . . . often a real poem as well as a question for solution” (3). In the 1891 Cornhill Magazine, the article “Riddles” glosses a “charade” as a riddle that “turns upon the letters or syllables composing a word” (518). By publishing an enigma and a charade in Marshall's Ladies Daily Remembrancer, an inexpensive pocket book for women, Rossetti capitalized on the association of these genres as written by and for middle-class women, a point that I will argue in more detail later.
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16

Huseby, Amy Kahrmann. "Review: Christina Rossetti: Poetry, Ecology, Faith, by Emma Mason." Nineteenth-Century Literature 74, no. 4 (March 2020): 558–61. http://dx.doi.org/10.1525/ncl.2020.74.4.558.

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17

Harrison, Antony H. ": Christina Rossetti and the Poetry of Discovery. . Katherine J. Mayberry." Nineteenth-Century Literature 45, no. 3 (December 1990): 383–86. http://dx.doi.org/10.1525/ncl.1990.45.3.99p0330g.

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18

Harrison, Antony H., Sharon Leder, and Andrea Abbott. "The Language of Exclusion: The Poetry of Emily Dickinson and Christina Rossetti." American Literature 61, no. 1 (March 1989): 112. http://dx.doi.org/10.2307/2926529.

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19

Hu, Esther T. "Christina Rossetti: Poetry in Art, by Owens, Susan, and Nicholas Tromans, eds." Religion and the Arts 24, no. 3 (July 31, 2020): 328–31. http://dx.doi.org/10.1163/15685292-02403006.

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20

Park,Ryung. "Nature in Christina Rossetti’s Poetry." New Korean Journal of English Lnaguage & Literature 53, no. 3 (August 2011): 21–43. http://dx.doi.org/10.25151/nkje.2011.53.3.002.

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21

Plourde, Aubrey. "The Innocent Old Way: Reserved Interpretation and Christina Rossetti's “Goblin Market”." PMLA/Publications of the Modern Language Association of America 134, no. 5 (October 2019): 1076–93. http://dx.doi.org/10.1632/pmla.2019.134.5.1076.

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Christina Rossetti's “Goblin Market” has long been recognized as an interpretive enigma. Simultaneously conducting its own surface reading and inviting us to interrogate its buried meanings, the poem adapts the Tractarian doctrine of reserve to set up a hermeneutic paradox rooted in Victorian exegetical thought. Variously a standard for reticent poetic style, an apologia for divine mystery, and a prescription for limiting complex theological knowledge, reserve also served Victorian thinkers as a hermeneutic strategy. Rossetti plays reserve against itself by dramatizing its dueling imperatives—inciting and containing curiosity. Laura's epilogue forecloses interpretation for “illiterate” spiritual children—those who might misconstrue mysterious meanings; simultaneously, the epilogue mobilizes a competing dimension of reserve, juxtaposing its interpretive gatekeeping against its hermeneutic potential. Anticipating recent reading debates, Rossetti's reserve generates a temporally recursive hermeneutic, within which competing interpretations and interpretive modes can be imagined to coexist.
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22

Weller-Passman, Ruth, Mackenzie Fluharty, and Ashley Starling. "Ghosts of Loss." Digital Literature Review 1 (January 6, 2014): 186–98. http://dx.doi.org/10.33043/dlr.1.0.186-198.

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This critical edition presents Christina Rossetti’s ghostly poetry, analyzing its overall cultural impact and influence. In addition to her poetry, we have included contextual documents pertaining to mourning, widowhood, and poetic expression. As a whole, this edition gives insight into how and why poetry canbe an appropriate method for women to express grief in the Victorian era.
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23

Farhana, Jannatul. "Revolutionary Poetic Voices of Victorian Period: A Comparative Study between Elizabeth Barrette Browning and Christina Rossetti." English Language and Literature Studies 6, no. 1 (February 26, 2016): 69. http://dx.doi.org/10.5539/ells.v6n1p69.

