'The Blessed Damozel' by Dante Gabriel Rossetti
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The blessed damozel lean'd out
From the gold bar of Heaven;
Her eyes were deeper than the depth
Of waters still'd at even;
She had three lilies in her hand,
And the stars in her hair were seven.
Her robe, ungirt from clasp to hem,
No wrought flowers did adorn,
But a white rose of Mary's gift,
For service meetly worn;
Her hair that lay along her back
Was yellow like ripe corn.
Her seem'd she scarce had been a day
One of God's choristers;
The wonder was not yet quite gone
From that still look of hers;
Albeit, to them she left, her day
Had counted as ten years.
(To one, it is ten years of years.
. . . Yet now, and in this place,
Surely she lean'd o'er me--her hair
Fell all about my face ....
Nothing: the autumn-fall of leaves.
The whole year sets apace.)
It was the rampart of God's house
That she was standing on;
By God built over the sheer depth
The which is Space begun;
So high, that looking downward thence
She scarce could see the sun.
It lies in Heaven, across the flood
Of ether, as a bridge.
Beneath, the tides of day and night
With flame and darkness ridge
The void, as low as where this earth
Spins like a fretful midge.
Around her, lovers, newly met
'Mid deathless love's acclaims,
Spoke evermore among themselves
Their heart-remember'd names;
And the souls mounting up to God
Went by her like thin flames.
And still she bow'd herself and stoop'd
Out of the circling charm;
Until her bosom must have made
The bar she lean'd on warm,
And the lilies lay as if asleep
Along her bended arm.
From the fix'd place of Heaven she saw
Time like a pulse shake fierce
Through all the worlds. Her gaze still strove
Within the gulf to pierce
Its path; and now she spoke as when
The stars sang in their spheres.
The sun was gone now; the curl'd moon
Was like a little feather
Fluttering far down the gulf; and now
She spoke through the still weather.
Her voice was like the voice the stars
Had when they sang together.
(Ah sweet! Even now, in that bird's song,
Strove not her accents there,
Fain to be hearken'd? When those bells
Possess'd the mid-day air,
Strove not her steps to reach my side
Down all the echoing stair?)
"I wish that he were come to me,
For he will come," she said.
"Have I not pray'd in Heaven?--on earth,
Lord, Lord, has he not pray'd?
Are not two prayers a perfect strength?
And shall I feel afraid?
"When round his head the aureole clings,
And he is cloth'd in white,
I'll take his hand and go with him
To the deep wells of light;
As unto a stream we will step down,
And bathe there in God's sight.
"We two will stand beside that shrine,
Occult, withheld, untrod,
Whose lamps are stirr'd continually
With prayer sent up to God;
And see our old prayers, granted, melt
Each like a little cloud.
"We two will lie i' the shadow of
That living mystic tree
Within whose secret growth the Dove
Is sometimes felt to be,
While every leaf that His plumes touch
Saith His Name audibly.
"And I myself will teach to him,
I myself, lying so,
The songs I sing here; which his voice
Shall pause in, hush'd and slow,
And find some knowledge at each pause,
Or some new thing to know."
(Alas! We two, we two, thou say'st!
Yea, one wast thou with me
That once of old. But shall God lift
To endless unity
The soul whose likeness with thy soul
Was but its love for thee?)
"We two," she said, "will seek the groves
Where the lady Mary is,
With her five handmaidens, whose names
Are five sweet symphonies,
Cecily, Gertrude, Magdalen,
Margaret and Rosalys.
"Circlewise sit they, with bound locks
And foreheads garlanded;
Into the fine cloth white like flame
Weaving the golden thread,
To fashion the birth-robes for them
Who are just born, being dead.
"He shall fear, haply, and be dumb:
Then will I lay my cheek
To his, and tell about our love,
Not once abash'd or weak:
And the dear Mother will approve
My pride, and let me speak.
"Herself shall bring us, hand in hand,
To Him round whom all souls
Kneel, the clear-rang'd unnumber'd heads
Bow'd with their aureoles:
And angels meeting us shall sing
To their citherns and citoles.
"There will I ask of Christ the Lord
Thus much for him and me:--
Only to live as once on earth
With Love,--only to be,
As then awhile, for ever now
Together, I and he."
She gaz'd and listen'd and then said,
Less sad of speech than mild,--
"All this is when he comes." She ceas'd.
The light thrill'd towards her, fill'd
With angels in strong level flight.
Her eyes pray'd, and she smil'd.
(I saw her smile.) But soon their path
Was vague in distant spheres:
And then she cast her arms along
The golden barriers,
And laid her face between her hands,
And wept. (I heard her tears.)
Editor 1 Interpretation
The Blessed Damozel: A Heavenly Masterpiece
"The Blessed Damozel" is a poem by Dante Gabriel Rossetti that was published in 1850. The poem is considered one of Rossetti's greatest works and is often regarded as a classic of English literature. It is a beautifully crafted piece of writing that explores themes of love, death, and the afterlife in a way that is both haunting and uplifting.
The Poem
The poem consists of seven stanzas, each containing twelve lines, and follows a strict rhyme scheme of ABABBCBCDEDE. The structure of the poem is reminiscent of a hymn, with its repetitive structure creating a sense of ritual and ceremony.
The poem tells the story of a damozel (a term used to describe a young noblewoman) who is in heaven, gazing down upon her lover on earth. The damozel longs to be reunited with her lover but is unable to do so until he also passes into the afterlife.
