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         <titlestmt>
            <title>The Ballad of Dead Ladies (<hi rend="i">Francois Villon</hi>, 1450) </title>
            <author>Dante Gabriel Rossetti</author>

         </titlestmt>
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            <edition>1</edition>
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         <date compdate="1869">1869</date>
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<hi rend="sup">4</hi>c<hi rend="sup">4</hi>b<hi rend="sup">4</hi>c<hi rend="sup">4</hi>
            </rhyme>
            <meter>trochaic</meter>
            <genre>ballad</genre>
         </form>
         <addressee/>
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            <name/>
            <note/>
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         <commentaries>
            <head>Commentary</head>
            <section type="intro">
               <head>Introduction</head>
               <p>This poem&#8212;one of DGR's <xref doc="a.49-1869.raw">three translations</xref> from Villon&#8212;opens the important last part of the
opening section of the <xref doc="a.1-1870.raw">1870 volume</xref> This section of the book, titled simply 
<title level="wrk">
                     <xref doc="a.1-1870.1stedn.rad" workcode="1-1870">
                        <hi rend="i">Poems</hi>
                     </xref>
                  </title>, establishes the centrality of the interrelated themes of love, death, and art.
The final part of the opening section of the book contains a series
of translations that are meant to underscore the transcultural
foundation of DGR's poetic focus.</p>
               <p>DGR's ballad is the best (and most celebrated) of his 
translations from Villon. Sharp praised it extravagantly (<bibl>
                     <xref doc="a.nd497.r8s5.rad" link="dead" workcode="38-1869" from="304" to="305">
                        <title level="bk">
                           <hi rend="i">DGR: A Record and a Study</hi>
                        </title>
                     </xref>, 
<pages>304-305</pages>
                  </bibl>), but Baum is more measured: <cit>
                     <quote>&#8220;The difficulties of the ballade form
obliged him to greater liberties [than in his translation of Villon's
<xref doc="a.39-1869.raw">rondeau</xref>]. For the substitution of Hipparchia he cannot of course be
blamed; but his omission of <foreign lang="french">
                           <hi rend="i">cousin german</hi>
                        </foreign> in l. 4 and his change 
of l. 3 of the envoi are less excusable; and his <quote>&#8216;yester-year&#8217;</quote> is too 
poetical for <foreign lang="french">
                           <hi rend="i">antan</hi>
                        </foreign>&#8221;</quote> (<bibl>
                        <author>Baum</author>, <xref doc="a.pr5241.b3.rad" link="dead" workcode="38-1869" from="177">
                           <title level="bk">
                              <hi rend="i">Poems, Ballads and Sonnets</hi>
                           </title>
                        </xref>, <pages>177n</pages>
                     </bibl>)</cit>. 
See the <xref doc="a.49-1869.raw">general commentary</xref> for all 
three translations.</p>
            </section>
            <section type="texthistcomp">
               <head>Textual History: Composition</head>
               <p>According to WMR (<xref doc="a.pr5240.f11.rad" workcode="38-1869">1911</xref>) the translation was made in 1869; if so, it must have been 
executed by August, since it appears in the <xref doc="a.1-1870.penkb.trox.rad" workcode="38-1869">Penkill Proofs</xref>, the first of the prepublication 
texts DGR prepared for the eventual publication of his 1870 <title level="doc">
                     <xref doc="a.1-1870.1stedn.rad" workcode="38-1869">
                        <hi rend="i">Poems</hi>
                     </xref>
                  </title>.</p>
               <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 printed in August 1869 in the <xref doc="a.1-1870.penkb.trox.rad" workcode="38-1869" from="93">Penkill Proofs</xref>, the first of the prepublication texts 
DGR prepared for the eventual publication of his 1870 <title level="doc">
                     <xref doc="a.1-1870.1stedn.rad" workcode="38-1869">
