XVI ROSSETTI AS A POET

The claims of Rossetti as a painter and a poet have obtained a full and generous recognition; and he has acquired a standing¹ in either art which will in all probability abide², though it is far too soon to attempt any estimate of his relative position in the permanent ranks of artists and writers. His thoughtfulness, and the clearness and intensity³ of his perceptions, do not require to be insisted upon, nor the almost unexampled way in which he has merged—and often, it must be admitted, confounded—the functions of painter and poet. This he has done to the detriment⁴ of his perfection in either art; in neither of which can he be truly said to have attained⁵ the character of mastery which may be found, more or less, in almost all other workers of equal genius with himself, and sometimes in those whose natural qualifications have been inferior to his. Little{104} of his drawing and none of his painting can be enjoyed without the drawback of some sense of manifest technical failure; and nearly all his poetry—which is more or less difficult by reason of the quick succession of out-of-the-way thoughts and images, needing the closest attention for their appreciation—is rendered unnecessarily so by language which rarely has the fluency⁶ of perfection. In the two or three instances in which his verse becomes fluent and more or less masterly—notably in the “Burden of Nineveh” and “Jenny”—it ceases to be characteristic or subtle. The “Burden of Nineveh” might have been written by Southey, or any other writer of forcible words and thoughts in somewhat commonplace rhythm. This fact, that fluency fails him as soon as he gets upon his own proper ground, renders it extremely difficult to discern and to describe exactly what that ground is. Style, which is the true expression of the poet’s individuality—the mark by which we discover, not what, but how, he thinks and feels—is almost suffocated⁷, in Rossetti’s most characteristic work, by voluntary oddities of manner and by a manifest difficulty in so moving in the bonds of verse as to convert them into graces. If subtle thoughts and vivid imagery were all that went to make a poet, Rossetti would stand very high. But these qualities must have{105} the running commentary and musical accompaniment of free feeling, which only a correspondingly subtle and vivid versification can express, before they can be allowed to constitute a claim to the highest poetical⁸ rank. Rossetti as a versifier was as technically⁹ defective¹⁰ as Rossetti as a painter; his best poems and his best paintings are the outcome, not only of very high aims—which are as common as blackberries—but of very high aims deeply and characteristically felt; and his superiority to many far more technically perfect artists results from the fact that his characteristic feeling is strong enough to make itself powerfully, however indistinctly, perceived through the mist and obstructions¹¹ of his mannerism¹² and defective verse.

Like all men of strong artistic¹³ individuality combined with serious artistic faults, Rossetti has had a great influence upon the literature of his day—such an influence as comparatively faultless writers never exert, at least in their time. Many young versifiers and painters fancy they are reproducing Rossetti’s intensity when they are only imitating the most prevailing¹⁴ fault of his art, its tensity. His brother, William Rossetti, in his modest and judicious¹⁵ introduction to these volumes, tells how he and Gabriel used to amuse themselves in making bouts-rimés. William says{106} of his brother’s literary toys of this sort: “Some have a faux air of intensity of meaning, as well as of expression; but their real core of significance is small.” It cannot be denied that a careful scrutiny¹⁶ of much of Rossetti’s published work is open to this criticism. It is tense without being intense. This fault is his great attraction to his imitators, whose every sensation is represented as a pang¹⁷, delicious or otherwise, and whose mental sky is a canopy¹⁸ of iron destiny compared with which the melancholy¹⁹ of Byron, which likewise had so many copyists, was no more than a pleasant shade.

