Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
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Occasional posts on photography, art, poetry, history and anything else that may be vaguely interesting.
Showing posts with label Dante Gabriel Rossetti. Show all posts
Showing posts with label Dante Gabriel Rossetti. Show all posts
Friday, 12 April 2013
The Raven Edgar Allan Poe
I am a big fan of Edgar Allan Poe; his poems and stories are equally fantastic and I believe him to be one of the best writers and poets of the 19th century, if not of all time. Dante Gabriel Rossetti was also very fond of Poe, especially his most famous poem The Raven. Before and around the time the Pre-Raphaelite brotherhood was formed in 1848 Rossetti made a series of drawings for Poe's poems and verse. This is his drawing for The Raven. It is beautiful and I find really captures the mood of the poem. I have included the wonderful poem here too.
Sunday, 27 January 2013
La Belle Dame Sans Merci
Having read John Keats' poem La Belle Dame Sans Merci for the first time yesterday, I wish to share this beautiful poem and some of the lovely artworks inspired by it. John Keats was very popular with the Pre-Raphaelites, Rossetti in particular. Rossetti himself insisted that Keats be included in the 'List of Immortals' of 1848. Throughout the various Pre-Raphaelite phases Keat's poem continued to be a source of inspiration with generations of painters.

This is an early pencil sketch by Rossetti, from April 1848 - a few months before the PRB was founded. The first of three sketches Rossetti would do for this poem, a watercolour of a similar composition was done in 1855 with Lizzie Siddal as the model. This sketch is just a little early for Lizzie to be the model, but I do think that the knight looks like Walter Deverell.
The unfinished sketch below is a later one, 1855, with Lizzie most probably as the model. Though unfinished, it is a beautiful work, and illustrates the 6th stanza which is written above the horse's head. (always nice to see Rossetti's handwriting) I am surprised that Rossetti never completed a full painting of La Belle Dame sans Merci, despite doing some sketches.
O what can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge has withered from the lake,
And no birds sing.
O what can ail thee, knight-at-arms,
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest’s done.
I see a lily on thy brow,
With anguish moist and fever-dew,
And on thy cheeks a fading rose
Fast withereth too.
I met a lady in the meads,
Full beautiful—a faery’s child,
Her hair was long, her foot was light,
And her eyes were wild.
I made a garland for her head,
And bracelets too, and fragrant zone;
She looked at me as she did love,
And made sweet moan.
I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A faery’s song.
She found me roots of relish sweet,
And honey wild, and manna-dew,
And sure in language strange she said—
‘I love thee true’.
She took me to her Elfin grot,
And there she wept and sighed full sore,
And there I shut her wild wild eyes
With kisses four.
And there she lullèd me asleep,
And there I dreamed—Ah! woe betide!—
The latest dream I ever dreamt
On the cold hill side.
I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried—‘La Belle Dame sans Merci
Thee hath in thrall!’
I saw their starved lips in the gloam,
With horrid warning gapèd wide,
And I awoke and found me here,
On the cold hill’s side.
And this is why I sojourn here,
Alone and palely loitering,
Though the sedge is withered from the lake,
And no birds sing.

This is an early pencil sketch by Rossetti, from April 1848 - a few months before the PRB was founded. The first of three sketches Rossetti would do for this poem, a watercolour of a similar composition was done in 1855 with Lizzie Siddal as the model. This sketch is just a little early for Lizzie to be the model, but I do think that the knight looks like Walter Deverell.
The unfinished sketch below is a later one, 1855, with Lizzie most probably as the model. Though unfinished, it is a beautiful work, and illustrates the 6th stanza which is written above the horse's head. (always nice to see Rossetti's handwriting) I am surprised that Rossetti never completed a full painting of La Belle Dame sans Merci, despite doing some sketches.
Frank Cadogan Cowper 1926
I love this version by Frank Cadogan Cowper. He is often described as 'the last of the Pre-Raphaelites' because he carried on the Pre-Raphaelite style long after that kind of work had fallen out of favour with the public. It is very aesthetic in its composition; focusing mainly on the beautiful woman in the centre, with the sleeping knight lying rather comically in the foreground, the evening light glinting of his armor and the poppies, symbolic of sleep and death, are beginning to grow around him. The woman is traditional Pre-Raphaelite, but her dress I find unusual; rather Art Nouveau - the date of this painting is 1926, though an earlier version is 1905; these both would have been after the Art Nouveau period, which I think was influential of this painting.
Sir Frank Dicksee 1903
Ah! What a lovely painting! Frank Dicksee sure knows how to paint a really aesthetically pleasing work of art. The landscape, horse and woman are all beautiful. I especially like the details on the horse's reins and the overall glowing light. However, I do admit to finding the knight a little odd. Yes, he is wonderfully painted, but why is he standing in that position? It looks more like something from a religious subject. I think Dicksee is depicting, like Rossetti, stanza 6 where the woman is enchanting the knight with her singing, rather like the sirens... and he cannot look at anything else but her.
