Abstract
From its inception, Pre-Raphaelitism was an inter-art project in the visual and literary arts; but it is less acknowledged that as early as the 1860s, the Pre-Raphaelite influence had also migrated into another inter-medial and collaborative field of artistic expression, one that combined word and music. Mary Arseneau asserts the significant role that music has played in the development, dissemination, reception, and understanding of Pre-Raphaelite poetry and poetics. Arseneau explains how the emergent musico-literary interdisciplinary field of Pre-Raphaelite studies demands an appropriately interdisciplinary methodology, and various models of text-music criticism, or “melopoetics.” Arseneau examines the dynamic between music and poetry in relation to a number a variety of Christina Rossetti poems translated into languages including French, German, Italian, Welsh, Dutch, Catalan, Spanish, Russian, and Chinese to examine music’s function in spreading Pre-Raphaelite poetry to new international audiences.
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Notes
- 1.
There is exciting work being done on music and the poetry of Algernon Charles Swinburne. Michael Craske’s ongoing research on Swinburne, transgressive poetics, music, and aesthetics is available on his website (see Michael Craske, https://verseandmusic.com/) and on the Sounding Victorian website founded by Phyllis Weliver (see Phyllis Weliver, http://www.soundingvictorian.org/). See also Elizabeth Helsinger’s “Swinburne’s Expansive Poetics,” in Defining Pre-Raphaelite Poetics, which illuminates many mutual influences among poetry, art, and music in Swinburne’s writing.
- 2.
Walter Pater, “School of Giorgione,” in The Renaissance: Studies in Art and Poetry (London: Macmillan, 1913), 140.
- 3.
See Joanna Swafford, Songs of the Victorians (University of Virginia, 2013), (http://www.songsofthevictorians.com/). Accessed 23 May 2013; Derek B. Scott, The Singing Bourgeois: Songs of the Victorian Drawing Room and Parlour (Milton Keynes: Open UP, 1989). Joanna Swafford and Derek B. Scott both argue for the significance of bourgeois, domestic music, and Swafford observes that such songs function as readings of the poems they set.
- 4.
Jan Marsh, Dante Gabriel Rossetti: Painter and Poet (London: Weidenfeld & Nicolson, 1999), 44.
- 5.
William Michael Rossetti, Dante Gabriel Rossetti: His Family Letters with a Memoir by William Michael Rossetti, vol. 1 (London: Ellis and Elvey, 1895), 412.
- 6.
Karen Yuen, “Bound by Sound: Music, Victorian Masculinity, and Dante Gabriel Rossetti,” in ed. Graeme Smart and Amelia Yeates, special issue on “Victorian Masculinities,” Critical Survey 20, no. 3 (2008): [79–96] 85–87. Yuen’s article usefully highlights Dante Gabriel’s visual representations of music and musical instruments as well as music’s relationship to Victorian concepts of masculinity.
- 7.
In Some Reminiscences, William Michael Rossetti states that, “having other occupations which absorbed my time and attention, I have never learned anything about musical art in detail.” See William Michael Rossetti, Some Reminiscences of William Michael Rossetti, vol. 1 (New York: Charles Scribner’s Sons, 1906), 191.
- 8.
Diary of William Michael Rossetti, 11 November 1866, Angeli-Dennis Collection, University of British Columbia, box 15, folder 5.
- 9.
George Warington Taylor was manager of Morris, Marshall, Faulkner & Company from March 1865 until his death in February 1870.
- 10.
Diary of W. M. R. 26 December 1866, ADC, box 15, folder 1.
- 11.
William Michael Rossetti Papers, 1862–1870; A compilation by William Michael Rossetti (New York: C. Scribner’s Sons, 1903), 219.
- 12.
Ibid., 220.
- 13.
Karen Yuen, “Music and Pre-Raphaelitism: Christina Rossetti’s ‘Songs in a Cornfield’ and George Alexander Macfarren’s Songs in a Cornfield.” Unpublished, 25.
