Christina Rossetti's Feminist Theology by L. Palazzo

By L. Palazzo

This quantity disputes the idea that Rossetti used to be a follower of Keble and Pusey, and exhibits how her dissatisfaction with the male-dominated name to celibacy led her to reject their notions of worldliness, and to shape a more in-depth bond with the actual global and the physique.

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Mary Magdelene, Highgate), and in a request for assistance. Rev. Burrows was most probably drawn into the debate35 and Rossetti herself later took up the call. Given its date of composition and Rossetti’s continuing interest in the lot of fallen women, the common interpretation, which sees the poem as a manifestation of somataphobic self-loathing in the style of Pusey, is simply inadequate. Jan Marsh, for example, despite her introduction to Rossetti’s connection with the Portfolio group, remains reluctant to accord Rossetti any place in their campaign for social reform.

1 At about the same time as Goblin Market Rossetti wrote its similarly daring counterpart in prose, ‘Hero’,2 a short story which retrieves the treasures of the goblin world, placing them in a female ‘fairyland’, ultimately resolving the different elements of the tale into a trinity of father, son-in-law and daughter. The resources of the glittering Pre-Raphaelite world, rather than being a source of destruction as in Goblin Market, are used for spiritual healing and renewal, as Hero learns not to see herself in terms of men’s approval, returning wiser to ‘man-side’, to a father who in turn recognises that he has failed his daughter: ‘I, who could not save’ (209).

501–5) It finally locates the violence perpetrated by the father on the mother within the scope of Genesis 3, only here the ‘daughter of Eve’ is (‘almost’) cursing in turn: But I could almost curse My Father for his pains; And sometimes at my prayer Kneeling in sight of Heaven I almost curse him still: Why did he set his snare To catch at unaware My mother’s foolish youth; Load me with shame that’s hers, And her with something worse, A lifelong lie for truth? The vengeful God of ‘Symbols’ has returned to threaten with his ‘rod’.

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