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      <filedesc>
         <titlestmt>
            <title>Through Death to Love</title>
            <author>Dante Gabriel Rossetti</author>
            <!-- revised proofed parsed 31 jan 06 jjm -->
</titlestmt>
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            <edition>1</edition>
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         <notesstmt/>
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         <date>1871</date>
         <classification>
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               <keyword/>
               <keyword/>
            </scheme>
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         <subject/>
         <form>
            <rhyme>abbaaccadeedde</rhyme>
            <meter>iambic</meter>
            <genre>sonnet</genre>
         </form>
         <addressee/>
         <model>
            <name/>
            <note/>
         </model>
         <repainting>
            <date/>
            <desc/>
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         <source>
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                  <note/>
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                  <location/>
                  <bibl/>
                  <note/>
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                  <bibl/>
                  <note/>
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                  <event/>
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         <commentaries>
            <head>Commentary</head>
            <section type="intro">
               <head>Introduction</head>
               <p>This is one of the most difficult sonnets in the sequence, and it troubled both WMR and Baum in their efforts at elucidation.  The imagery distinctly calls back to the previous sonnet, <xref doc="a.21-1871.raw">
                     <title level="wrk">&#8220;Severed Selves&#8221;</title>
                  </xref>, a fact that may perhaps only complicate the interpretive issues even further.  Baum's comment that &#8220;Our&#8221; (line 7) &#8220;seems to be the generalizing plural&#8221; (123) is misleading, for the pronoun is distinctly (and characteristically) ambiguous.  In the context of the sequence, it might more readily be taken to refer to the lover and the beloved (autobiographically, DGR and Mrs. Morris&#8212;or might the beloved herself be equally DGR's dead wife?).</p>
               <p>Baum usefully untangles the obscure syntax of lines 9-11 as follows: &#8220;Nevertheless, across these wild images of Death there soars a Power (that is, there shines a vision) which is sweeter (more soothing) than the flow of a stream or the flight of a dove. . .Literally: &#8216;sweeter in gliding around than flow of stream, sweeter in brooding above than flight of dove&#8217;&#8221;.</p>
               <p>The phrase (line 1) &#8220;faint to flee&#8221; is notably Swinburnean, and while DGR's treatment of the relation of death and love is, as here, usually far more sentimental than Swinburne's, recalling the Swinburne dynamic to understand this poem is, I believe, quite helpful.  It clarifies the overall argument of a sonnet whose local particulars are extremely recondite.</p>
            </section>
            <section type="texthistcomp">
               <head>Textual History: Composition</head>
               <p>The earliest manuscript is the 
    <xref doc="a.22-1871.delms.rad">draft copy</xref> in the Bancroft collection.  The other 
    manuscripts are: two copies in the Princeton composite <xref doc="a.44-1869.raw">
                     <title level="wrk">&#8220;House of Life&#8221;</title>
                  </xref> manuscript, a <xref doc="a.22-1881.troxell.rad" workcode="22-1871" from="[10/9verso]">heavily corrected draft</xref> and a <xref doc="a.22-1881.troxell.rad" workcode="22-1871" from="[31]">fair copy</xref>; the May Morris <xref doc="a.44-1869.fizms.rad" workcode="22-1871" from="47">fair copy</xref> in the Fitzwilliam composite &#8220;House of Life&#8221;;  and the holograph <xref doc="a.9-1874.bodleianms.rad" workcode="22-1871" from="5">fair copy</xref> in the Bodleian Kelmscott Love Sonnets group.  DGR scripted various pieces of the sonnet in different places in Ashley Notebook I: <xref doc="a.22p-1880.blnb1.rad" workcode="22-1871" from="[8r]">line 1</xref>, <xref doc="a.22p-1880.blnb1.rad" workcode="22-1871" from="[13r]">line 2</xref>, <xref doc="a.22p-1880.blnb1.rad" workcode="22-1871" from="[12v]">line 8</xref>, and <xref doc="a.22p-1880.blnb1.rad" workcode="22-1871" from="[13v]" to="[14r]">lines 12-14</xref>.  Another manuscript existed but has not appeared, the one DGR sent to W. B. Scott in a letter (see his <xref doc="a.pr5349.s2a81892.v2.rad" from="144" workcode="22-1871">
                     <title level="bk">
                        <hi rend="i">Autobiographical Notes</hi>
                     </title>
                  </xref> (page 144)).  Scott's transcript differs slightly from the received text.</p>
            </section>
            <section type="texthistrev">
               <head>Textual History: Revision</head>
               <p/>
            </section>
            <section type="prodhist">
               <head>Production History</head>
               <p/>
            </section>
            <section type="recepthist">
               <head>Reception</head>
               <p/>
            </section>
            <section type="icon">
               <head>Iconographic</head>
               <p/>
            </section>
            <section type="printhist">
               <head>Printing History</head>
               <p>First published in the 1881 <xref doc="a.2-1881.1stedn.rad" workcode="22-1871" from="203">
                     <title level="bk">
                        <hi rend="i">Ballads and Sonnets</hi>
                     </title>
                  </xref> and collected thereafter.</p>
            </section>
            <section type="pictorial">
               <head>Pictorial</head>
               <p/>
            </section>
            <section type="historical">
               <head>Historical</head>
               <p/>
            </section>
            <section type="literary">
               <head>Literary</head>
               <p/>
            </section>
            <section type="translation">
               <head>Translation</head>
               <p/>
            </section>
            <section type="autobio">
               <head>Autobiographical</head>
               <p/>
            </section>
            <section type="biblio">
               <head>Bibliographic</head>
               <p>
                  <bibl>
                     <author>WMR</author>, <xref doc="a.nd497.r8r8.rad" workcode="22-1871" from="209" to="210">
                        <title level="bk">
                           <hi rend="i">DGR Designer and Writer</hi>
                        </title>
                     </xref>, <pages>209-210</pages>
                  </bibl> 
                  <bibl>
                     <author>Baum, ed.</author>, <xref doc="a.pr5244.h6.rad" link="dead" workcode="22-1871" from="122" to="124">
                        <title level="bk">
                           <hi rend="i">House of Life</hi>
                        </title>
                     </xref>, <pages>122-124</pages>
                  </bibl>
               </p>
            </section>
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         <linenotes>
            <basis>1881 <xref doc="a.2-1881.1stedn.rad" workcode="22-1871" from="203">
                  <title level="bk">
                     <hi rend="i">Ballads and Sonnets</hi>
                  </title>
               </xref> first edition text</basis>
            <lines n="title">
               <gloss>See <xref doc="a.pr5240.f11.rad" workcode="1-1911" from="653">WMR's note
(1911)</xref>
               </gloss>
            </lines>
            <lines n="6">
               <gloss>This glass suggests both the mirror held before a dying person's mouth and the Pauline mirror referenced in the earlier sonnet, <xref doc="a.19-1871.raw">
                     <title level="wrk">&#8220;The Dark Glass&#8221;</title>
                  </xref>.</gloss>
            </lines>
            <lines n="10">
               <gloss>stream: see <xref doc="a.21-1871.raw">
                     <title level="wrk">&#8220;Severed Selves&#8221;</title>
                  </xref> (line 10).  As in that case, the stream here is ambiguous in exactly the same way as in the previous sonnet.</gloss>
            </lines>
            <lines n="12-13">
               <gloss>WMR cites I Chronicles 21:21.</gloss>
            </lines>
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