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Rewriting Christina Rossetti: Cross-Gendered Sibling Rivalry

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Rewriting Christina Rossetti: Cross-Gendered Sibling Rivalry REWRITING CHRISTINA ROSSE'ITI: CROSS-GENDERED SIBLING RIVALRY, FRATERNAL INTERVENTION AND THE COUNTER-POEfICS OF DISSIDENCE. By Helen Moffett Thesis presented for the Degree of DOCTOR OF PIIlWSOPHY University of Cape Town in the Department of English UNIVERSITY OF CAPE TOWN March 1993 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town CONTENTS iv Abstract vi Acknowledgements xii Preface 1 Introduction 46 Chapter 1: Rewriting Christina Rossetti: A Model of Sibling Rivalry 81 Chapter 2: A Singular Life; A Tenacious Vocation. 141 Chapter 3: Brothers and the Brotherhood 267 Chapter 4: Rossetti's Textual Strategies 342 Afterword 355 Bibliography ABSTRACT This thesis attempts to rewrite Christina Rossetti's relations with her brothers Dante Gabriel Rossetti and William Michael Rossetti, paying especial attention to unravelling the received tradition that as an artist, Rossetti was indebted to Dante Gabriel's patronage. Instead, I argue that she negotiated her career as a poet against a covertly competitive backdrop of sibling rivalry, in which Dante Gabriel made strenuous efforts to direct and control her creative work. This thesis also examines and challenges the myths that William Michael set in motion as his sister's initial editor and biographer, and which still inform our perception of her as a poet and as a sister. I also investigate her standing regarding the Pre­ Raphaelite Brotherhood, a relation which is more problematic than is generally believed, maintaining that she was excluded from equal membership within this glamorous circle while simultaneously strategically important to them, both as a poet and a model. Clearly, the various misrepresentations of Rossetti's life and works are gendered. I employ the tools of feminist literary practice and new historicism in order to reveal the extent to which the treatment of Rossetti both by her brothers and various critics, has reflected patriarchal pressures and strictures. Primary manuscripts, some unpublished, or published in censored versions, are scrutinised and pieced together in an attempt to present a more accurate view of both Rossetti's relationships with the men in her life, and her own sense of herself as a poet. Close attention is also paid to the singularity of her personal history, which was underscored by her strong sense of poetic vocation. This attempt to rework the traditional picture of Christina Rossetti provides significant new perspectives on and readings of her canon, and her brother's. I trace patterns in her poetry which are related to her struggle for creative agency in the face of fraternal intervention, and propose a model of dialogic interrogation for re-reading significant texts. I conclude that a comparative study of intertextuality between the Rossettis contributes vitally to the further understanding of both poets. ACKNOWLEDGEMENTS The writing of most theses resembles a perilous quest narrative, complete with disasters, digressions, seemingly insurmountable obstacles and various sloughs of despond. Mine was no exception. It first took shape in extreme isolation, then under what felt like, at times, a state of siege; at the same time it acted as a springboard that took me to three continents and gave me access to rare manuscript libraries and some of the most stimulating and dynamic academic communities worldwide. The networks of support which enabled me to write this dissertation have a cast of, if not thousands, literally hundreds. I was peculiarly dependent on the good will, help and hospitality of others due to the fact that this thesis was largely researched and written outside of South Africa, at a time when the spectacular decline of our economy and our shrinking currency made this an extremely difficult undertaking. Thus, for financial assistance, thanks are due to the following institutions and individuals: the Human Sciences Research Council, now the Centre for Scientific Development, which obliges me to both acknowledge its support and announce that it cannot be held responsible for the opinions expressed in my work; the Postgraduate Bursary Office of the University of Cape Town; the English Department of the University of Cape Town; Volkskas Bank, which granted me a student loan after four other major banking establishments had turned me down on the grounds that they were not interested in sponsoring a PhD in the humanities; and my father, Prof Rodney Moffett, for generously offering to meet my examination costs. Above all, this thesis would never have come into being without the support of two institutions: the Quaker International Centre in London, and Princeton University, both of which came to my rescue at moments when it seemed that I had reached both the end of the road