In endeavouring to do justice to Rossetti it must be remembered that, though born and bred in England, he was an Italian by blood and sympathy. His acquaintance with Englishmen and English books was by no means wide. Love, the constant theme of his art, is in some of his most important poems, not the English love whose stream is steady affection and only its occasional eddies²⁰ passion, and which, when disappointed, does not cease to be love, though it becomes sorrow: but the Italian ardour, in perennial²¹ crisis, which stabs its rival and hates its object, if she refuses its satisfaction, as ardently²² as it worships her so long as there is hope. The limitations, also, which characterise Rossetti’s poetry belong{107} to Italian poetry itself. There is little breadth in it, but much acuteness. Dante is to Shakespeare as the Peak of Teneriffe to the tableland of Tibet; and, as any reader of Rossetti’s translations of the minor²³ Italian poets may see, the same proportion prevails between them and the lesser²⁴ singers of England. It is therefore quite unfair to try an essentially²⁵ Italian poet, like Rossetti, by comparing his works with the classical poetry of a nation which, for combined breadth and height, far surpasses the poetry of all other languages present and past, with the doubtful exception of the Greek. The English language itself is not made for Italian thought and passion. It has about four times as many vowel²⁶ sounds as Italian and a corresponding consonantal²⁷ power; that is to say, it differs from the Italian about as much as an organ differs from a flute²⁸. Rossetti uses little beside the flute-notes of our English organ; and, if he had made himself complete master of those notes, it would have been the most that could have been expected of him. In appearance and manners Rossetti was thoroughly²⁹ Italian. In his youth especially he had the sweet and easy courtesy peculiar³⁰ to his nation. His brother says, “There was a certain British bluffness³¹ streaking³² the finely poised³³ Italian suppleness³⁴ and facility.” This describes, better than perhaps Mr.{108} William Rossetti intended, a characteristic which occasionally, but fortunately not often, appears in his poetry, which is most pleasing when it is least “streaked” with British bluffness: as it is, for example, in “Jenny.”

Rossetti’s power is chiefly shown in his long ballads³⁵, such as “Sister Helen,” “The Bride’s Prelude,” “Rose Mary,” and “The King’s Tragedy.” Had these been found in Percy’s “Relics,” they would have constituted the chief ornaments³⁶ of that collection. As it is, it is impossible not to feel that they are more or less anachronisms, both in spirit and in form. The repetition of a refrain through the fifty stanzas³⁷ or so of “Sister Helen,” the most forcible of all these lyrical narratives⁴⁰, has no sufficient justification⁴¹ for its interruption of the fiercely flowing history. A refrain which extends to more than three or four stanzas requires and originally assumed a musical accompaniment. The constant high-pressure of passion in these ballads is also an anachronism; and to the cultured modern reader this character is calculated to defeat the poet’s purpose, giving him an impression of cold instead of warmth, as if the fire had a salamander instead of a heart in its centre. A kindred fault, which Rossetti has in common with some of the most famous poets of the century, is that of conferring upon all his{109} images an acute and independent clearness which is never found in the natural and truly poetical expression of feeling. It is true, and great poets (especially Shakespeare) have noted⁴² it, that in extreme crises of passion there will sometimes be a moment of calm in which the minuti? of some most trifling⁴³ object or circumstance will, as it were, photograph themselves upon the mind. But this pr?ternatural calm is only the “eye of the storm”; and to scatter⁴⁴ broadcast, over a long poem, imagery with the sharpest outlines is to prove, not only that it has not been written from true passion, but that the poet has not even observed the phenomena⁴⁵ of true passion. Such independent force and clearness of imagery can only be justified⁴⁶ in poems of the very lowest type of artistic construction, such as Schiller’s “Song of the Bell” and “Childe Harold,” which scarcely profess⁴⁷ to have more unity⁴⁸ than is to be found in a scrap-book. A fine poem may or may not be full of “fine things”; but, if it does abound⁴⁹ in them, their independent value should only appear when they are separated from their context. In Rossetti, as in several other modern poets of great reputation, we are constantly being pulled up, in the professedly fiery⁵⁰ course of a tale of passion, to observe the moss⁵¹ on a rock or the note of a chaffinch. High finish has nothing to do with{110} this quality of extreme definiteness in detail; indeed, it is more often exercised by the perfect poet in blurring⁵² outlines than in giving them acuteness. It must be admitted, however, that Rossetti had an unusual temptation to this kind of excess in his extraordinary faculty⁵³ for seeing objects in such a fierce light of imagination as very few poets have been able to throw upon external things. He can be forgiven for spoiling a tender lyric³⁹ by a stanza³⁸ such as this, which seems scratched with an adamantine pen upon a slab⁵⁴ of agate—
But the sea stands spread
As one wall with the flat skies,
Where the lean black craft, like flies,
Seem wellnigh stagnated⁵⁵,
Soon to drop off dead.