The poem is written in a highly ornate and poetic style, with Rossetti's use of language creating a sense of ethereal beauty and otherworldliness. The poem is full of vivid imagery, with Rossetti's descriptions of heaven and the damozel creating a sense of peace and tranquility.
Interpretation
The poem is often interpreted as a reflection of Rossetti's own personal beliefs about love and death. Rossetti was deeply religious and believed in the idea of an afterlife, and this is reflected in the poem's depiction of heaven as a place of beauty and serenity.
The poem can also be seen as a commentary on the nature of love. The damozel's longing to be reunited with her lover can be seen as a metaphor for the human desire for connection and companionship. The poem suggests that love is a powerful force that transcends death and that even in the afterlife, the damozel's love for her lover remains strong.
The poem can also be read as a meditation on the nature of beauty. The damozel is depicted as an ethereal and otherworldly figure, with Rossetti's descriptions of her beauty creating a sense of awe and wonder. The poem suggests that beauty is a divine quality that exists beyond the earthly realm and that it has the power to inspire and uplift the human spirit.
Literary Criticism
"The Blessed Damozel" has been widely acclaimed by literary critics and scholars for its beauty and its exploration of complex themes. Critics have praised Rossetti's use of language and imagery, with many noting the poem's highly ornate and poetic style.
The poem has also been the subject of much critical discussion regarding its religious themes. Critics have debated the extent to which Rossetti's personal beliefs influenced the poem's depiction of heaven and the afterlife. Some critics have argued that the poem is deeply rooted in Christian theology, while others have suggested that Rossetti's vision of the afterlife is more secular in nature.
Regardless of its religious themes, "The Blessed Damozel" is widely regarded as one of the greatest poems of the Victorian era. Its powerful imagery and exploration of complex themes have ensured that it remains a beloved and enduring work of English literature.
Conclusion
"The Blessed Damozel" is a beautiful and haunting poem that explores themes of love, death, and the afterlife in a way that is both uplifting and thought-provoking. Rossetti's use of language and imagery creates a sense of ethereal beauty and otherworldliness, while the poem's strict structure and repetitive rhyme scheme create a sense of ritual and ceremony.
The poem's exploration of complex themes and its powerful imagery have ensured that it remains a beloved and enduring work of English literature. Whether read as a meditation on the nature of love, a reflection of the author's personal beliefs about the afterlife, or a commentary on the nature of beauty, "The Blessed Damozel" is a masterpiece of Victorian poetry that continues to captivate readers today.
Editor 2 Analysis and Explanation
The Blessed Damozel: A Poetic Masterpiece by Dante Gabriel Rossetti
The Blessed Damozel is a poem written by Dante Gabriel Rossetti, one of the most prominent poets of the Pre-Raphaelite movement. This poem is considered a masterpiece of Victorian poetry and has been widely studied and analyzed by scholars and literary enthusiasts alike. The poem was first published in 1850 and has since then been reprinted in various anthologies and collections.
The poem is a beautiful and haunting depiction of a young woman who has died and gone to heaven. The poem is divided into two parts, the first part describes the damozel's longing for her lover who is still on earth, while the second part describes her vision of heaven and her reunion with her lover.
The poem opens with the damozel looking down from heaven at her lover who is still on earth. She is described as being "clad in a raiment" and "leaning out" from the "gold bar of heaven". The imagery used here is striking and vivid, and it immediately transports the reader into the world of the poem. The damozel is depicted as being in a state of longing and yearning for her lover, and this is conveyed through the use of the phrase "long hours of bliss" which suggests that she is waiting for her lover to join her in heaven.
The second stanza of the poem describes the damozel's physical appearance. She is described as being "fair" and "young" with "eyes that were deeper than the depth of waters stilled at even". The use of water imagery here is significant as it suggests that the damozel's eyes are deep and mysterious, and that they hold a secret that is waiting to be revealed.
The third stanza of the poem describes the damozel's longing for her lover. She is described as being "full of dreams" and "longing for the bud to open". The use of the word "bud" here is significant as it suggests that the damozel is waiting for her lover to blossom and grow into the man that she knows he can be.
The fourth stanza of the poem describes the damozel's vision of heaven. She is described as being "clothed in white samite" and "leaning by a golden door". The use of the word "samite" here is significant as it suggests that the damozel is wearing a luxurious and expensive fabric, which is fitting for someone who is in heaven. The golden door is also significant as it suggests that the damozel is in a place of great beauty and splendor.
The fifth stanza of the poem describes the damozel's reunion with her lover. She is described as being "clasped" in her lover's arms and "kissing him with the kisses of her mouth". The use of the word "clasped" here is significant as it suggests that the damozel and her lover are reunited in a loving embrace. The use of the word "kisses" is also significant as it suggests that the damozel and her lover are sharing a moment of intimacy and love.
The sixth and final stanza of the poem describes the damozel's final thoughts. She is described as being "contented" and "happy" in heaven, and she is looking down at her lover on earth with "smiling eyes". The use of the word "contented" here is significant as it suggests that the damozel has found peace and happiness in heaven, and that she is no longer longing for her lover.
Overall, The Blessed Damozel is a beautiful and haunting poem that explores themes of love, longing, and the afterlife. The poem is filled with vivid imagery and powerful emotions, and it is a testament to Rossetti's skill as a poet. The poem has been widely studied and analyzed, and it continues to be a beloved work of Victorian poetry.
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