- 14.
Recent scholarship by Phyllis Weliver does much to recover this aspect of Victorian social life.
- 15.
Angela Thirlwell, William and Lucy: The Other Rossettis (New Haven and London: Yale University Press, 2003), 98.
- 16.
Teresa Newman and Ray Watkinson, Ford Madox Brown and the Pre-Raphaelite Circle (London: Chatto & Windus, 1991), 146.
- 17.
Ford Madox Ford, Ford Madox Brown: A Record of His Life and Work (London, New York and Bombay: Longmans, Green, 1896), 241.
- 18.
For example: 15 December 1870, William Michael Rossetti, The Diary of W. M. Rossetti: 1870–1873, ed. Odette Bornand (Oxford: Clarendon Press, 1977), 36; 1 January 1880 in Diary of W. M. R., ADC, box 15, folder 3.
- 19.
Alison Chapman and Joanna Meacock, A Rossetti Family Chronology (Houndmills and Basingstoke: Palgrave Macmillan, 2007), 235.
- 20.
Thirlwell, 239.
- 21.
Diary of W. M. R., 24 October 1886 and 11 May 1887, ADC, box 15, folder 5.
- 22.
Diary of W. M. R., 6 July 1887, ADC, box 15, folder 5.
- 23.
Phyllis Weliver, “The Parrys and Prometheus Unbound: Actualising Liberalism,” in Music and Victorian Liberalism: Composing the Liberal Subject, ed. Sarah Collins (Cambridge: Cambridge UP, 2019), 151–179.
- 24.
Jürgen Schaarwächter, “Chasing a Myth and a Legend: ‘The British Musical Renaissance’ in a ‘Land without music,’” The Musical Times 149 (2008): [53–60], 54. Although the work’s status as originator of a movement is later questioned by Meirion Hughes and Robert Stradling, an assortment of historians of English music repeat this claim that the English Musical Renaissance follows from this setting of Shelley’s revolutionary text. See Hughes and Stradling, The English Musical Renaissance 1840–1940: Constructing a National Music, 2nd ed. (Manchester and New York: Manchester UP, 2001), 219–220.
- 25.
Yuen, “Music and Pre-Raphaelitism,” 7–8.
- 26.
Yuen, “Music and Pre-Raphaelitism,” 24–25. The soloists were Emma Charlier, Louisa Pyne, and Charlotte Dolby.
- 27.
“Songs in a Cornfield,” The Musical World 47, no. 7 (1869): 106–107.
- 28.
Christina Georgina Rossetti, The Poetical Works of Christina Rossetti: With Memoir and Notes &c by William Michael Rossetti (London: Macmillan, 1904), 484–485.
- 29.
Tonic sol-fa is a system of musical notation based on the relationship between the tones of a key, in which notes are indicated by letters rather than by notes on a staff.
- 30.
Maura Ives, Christina Rossetti: A Descriptive Bibliography (New Castle, DE: Oak Knoll Press, 2011), 258.
- 31.
Yuen lists reviews in The Musical Times of five different performances from 1881–1893. Yuen, “Music and Pre-Raphaelitism,” 36, n. 11.
- 32.
“London Concerts,” Musical News (15 April 1899): 396, qtd. in Ives, 258.
- 33.
Emanuel Aguilar, 20 June 1885, ADC, box 19, folder 1. I am grateful to Anna MacDonald for her assistance in accessing this letter.
- 34.
Malcolm Lawson, “Music to Song of Christina Rossetti,” Notes and Queries 64 (1917), 214.
- 35.
Susan Parsons, “The Pre-Raphaelites and Music,” British Music Society Journal 6 (1984): [1–18] 14.
- 36.
Ibid.
- 37.
Yuen, “Music and Pre-Raphaelitism,” 3.
- 38.
Yuen, “Music and Pre-Raphaelitism,” 18
- 39.