Though the foregoing strictures apply to a large portion of Rossetti’s work, there is a really precious residuum which they do not touch. There are several pieces—such as “Love’s Nocturn,” “The Portrait,” “A Little While,” and many sonnets—which are full of natural feeling expressed with simple and subtle art; and in much of his work there is a rich and obscure glow of insight into depths too profound and too sacred for clear{111} speech, even if they could be spoken: a sort of insight not at all uncommon⁵⁶ in the great art of past times, but exceedingly rare in the art of our own.

1 standing   

n.持续，地位；adj.永久的，不动的，直立的，不流动的

参考例句：

• After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
• They're standing out against any change in the law.他们坚决反对对法律做任何修改。

2 abide   

vi.遵守；坚持；vt.忍受

参考例句：

• You must abide by the results of your mistakes.你必须承担你的错误所造成的后果。
• If you join the club,you have to abide by its rules.如果你参加俱乐部，你就得遵守它的规章。

3 intensity   

n.强烈，剧烈；强度；烈度

参考例句：

• I didn't realize the intensity of people's feelings on this issue.我没有意识到这一问题能引起群情激奋。
• The strike is growing in intensity.罢工日益加剧。

4 detriment   

n.损害；损害物，造成损害的根源

参考例句：

• Smoking is a detriment to one's health.吸烟危害健康。
• His lack of education is a serious detriment to his career.他的未受教育对他的事业是一种严重的妨碍。

5 attained   

（通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况）

参考例句：

• She has attained the degree of Master of Arts. 她已获得文学硕士学位。
• Lu Hsun attained a high position in the republic of letters. 鲁迅在文坛上获得崇高的地位。

6 fluency   

n.流畅，雄辩，善辩

参考例句：

• More practice will make you speak with greater fluency.多练习就可以使你的口语更流利。
• Some young children achieve great fluency in their reading.一些孩子小小年纪阅读已经非常流畅。

7 suffocated   

（使某人）窒息而死( suffocate的过去式和过去分词 )； （将某人）闷死； 让人感觉闷热； 憋气

参考例句：

• Many dogs have suffocated in hot cars. 许多狗在热烘烘的汽车里给闷死了。
• I nearly suffocated when the pipe of my breathing apparatus came adrift. 呼吸器上的管子脱落时，我差点给憋死。

8 poetical   

adj.似诗人的；诗一般的；韵文的；富有诗意的

参考例句：

• This is a poetical picture of the landscape. 这是一幅富有诗意的风景画。 来自《简明英汉词典》
• John is making a periphrastic study in a worn-out poetical fashion. 约翰正在对陈腐的诗风做迂回冗长的研究。 来自辞典例句

9 technically   

adv.专门地，技术上地

参考例句：

• Technically it is the most advanced equipment ever.从技术上说，这是最先进的设备。
• The tomato is technically a fruit,although it is eaten as a vegetable.严格地说，西红柿是一种水果，尽管它是当作蔬菜吃的。

10 defective   

adj.有毛病的，有问题的，有瑕疵的

参考例句：

• The firm had received bad publicity over a defective product. 该公司因为一件次品而受到媒体攻击。
• If the goods prove defective, the customer has the right to compensation. 如果货品证明有缺陷， 顾客有权索赔。

11 obstructions   

n.障碍物( obstruction的名词复数 )；阻碍物；阻碍；阻挠

参考例句：

• The absence of obstructions is of course an idealization. 没有障碍物的情况当然是一种理想化的情况。 来自辞典例句
• These obstructions could take some weeks to clear from these canals. 这些障碍物可能要花几周时间才能从运河中清除掉。 来自辞典例句