and my tether. In South Africa, thanks go to Gail Fincham and Michael Beatty for their efforts, Dorothy Driver for giving direction right at the beginning, Lesley Marx and Johnny van der Westhuizen for their genuine pleasure in my achievements, Geoffrey Haresnape, Felicite Viviers, Rashad Cassim and Nick Corwell for their prompt and kind attention to last-minute administrative and technical hitches. Ronald Francis, Phillip Jackson and Andrew Scott of the UCT Printing Dept were especially helpful. Lee Anne de la Hunt gave new meaning to the term pro amica in acting both as a dear friend and legal advisor. I am also grateful to Ailsa Stewart-Smith, Chris Winberg, Rhoda Kadalie and Mary Armour for their belief in the value of what I was doing, Helen Laurenson and Jane Keen for a variety of hexes, and Crick Lund for not buying into the system which I was contesting. In the United Kingdom, my grateful thanks go to the staff and members of the Quaker International Centre, in particular the Warden, Jo Jaffries. The hospitality and support of this community provided me with a stable base and easy access to the British Museum; without them, research would have been a far more onerous and problematic process. To list everyone who was part of that experience would take a page, but I cannot omit Keith Martin, Lei Bound, Kate Evans, Marigold Bentley and Imogen Dent, who gave freely of their friendship and support. Many others offered me hospitality, at a time when funding was especially tight: thanks to Martin Forrest, who cheerfully put me up in Glasgow; Diana Sellick, with whom I spent several charmed months in Oxford, and whose friendship continues to be a delight; Phoebe Russell and Chris Swart; Sandy Balfour; Derek Pennington and Pam Sharpe; Gavin and Monica Evans; Iain Gilchrist-Khan; Raylene Keightley and Alan Dodson. I owe Sue and Rosie Maddox a particular 'debt of affection and gratitude for acting as my adoptive U.K. parents. When it comes to the USA and the Princeton community, the credits roll on even longer. During my first visit to the USA, Jon Klaren, Larry and Becky Ingle, Madeline and Lloyd Barrett, Emily Schwaab and the Hooke family all made me welcome in their homes, thus providing me with access to university libraries and communities. Regina Biscoglio provided me both with hospitality and my first introduction to Princeton. Here also I must place on record my extreme indebtedness to Sandra Gilbert, Dorothy Mermin and Dolores Rosenblum, all of whom took time out of their busy schedules to provide me with astute advice, encouragement and direction. Their contributions profoundly influenced the final shape and direction of this thesis, and I can only hope I have done their suggestions justice. If Princeton University had not awarded me a visiting fellowship, I seriously doubt whether this thesis would ever have reached completion. My sincere thanks go to the programme for the President's Fellow for South Africa, and to Laurel Harvey who not only administrated the project, and untangled a dozen snarls for me, but offered lively personal interest. I owe the English Department of Princeton, with Elaine Showalter as its Chair, an incalculable debt. They provided me not only with a simultaneously safe and exhilarating space in which to work, but with continuous support and encouragement, as well as generous access to the intellectual resources of the university. Thus they enabled me not only to finish my dissertation, but to further my education. Doreen Simpson, Marilyn Walden, Marcia Roch, Beth Harrison and Alice Augenti cheerfully made sure the administrative wheels turned smoothly for me. Linda Shires gave generously of her expertise, providing guidance was that was both astute and acute. I owe much to her ability to address complexity with clarity, and her thoughtfulness. Uli Knoepflmacher showed heart-warming enthusiasm for my project, and I was fortunate to able to benefit from his minute knowledge of the Rossettis and their contemporaries. I also valued Jeffrey Spear's erudition and Florence Boos's encouragement. Janet Gray deserves a medal for her collaboration, her numerous close readings of my manuscript, and the extremely funny comments she wrote in the margins. Gitanjali Maharaj scrutinised part of my thesis with customary incisiveness; for this, and many happy memories of feminine solidarity in the Cafe Orlin, I am grateful. Deborah Nord and Andrew Ross in particular went way beyond the second mile, especially during rocky patches. Deborah, who graciously took on the project during a difficult period, deftly guided me through academic quandaries, directed my revisions, and provided stalwart support on a number of fronts. Andrew likewise was a staunch ally, and I am indebted to him not only for his unfailing support and integrity, but for his many acts of kindness, one of which was to allow me to participate in his graduate seminars.
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