For instance, the introduction of Wagner to English audiences (which Hueffer vigorously supported) was contemporary with Pre-Raphaelitism, and there is much commonality in their interest in medievalism and legend (Parsons, “The Pre-Raphaelites and Music,” 3).
- 40.
Andrew Heywood, “William Morris and Music: Craftsman’s Art?” The Musical Times 139, no. 1864 (1998): 33–38.
- 41.
For a discussion of this carol and Morris’s political chants, see Elizabeth Helsinger, “Poem into Song,” New Literary History 46, no. 4 (2015): [669–690] 684–687.
- 42.
“Masters in This Hall.” Text by William Morris, musical arrangement by Edmund Sedding. A Collection of Antient Christmas Carols (London: Novello, 1860).
- 43.
Gustav Holst, Three Carols (London: J. Curwen, 1916). Holst also composed the famous setting of Christina Rossetti’s “A Christmas Carol” (“In the bleak mid-winter”). Recently, Peter Lawson has brought the Rossetti and Morris carols together in a song cycle called “Four Holst Carols” (Gustav Holst, Four Holst Carols [Tewkesbury: Goodmusic, 2012]).
- 44.
Andrew Heywood, “Gustav Holst, William Morris and the Socialist Movement,” The Journal of William Morris Society 11, no. 4 (1996): [39–47] 39–40.
- 45.
Heywood, “Gustav Holst, William Morris and the Socialist Movement,” 40.
- 46.
Ibid. Also, Ian T. Wallace’s thesis convincingly develops further this line of argument and evidence—see Ian T. Wallace, Socialist Music in Britain: The Influence of William Morris on Gustav Holst and Ralph Vaughan Williams (Pennsylvania State University, MA thesis, 2014).
- 47.
Editorials, “Music and Socialism.” The Musical Herald (May 1910): 144–145.
- 48.
Chris Waters, British Socialists and the Politics of Popular Culture, 1884–1914 (Manchester: Manchester University Press, 1990), 110.
- 49.
Elizabeth Helsinger, “‘A Vestibule of Song’: Morris and Burne-Jones in Chicago,” The Journal of William Morris Studies 21, no. 1 (2014): [49–69], 51–52; J. W. Mackail, The Life of William Morris, 2 vols. (London: Longman Green, 1899) 1: 3–4.
- 50.
Helsinger, “A Vestibule of Song,” 54–55, 51.
- 51.
Dillon Bustin, “‘The Morrow’s Uprising’: William Morris and the English Folk Revival,” Folklore Forum 15, no. 1 (1982): [17–38], 17. The English folk revival would go on to have an important influence on the work of Ralph Vaughan Williams.
- 52.
Andrew Heywood, “Morris and Early Music: The Shaw/Dolmetsch Connection,” The Journal of William Morris Society 10, no. 4 (1994): [13–19], 13.
- 53.
Aymer Vallance, The Life and Work of William Morris (London: Studio Editions, 1986), 429.
- 54.
Heywood, “Morris and Early Music,” 18.
- 55.
Recent scholarship by Elizabeth Carolyn Miller has shown how the reach of Morris’s chants extended to embrace the Socialist movement’s connections to the Paris Commune (Elizabeth Carolyn Miller, “Liberation Ecologies, circa 1871,” The Journal of William Morris Studies 21, no. 4 (2016): [8–16], 12); and Caroline Levine’s NAVSA plenary address “Forms of Sociability: Novels, Numbers, and Other Collectives” has highlighted how Morris’s chants for Socialists can harness through the power of poetry the collective will (Tara MacDonald, “Caroline Levine’s NAVSA Plenary, or What Can the Victorians Teach Us?” Victorian Review: An Interdisciplinary Journal of Victorian Studies Blog [2016]. http://victorianreview.org/?p=1455).
- 56.