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<p>This article is an attempt to provide a comparative study between Elizabeth Barrette Browning and Christina Rossetti, two famous authors in the Victorian period. As the first female poet Browning throws a challenge by dismantling and mingling the form of epic and novel in her famous creation <em>Aurora Leigh. </em>This epic structurally and thematically offers a new form that questions the contemporary prejudices about women. Being influenced and inspired by Browning, Rossetti shows her mastery on sonnets in <em>Monna Innominata: A Sonnet of Sonnets</em>. Diversity in the themes of her poem allows Rossetti to demonstrate her intellect and independent thinking, which represents the cultural dilemma of Victorian women. Though Browning is addressed as the ‘first female poet’ and the pioneer of revolutionary female poets, her <em>Aurora Leigh </em>recognizes and celebrates the success of a female poet in that period but at the same time acknowledges the importance of traditional romance as well as marriage union at the end of the poem. On the other hand, in <em>Mona Innominata, </em>Rossetti mingles the traditional idea of romance with High Anglican belief to establish and uphold the position of women in the society as an individual and self sufficient one. She is the first poet in Victorian period who boldly denies the dominance of men in a woman’s life by celebrating sisterhood in her another famous work <em>Goblin Market</em>. Though Browning and Rossetti belong to the same period, Rossetti is quite advanced than Browning in terms of experimenting with forms, themes and breaking the conventions of Victorian era.</p>
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24

Park,Ryung. "“Myself as King”: The Poetic Self in Christina Rossetti’s Religious Poetry." New Korean Journal of English Lnaguage & Literature 51, no. 2 (May 2009): 23–44. http://dx.doi.org/10.25151/nkje.2009.51.2.002.

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25

Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.

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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.
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26

Shires, Linda. "VICTORIAN WOMAN’S POETRY." Victorian Literature and Culture 27, no. 2 (September 1999): 601–9. http://dx.doi.org/10.1017/s1060150399272245.

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PART OF THE EXCITEMENT of reading Victorian woman’s poetry lies in its manifold refusals to adopt wholesale the codes and conventions of the male poetic tradition. Such refusal may manifest itself in the bold rewriting of forms (as in Elizabeth Barrett Browning’s Sonnets from the Portuguese), or in the unhinging of domestic or romantic pieties through irony and other doubling strategies (as in Dora Greenwell’s “Scherzo” or Christina Rossetti’s “Winter: My Secret”). Both the rewriting of male forms and the attack on conventional ideologies opened up new subject positions for women. For example, women’s responses to poetic tradition and to each other’s work initially made use of expressive theory to explore sexual and religious passions simultaneously (as in the poetry of the Brontës), while towards the end of the century, when religion and sexuality were not so inextricably intertwined, women could openly celebrate non-hierarchical sexualities (as in the lesbian poems of Michael Field).
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27

Miller, Ashley. "CHRISTINA ROSSETTI'S RADICAL OBJECTIVITY." Victorian Literature and Culture 46, no. 1 (March 2018): 143–56. http://dx.doi.org/10.1017/s1060150317000365.

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For decades now, ChristinaRossetti's poetry has proven to be a rich vantage point from which to explore the complexity of Victorian attitudes toward the material world. This is certainly true of her most famous poem, “Goblin Market.” Deliciously steeped in the sensual experiences it simultaneously condemns, “Goblin Market” is a poem invested – ambiguously, for most critics – in the relationship between humans and material things: the things they buy, look at, feel, taste. This is a relationship we tend to consider in terms of commodity culture and economic exchange. And such a reading makes sense: Rossetti's poem, a tale of two sisters whose domesticity is disrupted by the tramp of mysterious goblin men selling fruit from unknown climes, grapples in many ways with these exact terms. Laura (who barters a lock of hair for the goblin fruit and then begins to waste away from an insatiable appetite) and Lizzie (who saves her sister by bringing home an antidote in the form of fruit juice, which she herself has refused to consume) seem to embody the potential dangers faced by the female consumer. Indeed, so much has been written about the relationship between women and consumer culture in “Goblin Market” that it nearly qualifies as its own subfield in Victorian studies.
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Hartin, Cole. "Emma Mason, Christina Rossetti: Poetry, Ecology, Faith (Oxford: Oxford University Press, 2018), pp. 240. ISBN 9780198723691. RRP £30.00 or $39.95." Journal of Anglican Studies 17, no. 2 (July 8, 2019): 229–31. http://dx.doi.org/10.1017/s1740355319000093.

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Miller, Ashley. "Susan Owens and Nicholas Tromans, eds. Christina Rossetti: Poetry in Art. New Haven: Yale University Press, 2018. Pp. 192. $40.00 (cloth)." Journal of British Studies 58, no. 3 (July 2019): 665–66. http://dx.doi.org/10.1017/jbr.2019.131.

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30

Hu, Esther T. "Christina Rossetti's Faithful Imagination: The Devotional Poetry and Prose, by Dinah Roe." Victorian Studies 50, no. 2 (January 2008): 326–28. http://dx.doi.org/10.2979/vic.2008.50.2.326.

