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Poet Christina Rossetti was born in 1830, the youngest child in an extraordinarily gifted family. Her father, the Italian poet and political exile Gabriele Rossetti, immigrated to England valentines gifts for her near me 1824 and established a career as a Dante scholar and teacher of Italian in London.
Rossetti’s poetry has never disappeared from view. Rossetti’s childhood was exceptionally happy, characterized by affectionate parental care and the creative companionship of older siblings. Christina was given to tantrums and fractious behavior, and she fought hard to subdue this passionate temper. Augustine, or moralistic tales such as those by Maria Edgeworth. Caught up in the Tractarian or Oxford Movement when it reached London in the 1840s, the Rossettis shifted from an Evangelical to an Anglo-Catholic orientation, and this outlook influenced virtually all of Christina Rossetti’s poetry. Isaac Williams and John Henry Newman. Gabriele Rossetti’s health collapsed in 1843, leaving him virtually blind and unable to teach.
Frances Rossetti returned to her former employment as a daily governess. Maria and William also took employment, Maria as a nursery governess and William in the civil service. Dante Gabriel continued his art studies, while Christina remained at home as a companion to their ailing father. In 1845 she, too, suffered a collapse in health. By her sixteenth birthday Christina, who was regarded as the poet in the family, had written more than fifty poems that were transcribed into a notebook by her sister. In 1847 a collection of her poems, titled Verses, was privately printed by her grandfather Polidori. Later in 1847 Dante Gabriel, William, and Christina began a tradition of playing bouts rimés, a game in which two of them would race to compose a sonnet conforming to a set of line endings provided by the third.
Christina excelled at the exercise, composing sonnets in a matter of minutes. Late in 1849 the Pre-Raphaelite Brotherhood initiated a periodical, The Germ, as a vehicle for the members’ innovative views on art. One of the Pre-Raphaelite brethren, James Collinson, proposed marriage to Rossetti in 1848. She refused the offer, giving Collinson’s recent conversion to Roman Catholicism as the reason. Collinson promptly returned to the Church of England, proposed a second time, and was accepted. Rossetti was ever in love with him.
The title character’s appearance and personality bear many similarities to accounts of the author, and this work, with its exploration of the tensions among the sometimes incompatible categories of female, poet, and Anglo-Catholic, is usually considered a semi-autobiographical portrait of the adolescent Rossetti. The family’s financial crisis continued, and in 1851 the Rossettis moved from Charlotte Street to Camden Town, where Christina and her mother briefly ran a small day school. A second attempt at establishing a school, this time in Frome, lasted from March 1853 to February 1854, the only period in Rossetti’s life when she made her home outside London. When she returned to the city, the family moved to Albany Street. Throughout her twenties Rossetti continued to write poetry and prose. The Bouquet from Marylebone Gardens during 1851 and 1852. Attempts at publication in prestigious periodicals such as Blackwood’s and Fraser’s in 1854 failed.