J. R. Raynes, “Socialist songs,” The English Review, 1908–1937 5 (1927): [573–579], 573. https://search-proquest-com.proxy.bib.uottawa.ca/docview/2430774?accountid=14701. Accessed June 19, 2019. See also Waters, “Music and the Construction of Socialist Culture,” in British Socialists and the Politics of Popular Culture, 1884–1914, 97–130.
- 57.
John Bruce Glasier, Socialism in Song: An Appreciation of William Morris’s ‘Chants for Socialists’, Together with an Introductory Essay on Poetry and Politics (Manchester: National Labour Press, 1920), 2, 4.
- 58.
Bennett Zon, “‘Loathsome London’: Ruskin, Morris, and Henry Davey’s History of English Music (1895),” Victorian Literature and Culture 37 (2009): [359–375], 359.
- 59.
Charles H. Kerr, ed. Socialist Songs with Music (Chicago: Charles H. Kerr & Co, 1901).
- 60.
Helsinger, “A Vestibule of Song,” 61.
- 61.
Arthur Davis, “William Morris and the Eastern Question, with a fugitive political poem by Morris,” in Humanistic Studies in Honor of John Calvin Metcalf (Charlottesville: Columbia UP, 1941), 28–47.
- 62.
E.P. Thompson, William Morris: Romantic to Revolutionary (New York: Pantheon Books, 1977), 219.
- 63.
Quoted in J. W. Mackail, 1: 361.
- 64.
John Bruce Glasier, William Morris and the Early Days of the Socialist Movement: Being Reminiscences of Morris’ Work as a Propagandist, and Observations on His Character and Genius, With Some Account of the Persons and Circumstances of the Early Socialist Agitation; Together with a Series of Letters Addressed by Morris to the Author (London et al.: Longmans, Green, and Co. 1921), 40–41.
- 65.
Elizabeth Helsinger, Poetry and the Thought of Song in Nineteenth-Century Britain (Charlottesville: University of Virginia Press, 2015), 149, 150, 153.
- 66.
Darren Hayman, Chants for Socialists. Released 2 February 2015. WIAIWYA Records, vinyl LP and CD, https://darrenhayman.bandcamp.com/album/chants-for-socialists.
- 67.
See for example: Alan Davison, “Woven Songs and Musical Mirrors: Dante Gabriel Rossetti’s ‘Symbolic Physiognomy’ of Music,” The British Art Journal 13, no. 3 (2012): 85–90; Helsinger, Poetry and the Thought of Song in Nineteenth-Century Britain; Dianne Sachko Macleod, “Rossetti’s Two Ligeias: Their Relationship to Visual Art, Music and Poetry,” Victorian Poetry 20, nos. 3–4 (1982): 89–201; Phyllis Weliver, “The Silent Song in D. G. Rossetti’s ‘The House of Life,’” in The Figure of Music in Nineteenth-Century Poetry, ed. Phyllis Weliver (Aldershot: Ashgate, 2005), 194–212.
- 68.
See Ceri Owen, “Making an English Voice: Performing National Identity During the English Musical Renaissance,” Twentieth-Century Music 13, no. 1 (2016): 77–107.
- 69.
Richard Langham Smith, “Debussy and the Pre-Raphaelites,” 19th-Century Music 5, no. 2 (1981): [95–109], 96.
- 70.
Mark DeVoto, Debussy and the Veil of Tonality: Essays on His Music (Hillsdale, NY: Pendragon, 2004), 68.
- 71.
David Grayson, “Claude Debussy Addresses the English-Speaking World: Two Interviews, an Article, and The Blessed Damozel,” Cahiers Debussy 16 (1992): [23–47], 36.
- 72.
Claude Debussy, La Damoiselle Élue: Poème lyrique d’après D. G. Rossetti. Pour Voix de Femmes, Solo, Choeur et Orchestre, trans. Gabriel Sarrazin (Paris: A. Durand & Fils, 1902), 60–64.
- 73.
