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Rossetti:
Lost Days.
The lost days of my life until today,
What were they, could I see them on the street
Lie as they fell?
I do not see them here; but after death
God knows I know the faces I shall see,
Each one a murdered self, with low last breath
‘I am thyself, - what hast thou done to me?
‘And I – and I – thyself,’ (lo! Each one saith,)
‘And thou thyself to all eternity!’
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1862?
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http://www.stihi.ru/avtor/rossetti
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Genius in Beauty.
Soul's Beauty
Body"s Beauty
Lost days.
Retro Me Sathana!
The Girlhood of Mary Virgin.
A Sea-Spell.
Proserpina.
La Bella Mano.
Astarte Syriaca.
Fiammetta.
The Day-Dream. .
Found. .
The Blessed Damozel. .
Aspecta Medusa.
Rossetti tackled the fallen woman subject in his poem Jenny 1857.
1861 Early Italian Poets. , . , Regina Cordium 1860, . .
The Rose Garden.
Title page and frontispiece of 'The Early Italian Poets from Ciullo d'Alcamo to Dante Alighieri translated by D Gabriel Rossetti', Relief print, published 1861, 18.5 x 23.5cm, Stephen Calloway
The poet Algernon Swinburne posed for the man being kissed by the woman.
This is from an extremely rare copy of the book, as Rossetti disliked the plate made from his design and is said to have destroyed it. Most copies of this book, containing his translations of early Italian poetry, have a plain title page.
«Regina Cordium» .
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, Early Italian Poets (1861).
in Tudor House in Chelsea on Cheyne Walk Swinburne, , . . " ".
He lived at number 16 (where he was banned from keeping peacocks due to the noise) from 1862 to 1882. Cheyne Walk is an historic street, in Chelsea, in the Royal Borough of Kensington and Chelsea. It takes its name from William Lord Cheyne who owned the manor of Chelsea until 1712. Most of the houses were built in the early 18th century. Before the construction in the 19th century of the busy Embankment, which now runs in front of it, the houses fronted the River Thames.
Poems 1870 , Kelmscort Manor.
FOR SPRING, BY SANDRO BOTTICELLI
(In the Accademia of Florence.)
What masque of what old wind-withered New-Year
Honours this Lady?* Flora, wanton-eyed
For birth, and with all flowrets prankt and pied:
Aurora, Zephyrus, with mutual cheer
Of clasp and kiss: the Graces circling near,
`Neath bower-linked arch of white arms glorified:
And with those feathered feet which hovering glide
O`er Spring`s brief bloom, Hermes the harbinger.
Birth-bare, not death-bare yet, the young stems stand,
This Lady`s temple-columns: o`er her head
Love wings his shaft. What mystery here is read
Of homage or of hope? But how command
Dead Springs to answer? And how question here
These mummers of that wind-withered New-Year?
* The same Lady, here surrounded by the masque of Spring,
is evidently the subject of a portrait by Botticelli
formerly in the Pourtales collection in Paris.
This portrait is inscribed “Smeralda Bandinelli”.
1880
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