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The Blessed Damozel Rossetti's "The Blessed Damozel" Author(s): K. L. Knickerbocker Source: Studies in Philology, Vol. 29, No. 3 (Jul., 1932), pp. 485-504 Published by: University of North Carolina Press Stable URL: http://www.jstor.org/stable/4172178 Accessed: 23-02-2016 10:46 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of North Carolina Press is collaborating with JSTOR to digitize, preserve and extend access to Studies in Philology . http://www.jstor.org This content downloaded from 129.174.21.5 on Tue, 23 Feb 2016 10:46:26 UTC All use subject to JSTOR Terms and Conditions ROSSETTI'S "THE BLESSED DAMOZEL" By K. L. KNICKERBOCKER There seems to be no criterion for determining at what time of life a poet may be expected to accomplish his best work. There have been some who have, as it were, come into this life with their poetic fancies on the dead run and thus have been able to accom- plish an immortality for themselves in an incredibly short time. Such singers were Marlowe, Cowley, Chatterton, and Keats. The rule, however, for the average poet seems to involve patient striving towards maturity. In spite of this fact it remains the habit of certain critics to dismiss with the title of precocity all early poems the subtle perfections of which are not readily to be explained. Perhaps it is easier to see the finger of God than to recognize the hand of Art. This point of view in criticism has frequently led to misinterpretation, if not of the poet's work as a whole, at least of that part of it which is supposed to represent his first efforts. From the time when Rosetti's poetry first became an object for critical study, to the present day, "The Blessed Damozel" has furnished peculiar pleasure to those who delight in bandying the term genius. Thus Stopford Brooke in writing of this poem, says: " He was only twenty when he wrote it, and his art is as true and fine in it as in the best of the later sonnets, so swiftly does genius grow to its full height".1 Hall Caine, before this was written, had said, "Perhaps Rossetti never did anything more beautiful than this little work of his twentieth year ".2 Others, finding it difficult to think of "The Blessed Damozel" as less than a prophecy, have made it illustrate the idea that "in his imaginative adventures Rossetti was always casting the horoscope of his life ".3 " In con- sidering the poem of ' The Blessed Damozel'," says A. C. Benson, " the thought that the poem was written in early youth must always 4 be attended by a certain wonder " And later another commentator with reference to this poem and "The Portrait", says: "How 1Four Victorian Poets (N. Y., 1908), p. 184. Recollections (London, 1882), p. 20. s R. L. MAgroz, Rossetti, Painter-poet of Heaven in Earth (London, 1928), p. 185. 4Rossetti (London, 1904), p. 113. 485 7 This content downloaded from 129.174.21.5 on Tue, 23 Feb 2016 10:46:26 UTC All use subject to JSTOR Terms and Conditions 486 Rossetti's " The Blessed Damozel " strangely and sadly prophetic these poems appear to be! Written in his youth, they would seem to belong rather to the lonely years of his later life ".5 Finally, A.D. Waller, the most recent student of this poem, rejects the theory of Rossetti's prescience but states that " 'The Blessed Damozel ', written before maturity had begun to confuse the aspirations of adolescence, has a calm perfection of its own. ... Recollection and imagination . have harmonized all inconsistencies, and made the poem lovelier in its subtle sim- plicity than anything Rossetti was afterwards to achieve ".6 Dante Gabriel Rossetti, ably seconded by his admiring brother, William Michael, has implicitly and explicitly fostered this notion that " The Blessed Damozel " represents a mysteriously precocious achievement. The poet prefixed the following announcement to the first edition of his poems in 1870: " Many poems in this volume were written between 1847 and 1853. Others are of a recent date, and a few belong to the intervening period. It has been thought unnecessary to specify the earlier work, as nothing is included which the author believes to be immature ". This advertisement was repeated in the edition of 1881. Though this is a legitimate statement, it violates one of the articles in the trinity of truth, asserting, as it does, the truth and nothing but the truth, and yet, as we shall attempt to show, evading the