12 mannerism   

n.特殊习惯，怪癖

参考例句：

• He has this irritating mannerism of constantly scratching his nose.他老是挠鼻子，这个习惯真让人不舒服。
• Her British accent is just a mannerism picked up on her visit to London.她的英国口音是她访问伦敦学会的。

13 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

14 prevailing   

adj.盛行的；占优势的；主要的

参考例句：

• She wears a fashionable hair style prevailing in the city.她的发型是这个城市流行的款式。
• This reflects attitudes and values prevailing in society.这反映了社会上盛行的态度和价值观。

15 judicious   

adj.明智的，明断的，能作出明智决定的

参考例句：

• We should listen to the judicious opinion of that old man.我们应该听取那位老人明智的意见。
• A judicious parent encourages his children to make their own decisions.贤明的父亲鼓励儿女自作抉择。

16 scrutiny   

n.详细检查，仔细观察

参考例句：

• His work looks all right,but it will not bear scrutiny.他的工作似乎很好，但是经不起仔细检查。
• Few wives in their forties can weather such a scrutiny.很少年过四十的妻子经得起这么仔细的观察。

17 pang   

n.剧痛，悲痛，苦闷

参考例句：

• She experienced a sharp pang of disappointment.她经历了失望的巨大痛苦。
• She was beginning to know the pang of disappointed love.她开始尝到了失恋的痛苦。

18 canopy   

n.天篷，遮篷

参考例句：

• The trees formed a leafy canopy above their heads.树木在他们头顶上空形成了一个枝叶茂盛的遮篷。
• They lay down under a canopy of stars.他们躺在繁星点点的天幕下。

19 melancholy   

n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的

参考例句：

• All at once he fell into a state of profound melancholy.他立即陷入无尽的忧思之中。
• He felt melancholy after he failed the exam.这次考试没通过，他感到很郁闷。

20 eddies   

（水、烟等的）漩涡，涡流( eddy的名词复数 )

参考例句：

• Viscosity overwhelms the smallest eddies and converts their energy into heat. 粘性制服了最小的旋涡而将其能量转换为热。
• But their work appears to merge in the study of large eddies. 但在大旋涡的研究上，他们的工作看来却殊途同归。

21 perennial   

adj.终年的；长久的

参考例句：

• I wonder at her perennial youthfulness.我对她青春常驻感到惊讶。
• There's a perennial shortage of teachers with science qualifications.有理科教学资格的老师一直都很短缺。

22 ardently   

adv.热心地，热烈地

参考例句：

• The preacher is disserveing the very religion in which he ardently believe. 那传教士在损害他所热烈信奉的宗教。 来自辞典例句
• However ardently they love, however intimate their union, they are never one. 无论他们的相爱多么热烈，无论他们的关系多么亲密，他们决不可能合而为一。 来自辞典例句

23 minor   

adj.较小(少)的，较次要的；n.辅修学科；vi.辅修

参考例句：

• The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
• I gave him a minor share of my wealth.我把小部分财产给了他。

24 lesser   

adj.次要的，较小的；adv.较小地，较少地

参考例句：

• Kept some of the lesser players out.不让那些次要的球员参加联赛。
• She has also been affected,but to a lesser degree.她也受到波及，但程度较轻。

25 essentially   

adv.本质上，实质上，基本上

参考例句：

• Really great men are essentially modest.真正的伟人大都很谦虚。
• She is an essentially selfish person.她本质上是个自私自利的人。

26 vowel   

n.元音；元音字母

参考例句：

• A long vowel is a long sound as in the word"shoe ".长元音即如“shoe” 一词中的长音。
• The vowel in words like 'my' and 'thigh' is not very difficult.单词my和thigh中的元音并不难发。

27 consonantal   

adj.辅音的，带辅音性质的

参考例句：

28 flute   

n.长笛；v.吹笛

参考例句：

• He took out his flute, and blew at it.他拿出笛子吹了起来。
• There is an extensive repertoire of music written for the flute.有很多供长笛演奏的曲目。