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31

Gray, F. Elizabeth. "Religious Imaginaries: The Liturgical and Poetic Practices of Elizabeth Barrett Browning, Christina Rossetti, and Adelaide Procter." Women's Writing 22, no. 3 (October 17, 2014): 408–10. http://dx.doi.org/10.1080/09699082.2014.970606.

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Johnson, Stephanie L. "“Home one and all”: Redeeming the Whore of Babylon in Christina Rossetti’s Religious Poetry." Victorian Poetry 49, no. 1 (2011): 105–25. http://dx.doi.org/10.1353/vp.2011.0001.

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33

Thomas, Frances. "Christina Rossetti." Art Book 2, no. 1 (January 1994): 26–27. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00378.x.

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34

Thomas, Frances. "Christina Rossetti." Art Book 2, no. 1 (January 1995): 26–27. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00378.x.

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35

Caldwell, Patrice, and Anthony H. Harrison. "Christina Rossetti in Context." Rocky Mountain Review of Language and Literature 43, no. 1/2 (1989): 101. http://dx.doi.org/10.2307/1347204.

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36

Mermin, Dorothy, Antony H. Harrison, and David A. Kent. "Christina Rossetti in Context." Tulsa Studies in Women's Literature 8, no. 2 (1989): 315. http://dx.doi.org/10.2307/463742.

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Kestner, Joseph A. "The Christina Rossetti Exhibition." Tulsa Studies in Women's Literature 14, no. 2 (1995): 391. http://dx.doi.org/10.2307/463914.

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Ricks, Christopher. "Christina Rossetti and Commonplace Books." Grand Street 9, no. 3 (1990): 190. http://dx.doi.org/10.2307/25007382.

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39

Reynolds, Margaret, David A. Kent, and Antony H. Harrison. "The Achievement of Christina Rossetti." Modern Language Review 86, no. 2 (April 1991): 420. http://dx.doi.org/10.2307/3730562.

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40

Woolford, J. "The Advent of Christina Rossetti." Review of English Studies 62, no. 256 (October 21, 2009): 618–39. http://dx.doi.org/10.1093/res/hgp055.

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41

PALAZZO, LYNDA. "CHRISTINA ROSSETTI: TWO FORGOTTEN SKETCHES." Notes and Queries 37, no. 1 (March 1, 1990): 38—b—39. http://dx.doi.org/10.1093/nq/37-1-38b.

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42

Harrison, Antony H. "Christina Rossetti: Illness and Ideology." Victorian Poetry 45, no. 4 (2007): 415–28. http://dx.doi.org/10.1353/vp.2008.0000.

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43

Baker, W., and E. Kingery. "Some New Christina Rossetti Materials." Notes and Queries 56, no. 3 (August 20, 2009): 394–96. http://dx.doi.org/10.1093/notesj/gjp072.

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44

Willis, Elizabeth. "Christina Rossetti and Pre-Raphaelitenoir." Textual Practice 18, no. 4 (January 2004): 521–40. http://dx.doi.org/10.1080/0950236042000287417.

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45

Winters, Sarah. "Christina rossetti's poetic vocation." Women's Writing 12, no. 2 (July 1, 2005): 291–310. http://dx.doi.org/10.1080/09699080500200334.

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46

Adams, Kimberly VanEsveld. "Dieleman, Karen. Religious Imaginaries: The Liturgical and Poetic Practices of Elizabeth Barrett Browning, Christina Rossetti, and Adelaide Procter. Athens OH: Ohio University Press, 2012. Pp. x + 314. $59.95 cloth." Religion and the Arts 17, no. 5 (2013): 610–13. http://dx.doi.org/10.1163/15685292-12341307.

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47

Chapman, Raymond. ": Christina Rossetti in Context. . Antony H. Harrison. ; The Achievement of Christina Rossetti. . David A. Kent." Nineteenth-Century Literature 44, no. 1 (June 1989): 107–9. http://dx.doi.org/10.1525/ncl.1989.44.1.99p0222y.

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48

Mason, Emma, and Constance W. Hassett. "Christina Rossetti: The Patience of Style." Modern Language Review 102, no. 4 (October 1, 2007): 1146. http://dx.doi.org/10.2307/20467574.

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49

Van Remoortel, Marianne. "An Unpublished Letter by Christina Rossetti." Notes and Queries 59, no. 3 (July 4, 2012): 439–40. http://dx.doi.org/10.1093/notesj/gjs104.

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50

Frankel, N. "A New Poem by Christina Rossetti." Notes and Queries 61, no. 1 (January 22, 2014): 92–95. http://dx.doi.org/10.1093/notesj/gjt239.

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