Julie McQuinn, “Exploring the Erotic in Debussy’s Music,” in The Cambridge Companion to Debussy, ed. Simon Trezise (Cambridge: Cambridge UP, 2003), [124–125] 117–136.
- 74.
For instance, Paul Lauter suggests that Dante Gabriel Rossetti is following Edgar Allan Poe in not only poetically contemplating the death of a beautiful woman but also in making the true subject of his poem the mental state of the bereaved lover, whose disintegrating rationality is charted through the parenthetical comments made by the earthly lover. Read this way, the entire vision should be understood as the “grieving and lonely lover’s projection” (Paul Lauter, “The Narrator of ‘The Blessed Damozel,’” Modern Language Notes 73, no. 5 (1958): [344–348], 346).
- 75.
DeVoto, p. 93.
- 76.
Parsons, p. 2.
- 77.
Claude Debussy, The Blessed Damozel (La Demoiselle élue.), Adapted to the original poem of Dante Gabriel Rossetti by Frank Damrosch (New York: Schirmer, 1908), 9.
- 78.
Claude Debussy, La Damoiselle Elue (The Blessed Damozel): After the text by D. G. Rossetti, English adaptation by Humphrey Procter-Gregg (New York: International Music Company, 1960), 9.
- 79.
Claude Debussy, The Blessed Damozel, adapted to the original poem of Dante Gabriel Rossetti by Ivor Atkins (London and Paris: United Music Publishers, 1948), 9.
- 80.
Debussy and Atkins, p. 27.
- 81.
Debussy and Procter-Gregg, p. 2.
- 82.
Sabine Coelsch-Foisner, “The Synergies of Mind and Muse: Reflections on Nineteenth-Century Thought and a Comparative Analysis of Dante Gabriel Rossetti’s Poem and Painting The Blessed Damozel and Claude Debussy’s La Damoiselle Elue,” in The Orchestration of the Arts—A Creative Symbiosis of Existential Powers: The Vibrating Interplay of Sound, Color, Image, Gesture, Movement, Rhythm, Fragrance, Word, Touch, ed. Marlies Kronegger (Dordrecht: Kluwer Academic Publishers, 2000), [113–133], 118.
- 83.
Incomplete lists of and references to musical settings can be found in J. P. Anderson’s bibliography in Mackenzie Bell, Christina Rossetti: A Biographical and Critical Study (Boston: Roberts Brothers, 1898); in WMR’s notes in Christina Georgina Rossetti, The Poetical Works of Christina Rossetti: With Memoir and Notes &c by William Michael Rossetti (London: Macmillan, 1904); in Bryan N. S. Gooch and David S. Thatcher, Musical Settings of Early and Mid-Victorian Literature: A Catalogue (New York: Garland, 1979); and in Chapman and Meacock and Ives. Musical settings are now being identified, gathered, and catalogued in an open-access online research archive Christina Rossetti in Music: See Christina Rossetti in Music, University of Ottawa, 2016. https://biblio.uottawa.ca/omeka2/christinarossettiinmusic/. I am grateful to the Social Sciences and Humanities Research Council of Canada for its generous funding for this project.
- 84.
Christina Rossetti, The Letters of Christina Rossetti, ed. Antony H. Harrison, 4 vols. (Charlottesville: University Press of Virginia, 1997–2004), 1: 211.
- 85.
Letters, 1: 300–301.
- 86.
Letters, 3: 349–350.
- 87.
Letters, 2: 217.
- 88.
Stephen Banfield, Sensibility and English Song: Critical Studies of the Early 20th Century, 2 vols. (Cambridge: Cambridge UP, 1985), 1: 9.
- 89.
Ives, 15.
- 90.
See Christina Rossetti in Music, University of Ottawa, 2016. https://biblio.uottawa.ca/omeka2/christinarossettiinmusic/.
- 91.
Letters, vol. 4, p. 176.
- 92.