29 thoroughly   

adv.完全地，彻底地，十足地

参考例句：

• The soil must be thoroughly turned over before planting.一定要先把土地深翻一遍再下种。
• The soldiers have been thoroughly instructed in the care of their weapons.士兵们都系统地接受过保护武器的训练。

30 peculiar   

adj.古怪的，异常的；特殊的，特有的

参考例句：

• He walks in a peculiar fashion.他走路的样子很奇特。
• He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。

31 bluffness   

率直，坦率，直峭

参考例句：

• Dr Ramsay's outspoken bluffness made him easier to deal with. 而拉姆齐医生，由于他那种无保留的坦率性格，倒还容易对付。

32 streaking   

n.裸奔（指在公共场所裸体飞跑）v.快速移动( streak的现在分词 )；使布满条纹

参考例句：

• Their only thought was of the fiery harbingers of death streaking through the sky above them. 那个不断地在空中飞翔的死的恐怖把一切别的感觉都赶走了。 来自汉英文学 - 家（1-26） - 家（1-26）
• Streaking is one of the oldest tricks in the book. 裸奔是有书面记载的最古老的玩笑之一。 来自互联网

33 poised   

a.摆好姿势不动的

参考例句：

• The hawk poised in mid-air ready to swoop. 老鹰在半空中盘旋，准备俯冲。
• Tina was tense, her hand poised over the telephone. 蒂娜心情紧张，手悬在电话机上。

34 suppleness   

柔软； 灵活； 易弯曲； 顺从

参考例句：

• The leather may need to be oiled every two to three weeks in order to retain its suppleness. 为了保持皮革的柔韧性，可能两三周就要上一次油。
• She tried to recover her lost fitness and suppleness. 她试图恢复她失去的身体的康健和轻柔。

35 ballads   

民歌，民谣，特别指叙述故事的歌( ballad的名词复数 )； 讴

参考例句：

• She belted out ballads and hillbilly songs one after another all evening. 她整晚一个接一个地大唱民谣和乡村小调。
• She taught him to read and even to sing two or three little ballads,accompanying him on her old piano. 她教他读书，还教他唱两三首民谣，弹着她的旧钢琴为他伴奏。

36 ornaments   

n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 )

参考例句：

• The shelves were chock-a-block with ornaments. 架子上堆满了装饰品。
• Playing the piano sets up resonance in those glass ornaments. 一弹钢琴那些玻璃饰物就会产生共振。 来自《简明英汉词典》

37 stanzas   

节，段( stanza的名词复数 )

参考例句：

• The poem has six stanzas. 这首诗有六小节。
• Stanzas are different from each other in one poem. 诗中节与节差异颇大。

38 stanza   

n.（诗）节，段

参考例句：

• We omitted to sing the second stanza.我们漏唱了第二节。
• One young reporter wrote a review with a stanza that contained some offensive content.一个年轻的记者就歌词中包含有攻击性内容的一节写了评论。

39 lyric   

n.抒情诗，歌词；adj.抒情的

参考例句：

• This is a good example of Shelley's lyric poetry.这首诗是雪莱抒情诗的范例。
• His earlier work announced a lyric talent of the first order.他的早期作品显露了一流的抒情才华。

40 narratives   

记叙文( narrative的名词复数 )； 故事； 叙述； 叙述部分

参考例句：

• Marriage, which has been the bourne of so many narratives, is still a great beginning. 结婚一向是许多小说的终点，然而也是一个伟大的开始。
• This is one of the narratives that children are fond of. 这是孩子们喜欢的故事之一。

41 justification   

n.正当的理由；辩解的理由

参考例句：

• There's no justification for dividing the company into smaller units. 没有理由把公司划分成小单位。
• In the young there is a justification for this feeling. 在年轻人中有这种感觉是有理由的。

42 noted   

adj.著名的，知名的

参考例句：

• The local hotel is noted for its good table.当地的那家酒店以餐食精美而著称。
• Jim is noted for arriving late for work.吉姆上班迟到出了名。

