1
Attuned to the Voices of the Saints: Rossettiâs Devotional Heritage
Christina Rossettiâs âaesthetic mysticismâ forms the subject of an essay that Alice Law contributed to the Westminster Review in 1895.1 Law claims to perceive âin allâ Rossettiâs work âthe medieval heroine herself looking out at us, from an almost cloistered seclusion, with sad patient eyesâ; she is, Law writes, âconsciously or unconsciously [âŠ] her own medieval heroineâ.2 This image of Rossetti as a secluded mystic whose musings on the world emerge from an otherworldly vantage point characterises the reviews of her poetry in the late Victorian periodical press. In the 1888 piece that she wrote for Oscar Wildeâs Womanâs World, Amy Levy uses the imagery of âA Birthdayâ to convey the impression that Rossetti âis at one moment intensely human, intensely personal; at another, she paddles away in her rainbow shell, and is lost to sight as she dips over the horizon-line of her halcyon seaâ.3 William Michael Rossetti perpetuates this popular image of Rossetti composing poetry that flits between expressions that are âintensely personalâ and ineffable when, in the 1904 preface to his edition of her poetry, he describes her work more in terms of emotional outpouring than with any intellectual engagement with sources:
While Antony Harrison recognises that William Michael was âsimply wrong â or at least significantly misguidedâ when he describes his sisterâs lack of critical acumen in poetic composition, this book demonstrates that he was also wrong or misguided in equating her meditative approach with mystical otherworldliness rather than with theological aptitude.4 From Rossettiâs devotional writings and letters, we learn that she did study significantly more than a âlittleâ theology and that she not only âlikedâ but engaged intellectually with St Augustineâs Confessions (c. 397â8), Thomas Ă Kempisâs The Imitation of Christ (c. 1418â27), and John Bunyanâs The Pilgrimâs Progress (1678). Building on the scholarship of the last thirty years, my analysis reveals that, rather than a âmedieval heroineâ, Rossetti can more appropriately be described as a creative theologian concerned with bringing her perception of Godâs love and justice to an âarrogant Englandâ that she perceived as increasingly enmeshed in consumerism and imperialism (FD, p. 422).
Commenting on Rossettiâs âcultural literacyâ, Mary Arseneau draws attention to her scholarly acumen:
Although it is not clear how many ancient and patristic texts Rossetti read in their entirety, we know that anthologies and collections such as John Mason Nealeâs Medieval Preachers and Medieval Preaching (1856) provided her with knowledge of various forms of ancient and medieval exegesis.
In addition to contributing to and possessing several of the Lyras, Rossetti wrote for other collections and anthologies. The popularity of these volumes meant that they were central to the consolidation and dissemination of Tractarian precept. The interpolation of poetry with exegesis indicates the central place of verse in the Movementâs self-articulation. Chapter 3 of this book considers Rossettiâs significant contribution to one such volume: John Mason Neale and Richard Frederick Littledaleâs four-volume Commentary on the Psalms (1869â83). Despite the recent surge in Rossetti scholarship, this contribution has not previously been registered and, apart from the analysis offered in Kirstie Blairâs recent monograph, her affinity with anthologised collections remains largely neglected.6 Notwithstanding the helpful article by Andrew Maunder and book by Lorraine Janzen Kooistra, more work on the periodical publication of Rossettiâs verse needs to be done in light of the recent wave of scholarship in this area and the new digital accessibility of the journals and volumes for which she wrote.7 Responding to critical gaps and bringing to light the key place of religious debates in the periodical press, this chapter explores Rossettiâs intervention into Victorian literary and devotional spaces and highlights her strong awareness of different audiences.
Rossettiâs devotional writings are particularly timely in their contribution to the second phase of the Oxford Movement, which saw a greater (and less contentious) emphasis on ritual and the publication of anthologies that included ancient, medieval and modern poetry. By using the devotions offered in the Lyras as a springboard for her own developing hermeneutic, I suggest how Rossetti not only disseminates but also helps to shape what A. M. Allchin terms the Tractarian âperception that we need to be freed from the temporal parochialism which shuts us up in the assumptions of our own particular era.â8 E. Milner-White comments on this perception in his recognition that, by âfreely acceptingâ the outputs of âSt. Theresa, St. John of the Cross, St. Francis de Sales, [and] Augustine Bakerâ, the Tractarian leaders were able to revive and transform the prayer life of England.9 An examination of what it means for ancient and medieval texts to be âfreely acceptedâ in the Victorian era opens up insights into the kind of trans-historical dialogue Rossetti sets up in her devotional writings and reveals the alternative perceptions of temporality that contemporaneous reading practices promote.
The gestures across time that Rossetti makes in her poetry can be understood as indicative of a kind of existential apprehension. Following George Herbertâs sonnet âPrayer [1]â â which speaks of how âChristâs side-piercing spearâ (5) opens up the possibility of prayer in âThe six-days world-transposing in an hourâ (6) â Rossetti articulates through poetry a vision of the a-temporal space in which she perceives the praying community.10 Echoing âPrayer [1]âs recognition of âHeaven in ordinaryâ (11), she suggests â in Later Life: A Double Sonnet of Sonnets â âit may be that | This spot we stand on is a Paradise | Where dead have come to life and lost been found, | Where Faith has triumphed, Martyrdom been crownedâ (CP, p. 346â56: 10.2â4). Contemplating the possibility of incarnate grace entering the present temporal order, she repeatedly indicates that the human condition is best felt in the rhythms of liturgical practice.
As Karen Dieleman demonstrates, liturgy shapes perceptions of personhood. Registering the âintersections between an individualâs participation in communal worship practices and his/her practices of writingâ, she applies to her investigation Liam Corleyâs recognition that âthough directed toward the Otherâ, devotional reading involves âintense scrutiny of self and critical thinking about the actual worldâ.11 The discussion I offer in the first section of this chapter responds to Dielemanâs article and her recent monograph Religious Imaginaries (2012) as it investigates how Rossetti details intersections between liturgy and poetry. Assessing what it means for Rossetti to write in a devotional way, it details her engagement with the work of John Keble and demonstrates how she re-orientates the worshipper and investigates the nature of personhood. The next section then extends an appreciation of Rossettiâs engagement with the interface between liturgy and personhood with a close reading of two sonnets, âSonnet/ from the Psalmsâ (1847) and âAfter Communionâ (1867). The third part details Rossettiâs poetic delineations of the historical church and considers the influence of Augustine, her foremost theological mentor. The remainder of the book builds on the overviews offered here and approaches each phase of Rossettiâs development as a theologian with full awareness of the interface between her devotional writings, the tradition of liturgical practice and ...