See Marianne Van Remoortel, Women, Work and the Victorian Periodical: Living by the Press (Houndmills and Basingstoke: Palgrave Macmillan, 2015), 84–85.
- 93.
Virginia Woolf, A Room of One’s Own; Three Guineas, ed. Morag Shiach (Oxford: Oxford University Press 1992), 15.
- 94.
Ruth Byrchmore’s setting of “A Birthday” was winner of the Liturgical Category in the 2005 British Composer Awards (Ruth Byrchmore, “A Birthday,” Text by Christina Rossetti. [London: Novello, 2004]). Rhiannon Randle’s setting was commissioned by BBC radio 3 in 2015 for International Women’s Day (Rhiannon Randle, “Like a Singing Bird,” in Echoes from Willow Wood [London: Stainer & Bell, 2015]). I am grateful to Sarah Pennington for her research on settings of “A Birthday” for the Christina Rossetti in Music digital archive and website.
- 95.
Benjamin Britten’s original setting of “In the Bleak Mid-winter” would also be incorporated into song cycle A Boy was Born (1934). Thus, this one poem connects Christina Rossetti with Vaughan Williams, Holst, and Britten, three leading composers of their era. I am grateful to Emily McConkey for her research on settings of “A Christmas Carol” (“In the bleak mid-winter”) for the Christina Rossetti in Music digital archive and website.
- 96.
Harry Plantinga, Hymnary.org, Calvin University, 2007. https://hymnary.org/. Accessed 19 June 2019.
- 97.
Banfield, 1: 3–4.
- 98.
Letters, 1: 211.
- 99.
John B. Wainewright, “Music to Song of Christina Rossetti,” Notes and Queries 63 (1917): 192.
- 100.
Ian Graham-Jones, The Life and Music of Alice Mary Smith (1839–1884), A Woman Composer of the Victorian Era: A Critical Assessment of Her Achievement, with a foreword by Roger Parker (Lewiston, Queenston, and Lampeter: Edwin Mellen Press, 2010), vii.
- 101.
Quoted in Letters, 2: 215n.
- 102.
The transcribed libretto is available on the Christina Rossetti in Music website. See Christina Rossetti in Music, University of Ottawa, 2016. https://biblio.uottawa.ca/omeka2/christinarossettiinmusic/exhibits/show/aguilar-goblin-market/libretto-adapted-poem.
- 103.
Ives, 16–17. The Rossettis attended a modest performance of Aguilar’s composition at the composer’s home on 10 January 1880 (Diary of WMR, ADC box 15, folder 3).
- 104.
Christina Rossetti, “Goblin Market,” in Christina Rossetti: The Complete Poems, text by R. W. Crump, Notes and Introduction by Betty S. Flowers (London: Penguin, 2001), [5–20], 13, ll. 313–315.
- 105.
Emanuel Abraham Aguilar, Goblin Market: Cantata, for Treble Voices, Text by Christina Rossetti, adapted by Emanuel Aguilar and Christina Rossetti (London: Hutchings & Romer, 1880), 33.
- 106.
Aguilar and Rossetti, p. 46.
- 107.
Christina Rossetti, “Goblin Market,” 17, ll. 479, 482, 483, and 471.
- 108.
Ives, 265.
- 109.
Lorraine Janzen Kooistra, Christina Rossetti and Illustration (Athens: Ohio UP, 2002), 195.
- 110.
Vittorio Ricci, Goblin Market (Der Gnomen Markt). Text by Christina Rossetti, adapted by M. C. Gillington, trans. Willy Alexander Kastner (London: Joseph Williams; New York: Edw. Schuberth; Leipzig: Breitkopf & Haertel, 1901).
- 111.
Ruth Gipps, Goblin Market: Cantata for Two Soprano Soloists, S.S.A. Chorus and String Orchestra (or Piano). Text by Christina Rossetti (London: Novello, 1954).
- 112.