43 trifling   

adj.微不足道的；没什么价值的

参考例句：

• They quarreled over a trifling matter.他们为这种微不足道的事情争吵。
• So far Europe has no doubt, gained a real conveniency,though surely a very trifling one.直到现在为止,欧洲无疑地已经获得了实在的便利，不过那确是一种微不足道的便利。

44 scatter   

vt.撒，驱散，散开；散布/播；vi.分散，消散

参考例句：

• You pile everything up and scatter things around.你把东西乱堆乱放。
• Small villages scatter at the foot of the mountain.村庄零零落落地散布在山脚下。

45 phenomena   

n.现象

参考例句：

• Ade couldn't relate the phenomena with any theory he knew.艾德无法用他所知道的任何理论来解释这种现象。
• The object of these experiments was to find the connection,if any,between the two phenomena.这些实验的目的就是探索这两种现象之间的联系，如果存在着任何联系的话。

46 justified   

a.正当的，有理的

参考例句：

• She felt fully justified in asking for her money back. 她认为有充分的理由要求退款。
• The prisoner has certainly justified his claims by his actions. 那个囚犯确实已用自己的行动表明他的要求是正当的。

47 profess   

v.声称，冒称，以...为业，正式接受入教，表明信仰

参考例句：

• I profess that I was surprised at the news.我承认这消息使我惊讶。
• What religion does he profess?他信仰哪种宗教？

48 unity   

n.团结，联合，统一；和睦，协调

参考例句：

• When we speak of unity,we do not mean unprincipled peace.所谓团结，并非一团和气。
• We must strengthen our unity in the face of powerful enemies.大敌当前，我们必须加强团结。

49 abound   

vi.大量存在；(in，with)充满，富于

参考例句：

• Oranges abound here all the year round.这里一年到头都有很多橙子。
• But problems abound in the management of State-owned companies.但是在国有企业的管理中仍然存在不少问题。

50 fiery   

adj.燃烧着的，火红的；暴躁的；激烈的

参考例句：

• She has fiery red hair.她有一头火红的头发。
• His fiery speech agitated the crowd.他热情洋溢的讲话激动了群众。

51 moss   

n.苔，藓，地衣

参考例句：

• Moss grows on a rock.苔藓生在石头上。
• He was found asleep on a pillow of leaves and moss.有人看见他枕着树叶和苔藓睡着了。

52 blurring   

n.模糊，斑点甚多，（图像的）混乱v.（使）变模糊( blur的现在分词 )；（使）难以区分

参考例句：

• Retinal hemorrhage, and blurring of the optic dise cause visual disturbances. 视网膜出血及神经盘模糊等可导致视力障碍。 来自辞典例句
• In other ways the Bible limited Puritan writing, blurring and deadening the pages. 另一方面，圣经又限制了清教时期的作品，使它们显得晦涩沉闷。 来自辞典例句

53 faculty   

n.才能；学院，系；(学院或系的)全体教学人员

参考例句：

• He has a great faculty for learning foreign languages.他有学习外语的天赋。
• He has the faculty of saying the right thing at the right time.他有在恰当的时候说恰当的话的才智。

54 slab   

n.平板，厚的切片；v.切成厚板，以平板盖上

参考例句：

• This heavy slab of oak now stood between the bomb and Hitler.这时笨重的橡木厚板就横在炸弹和希特勒之间了。
• The monument consists of two vertical pillars supporting a horizontal slab.这座纪念碑由两根垂直的柱体构成，它们共同支撑着一块平板。

55 stagnated   

v.停滞，不流动，不发展( stagnate的过去式和过去分词 )

参考例句：

• The balloting had stagnated, he couldn't win. 投票工作陷于停顿，他不能得胜。 来自辞典例句
• His mind has stagnated since his retirement. 他退休后头脑迟钝了。 来自辞典例句

56 uncommon   

adj.罕见的，非凡的，不平常的

参考例句：

• Such attitudes were not at all uncommon thirty years ago.这些看法在30年前很常见。
• Phil has uncommon intelligence.菲尔智力超群。