John William Waterhouse is a favourite of mine, and this version of La Belle Dame Sans Merci is really lovely. This depiction I find a little darker than the others, for in the other paintings the woman is rather removed, but in Waterhouse's version we see the woman in the act of enchanting the knight and literally trapping him, with that lovely hair of hers... how I wish I had hair like that! The light of the woman's face and dress contrasted with the man in shadow makes the audience focus on her; she is the primary subject in the painting. Also, her dress is beautiful...The colour of it is divine!
So, I now feel inspired to read more of John Keats' poems, and I also fancy watching that film about Keats with the great Ben Whishaw in it - a good reason to watch any film I think!
Best Wishes
Tuesday, 27 November 2012
Rossetti Drawings Part 3 - Lizzie Siddal
Elizabeth Siddal has become the symbol of the Pre-Raphaelite movement and their ideals of beauty. She was engaged to and finally married Dante Gabriel Rossetti. During their relationship, Rossetti made thousands of drawings of Lizzie; some preliminary sketches for paintings, others just observations during daily life. These drawings are both beautiful and sorrowful, for many of these were drawn when Lizzie was in a state of severe depression - she and Rossetti had a stillborn child in 1861 and she was addicted to laudanum, the substance which was to take her life in 1862.
This is a watercolour sketch of Lizzie painting. She was not just an artists model; under the tuition of Rossetti and the patronage of John Ruskin, Lizzie pursued her love of painting, drawing and poetry.
These are three of my favourite portraits of Lizzie, for Rossetti has captured her expression perfectly.
Monday, 26 November 2012
Rossetti Drawings Part 2 - Jane Morris
This post is dedicated to Dante Gabriel Rossetti's drawings of Jane Morris,wife of William Morris. Rossetti was obsessed with Jane and produced many works with her as the model. They also had a rather long affair... I have always found Jane to be the coldest, or rather, the most distant of Rossetti's models. However, for me, these drawings seem to offer a more expressionistic view of Jane and give quite an intimate insight into the nature of their somewhat puzzling relationship.
The Roseleaf 1870. This is a beautiful little drawing - the hair, hand and expression are lovely. The square format and Jane's pose are unusual - it shows off her profile and thoughtful expression that Rossetti was so interested in.
There are many drawings of Jane sitting or lying down.Because she was such an unusually tall woman she suffered from back problems, especially later in her life.
I love this drawing - the hands are so well drawn and the dress is beautiful; very unusual and aesthetic.
A nice sketch of Jane in another lovely dress.
It was very hard to chose which drawings to put in this post. I decided to pick a range of different styles - the quick sketches show Jane in daily life, the more stylized, posed works show her renowned beauty that so captivated Rossetti for so many years.
Sunday, 25 November 2012
Rossetti Drawings Part 1
Dante Gabriel Rossetti is perhaps my favourite Pre-Raphaelite artist. I cannot describe how much I love and admire his art. Though his paintings are the most famous of his works, I have recently discovered the wealth of beautiful drawings that Rossetti drew in the later and darker years of his life.
There are so many beautiful drawings, too many to put in one post. I will dedicate the next couple of posts to drawings of certain models - Jane Morris and Lizzie Siddal to come next week!
This is a portrait of an unidentified man 1870, the same model for Found. I love the expression and the defined features of the face. A very handsome gentleman with lovely hair.
Two lovely drawings of Fanny Cornforth. The first, from the warm colours, I think, is quite intimate and emphatic. The second is more dignified, the earring and plaited hair are beautifully detailed.
A beautiful portrait of Marie Spartali Stillman. What lovely hair she had!
Tuesday, 20 November 2012
A Victorian Movember
Ah! The delights of Victorian advertising!
This rather disgruntled gentleman seems to have let his moustache grow a bit wild... maybe he could have done with some of Carter's Thrixaline.
What has happened to this man's handlebar moustache? - it was going so well, the photographer should have discreetly pointed out the imperfection in his facial hair before taking the photo... or did it droop during a long exposure?
The amazing Dante Gabriel Rossetti sported a fine moustache indeed! What style this man had.
Ah, the legend that is Edgar Allan Poe! His moustache seems to be rather lopsided... I suppose he can be excused by writing such great stories.
Look at this fine gentleman! It made my day to see this handsome and proud owner of delightful facial hair.
I commend the gentlemen who have decided to grow a moustache for this year's Movember. Well Done to you! If you would like to find out more or maybe donate to this good cause have a look at the website: http://uk.movember.com/ If you wish to see more fine exaples of Victorian Moustaches then have a look at this delightful and witty blog: http://mustachesofthenineteenthcentury.blogspot.co.uk/
May you have a happy Movember!
May you have a happy Movember!
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