Jill Halstead, Ruth Gipps: Anti-Modernism, Nationalism and Difference in English Music (Aldershot: Ashgate, 2006), 126–127.
- 113.
Aaron Jay Kernis, Goblin Market. Text by Christina Rossetti (New York: Associated Music Publishers, 1995); Pen, Polly Pen and Peggy Harmon, Goblin Market: By Polly Pen and Peggy Harmon; Music by Polly Pen, Adapted from the poem by Christina Rossetti (Dramatists Play Service, 1985).
- 114.
Quoted in Leta E. Miller, Aaron Jay Kernis (Champaign: University of Illinois Press, 2014), 79.
- 115.
Kernis, “A Note on Goblin Market,” quoted in Kooistra, 56–57, 85–90.
- 116.
Kooistra, 270.
- 117.
See Christina Rossetti in Music.
- 118.
Helsinger, “Poem into Song,” 669, 671.
References
Aguilar, Emanuel Abraham. Goblin Market: Cantata, for Treble Voices. Text by Christina Rossetti, adapted by Emanuel Aguilar and Christina Rossetti. London: Hutchings & Romer, 1880.
Aguilar, Emanuel. Angeli-Dennis Collection, University of British Columbia, box 19, folder 1.
Banfield, Stephen. Sensibility and English Song: Critical Studies of the Early 20th Century. 2 vols. Cambridge: Cambridge UP, 1985.
Bell, Mackenzie. Christina Rossetti: A Biographical and Critical Study. Boston: Roberts Brothers, 1898.
Bustin, Dillon. “‘The Morrow’s Uprising’: William Morris and the English Folk Revival.” Folklore Forum 15, no. 1 (1982): 17–38.
Byrchmore, Ruth. “A Birthday.” Text by Christina Rossetti. London: Novello, 2004.
Christina Rossetti in Music. University of Ottawa, 2016. https://biblio.uottawa.ca/omeka2/christinarossettiinmusic/.
Coelsch-Foisner, Sabine. “The Synergies of Mind and Muse: Reflections on Nineteenth-Century Thought and a Comparative Analysis of Dante Gabriel Rossetti’s Poem and Painting The Blessed Damozel and Claude Debussy’s La Damoiselle Elue.” In The Orchestration of the Arts—A Creative Symbiosis of Existential Powers: The Vibrating Interplay of Sound, Color, Image, Gesture, Movement, Rhythm, Fragrance, Word, Touch. Edited by Marlies Kronegger. Dordrecht: Kluwer Academic Publishers, 2000.
Davis, Arthur. “William Morris and the Eastern Question, with a Fugitive Political Poem by Morris.” In Humanistic Studies in Honor of John Calvin Metcalf. Charlottesville: Columbia UP, 1941.
Davison, Alan. “Woven Songs and Musical Mirrors: Dante Gabriel Rossetti’s ‘Symbolic Physiognomy’ of Music.” The British Art Journal 13, no. 3 (2012): 85–90.
Debussy, Claude. La Damoiselle Elue (The Blessed Damozel): After the text by D. G. Rossetti. English adaptation by Humphrey Procter-Gregg. New York: International Music Company, 1960.
Debussy, Claude. La Damoiselle Élue: Poème lyrique d’après D. G. Rossetti. Pour Voix de Femmes, Solo, Choeur et Orchestre. Trans. Gabriel Sarrazin. Paris: A. Durand & Fils, 1902.
Debussy, Claude. The Blessed Damozel (La Demoiselle élue.). Adapted to the Original Poem of Dante Gabriel Rossetti by Frank Damrosch. New York: Schirmer, 1908.
Debussy, Claude. The Blessed Damozel. Adapted to the Original Poem of Dante Gabriel Rossetti by Ivor Atkins. London and Paris: United Music Publishers, 1948.
DeVoto, Mark. Debussy and the Veil of Tonality: Essays on His Music. Hillsdale, NY: Pendragon, 2004.
