The House of Life: 19. Silent Noon
Dante Gabriel Rossetti, Ballads and Sonnets (London: Ellis and White, 1881). PR 5244 B2 1881 ROBA end R677 B355 1881 Fisher Rare Book Library (Toronto).
2 The finger-points look through like rosy blooms:
3 Your eyes smile peace. The pasture gleams and glooms
4'Neath billowing skies that scatter and amass.
5All round our nest, far as the eye can pass,
6 Are golden kingcup-fields with silver edge
7 Where the cow-parsley skirts the hawthorn-hedge.
8'Tis visible silence, still as the hour-glass.
9Deep in the sun-search'd growths the dragon-fly
10Hangs like a blue thread loosen'd from the sky:--
11 So this wing'd hour is dropt to us from above.
12Oh! clasp we to our hearts, for deathless dower,
13This close-companion'd inarticulate hour
14 When twofold silence was the song of love.
1] The sonnets that make up The House of Life were composed between 1847 and 1881, spanning Rossetti's poetic career. In March 1869, he published sixteen of them in the Fortnightly Review with the significant title "Of Life, Love and Death." In his volume Poems, 1870, fifty sonnets (including the one from the Fortnightly Review) and eleven lyrics were grouped together under the general title "Sonnets and Songs towards a work to be called The House of Life." Six other sonnets from the 1870 volume, but not there included in the House of Life group, were later incorporated into the sequence. The House of Life in its final form was published in Ballads and Sonnets, 1881, with 101 sonnets, in addition to the introductory one. The sequence is there divided into two parts, the first part (sonnets I to LIX) bearing the sub-title "Youth and Change," the second part (sonnets LX to CI) the sub-title "Change and Fate." The songs that had formed part of his projected work in 1870 were excluded from this final version. The title, according to William Michael Rossetti, derives from astrology, which divides the heavens by meridian lines into twelve "houses" or "spheres of influence." The first of these is frequently termed "the house of life." Rossetti may very well have become acquainted with the expression from a projected painting of that title by his friend G. F. Watts--a panoramic and partially symbolic vision of creation, the universe, and the moral and intellectual development of man. Rossetti denied any autobiographical significance in his sonnet sequence, saying: "The 'life' recorded is neither my life nor your life, but life purely and simply as tripled with love and death," and associated with auxiliary themes of "aspiration and foreboding, ... ideal art and beauty." Despite Rossetti's denial, it is now generally recognized that his sonnets are deeply personal, inspired in part by love and regret for his wife, Elizabeth Siddal, who died in 1862, and in much greater part, especially after 1868, by his love for Jane Morris, the wife of William Morris. Back to Line
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Margaret Frances (Sister St. Francis) Nims