whole truth. To be spe- cific, Rossetti, without purposing a misrepresentation of facts, implied that such poems as " The Blessed Damozel ", " The Por- trait , "Ave", and "Staff and Scrip" were intellectually and poetically mature when first written. In the case of " The Blessed Damozel" he went so far as to tell Hall Caine that he had written it when eighteen and to add the surprising clause, "and have altered little since ".7 With brotherly enthusiasm William Michael bolsters this idea in an expansive way, averring that "not as a translator only but also as an original poet, Rossetti's faculty was fully developed by 1847. One proof of that suffices-that he wrote 'The Blessed Damozel' before 12 May of that year, or in the nineteenth year of his age ".8 The primary purpose of this article is to show, by an examination of the numerous alterations through which "The Blessed Damozel" 5 A. E. Trombley,Rossetti the Poet, Univ. of Texas Bulletin, Oct. 25, 1920. 6 "The Blessed Damozel," Mod. Lang. Rev. (April, 1931), p. 141. 7 Recollections, p. 125. 8 Family Letters (London, 1895), I, 107. This content downloaded from 129.174.21.5 on Tue, 23 Feb 2016 10:46:26 UTC All use subject to JSTOR Terms and Conditions K. L. Knickerbocker 487 passed, that the perfect round of the poem, either as to content or form, was not realized until many years after the poem was first conceived. A further purpose is to prove that Rossetti in this poem has not cast the horoscope of his life, but rather that he has, by subtle and successive revisions, coloured the texture of the poem with biographical touches. Incidentally it may be noted that sev- eral writers have recognized the fact that " The Blessed Damozel " underwent a great deal of editing. William Sharp even compiled a list-inaccurate in detail-of the various readings of the poem.9 No one, however, has attempted to explain the significance of the changes in relation to the development of Rossetti both as man and as poet. A third object is to examine the influences on this poem. Beginning with the third of my purposes, it is well to remember at the outset that Rossetti did not want to be regarded as an imitator, even, as we shall see, of his beloved Dante. Indeed his desire for originality has to a great extent circumvented the success of those critics who have a keen bye for parallel passages and who are determined to find imitation in the work of a young poet. It is necessary to mention a few of the " influential" poets who have been brought forward by various writers as having contributed this or that quality to the poem we are considering. Rossetti, himself, specifically called attention to the debt he owed Poe's "Raven ". " I saw ", he told Hall Caine, " that Poe had done the utmost it was possible to do with the grief of the lover on earth, and I determined to reverse the conditions and give utterance to the yearning of the loved one in heaven".10 The yery fact that the American poet sent him off this earth to find a scene for his poem, renders vain any endeavour to discover further analogies between "The Raven " and " The Blessed Damozel ".1l On the other hand, 9D. G.R. A Record and a Study (London, 1882), p. 339. There is a limited discussion of the variants in an article by R. L. Tyrrell, "Revision of 'The Blessed Damozel'", Academy (1904), 70: 356. Also the edition of " The Blessed Damozel" printed by T. B. Mosher (1901), Portland, Me., contains all the variants of the published versions. 10 Family Letters, I, 107. 11 See, however, Kurt Horn's discussion of this point in Zur Entstehungs- geschiohte von Dante Gabriel Rossetti's Dichtungen (Bernau, 1909), pp. 12-14. He quotes these lines from "The Raven ", Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore, and concludes that " Rossetti fiihhrt nun vom Standpunkt des 'distant This content downloaded from 129.174.21.5 on Tue, 23 Feb 2016 10:46:26 UTC All use subject to JSTOR Terms and Conditions 488 Rossetti's " The Blessed Damozel" Rossetti certainly did not intend to throw critics off the track of his true sources. He was doubtless thinking, not of the first drafts of "The Blessed Damozel ", but of the subsequent versions in which he had bent every effort to make the poem completely his own. Feeling-rightly, I think-that his labours were successfully carried out, he honestly disclaimed, by inference, all influences save that of Poe.
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