Editorials. “Music and Socialism.” The Musical Herald (May 1910): 144–145.
Ford, Ford Madox. Ford Madox Brown: A Record of His Life and Work. London, New York, and Bombay: Longmans, Green, 1896.
Gipps, Ruth. Goblin Market: Cantata for Two Soprano Soloists, S.S.A. Chorus and String Orchestra (or Piano). Text by Christina Rossetti. London: Novello, 1954.
Glasier, John Bruce. William Morris and the Early Days of the Socialist Movement: Being Reminiscences of Morris’ Work as a Propagandist, and Observations on His Character and Genius, With Some Account of the Persons and Circumstances of the Early Socialist Agitation; Together with a Series of Letters Addressed by Morris to the Author. London et al.: Longmans, Green, and Co. 1921.
Glasier, John Bruce. Socialism in Song: An Appreciation of William Morris’s ‘Chants for Socialists’, Together with an Introductory Essay on Poetry and Politics. Manchester: National Labour Press, 1920.
Gooch, Bryan N. S. and David S. Thatcher. Musical Settings of Early and Mid-Victorian Literature: A Catalogue. New York: Garland, 1979.
Graham-Jones, Ian. The Life and Music of Alice Mary Smith (1839–1884), A Woman Composer of the Victorian Era: A Critical Assessment of Her Achievement, with a Foreword by Roger Parker. Lewiston, Queenston, and Lampeter: Edwin Mellen Press, 2010.
Grayson, David. “Claude Debussy Addresses the English-Speaking World: Two Interviews, an Article, and The Blessed Damozel.” Cahiers Debussy 16 (1992): 23–47.
Halstead, Jill. Ruth Gipps: Anti-Modernism, Nationalism and Difference in English Music. Aldershot: Ashgate, 2006.
Hayman, Darren. Chants for Socialists. Released 2 February 2015. WIAIWYA Records, vinyl LP and CD. https://darrenhayman.bandcamp.com/album/chants-for-socialists.
Helsinger, Elizabeth. “‘A Vestibule of Song’: Morris and Burne-Jones in Chicago.” The Journal of William Morris Studies 21, no. 1 (2014): 49–69.
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Helsinger, Elizabeth. Poetry and the Thought of Song in Nineteenth-Century Britain. Charlottesville: University of Virginia Press, 2015.
Heywood, Andrew. “Gustav Holst, William Morris and the Socialist Movement.” The Journal of William Morris Society 11, no. 4 (1996): 39–47.
Heywood, Andrew. “Morris and Early Music: The Shaw/Dolmetsch Connection.” The Journal of William Morris Society 10, no. 4 (1994): 13–19.
Heywood, Andrew. “William Morris and Music: Craftsman’s Art?” The Musical Times 139, no. 1864 (1998): 33–38.
Holst, Gustav. Four Holst Carols. Tewkesbury: Goodmusic, 2012.
Holst, Gustav. Three Carols. London: J. Curwen, 1916.
Hughes, Meirion and Robert Stradling. The English Musical Renaissance 1840–1940: Constructing a National Music. 2nd ed. Manchester and New York: Manchester UP, 2001.
Ives, Maura. Christina Rossetti: A Descriptive Bibliography. New Castle, DE: Oak Knoll Press, 2011.
Kernis, Aaron Jay. Goblin Market. Text by Christina Rossetti. New York: Associated Music Publishers, 1995.
Kerr, Charles H., ed. Socialist Songs with Music. Chicago: Charles H. Kerr & Co., 1901.
Kooistra, Lorraine Janzen. Christina Rossetti and Illustration. Athens: Ohio UP, 2002.
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Arseneau, M. (2020). Musico-Literary Pre-Raphaelite Poetry. In: Witcher, H.B., Huseby, A.K. (eds) Defining Pre-Raphaelite Poetics . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-51338-2_6
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