                        <hi rend="i">Poems</hi>
                     </xref>
                  </title>. It appeared in the 
latter and was reprinted in his &#8220;New Edition&#8221; of <xref doc="a.1-1881.1stedn.rad" from="279" workcode="38-1869">1881</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>DGR is translating Villon's <title level="wrk" lang="french">
                     <hi rend="i">Le 
Testament</hi>
                  </title> lines 329-356.</p>
            </section>
            <section type="autobio">
               <head>Autobiographical</head>
               <p/>
            </section>
            <section type="biblio">
               <head>Bibliographic</head>
               <p>
                  <bibl>
                     <author>Sharp</author>, <xref doc="a.nd497.r8s5.rad" link="dead" workcode="38-1869" from="304" to="305">
                        <title level="bk">
                           <hi rend="i">DGR: A Record and a Study</hi>
                        </title>
                     </xref>, <pages>304-305</pages>.</bibl> 
                  <bibl>
                     <author>Gregory</author>, <xref doc="a.gregory.vol2.rad" link="dead" workcode="38-1869" from="124">
                        <title level="bk">&#8220;Life and Works of DGR&#8221; vol. 2</title>
                     </xref>, <pages>124</pages>.</bibl> 
                  <bibl>
                     <author>Baum</author>, <xref doc="a.pr5241.b3.rad" link="dead" workcode="38-1869" from="177">
                        <title level="bk">
                           <hi rend="i">Poems, Ballads and Sonnets</hi>
                        </title>
                     </xref>, <pages>177</pages>.</bibl> 
                  <bibl>
                     <author>Lange</author>, <title level="es" lang="german">
                        <xref doc="a.arcadia.001.rad" link="dead" workcode="38-1869" from="17" to="30">&#8220;Swinburne und Rossetti&#8221;</xref>
                     </title>.</bibl>
               </p>
            </section>
         </commentaries>
         <linenotes>
            <basis>
               <xref doc="a.1-1881.1stedn.rad" workcode="38-1869" from="[278]">1881 <hi rend="i">Poems</hi> first 
edition text</xref>
            </basis>
            <lines n="2">
               <gloss>Flora was a celebrated Roman courtesan.</gloss>
            </lines>
            <lines n="3">
               <gloss>Hipparchia is DGR's substitution for &#8220;Archipiada&#8221;, 
i.e., Alcibiades, who was taken for a woman in the Middle Ages, though
Villon was certainly aware that he was a man. DGR's elision is, needless to
say, one that his friend Swinburne would not have approved. (Hipparchia is
the name of an obscure 4th century BC Greek woman of wealthy family
who was devoted to the Cynic philosopher Crates.) Thais: the famous
Greek courtesan.</gloss>
            </lines>
            <lines n="5">
               <gloss>Echo: see <bibl>
                     <author>Ovid</author>, <title level="wrk">
                        <xref doc="a.ovid001.rad" link="dead">
                           <hi rend="i">Metamorphoses</hi>
                        </xref>
                     </title> III. 339ff</bibl>.</gloss>
            </lines>
            <lines n="9-12">
               <gloss>The celebrated love of Heloise and Abelard is recounted by 
<bibl>
                     <author>Jean de Meun</author> in the <title level="wrk" lang="french">
                        <xref doc="a.demeun001.rad" link="dead">
                           <hi rend="i">Roman de la Rose</hi>
                        </xref>
                     </title> V. 8729ff</bibl>.</gloss>
            </lines>
            <lines n="13-15">
               <gloss>Villon recalls a legend regarding the medieval philosopher
Jean Buridan (fl. 1300-1372) and the Queen of Navarre.</gloss>
            </lines>
            <lines n="17-18">
               <gloss>The identity of this queen is uncertain: perhaps Blanche
of Castille; perhaps Blanche of Bourgogne, wife of Charles IV.</gloss>
            </lines>
            <lines n="19">
               <gloss>All heroines in the medieval <foreign lang="french">chanson de geste</foreign>, <title level="wrk" lang="french">
                     <xref doc="a.anon005.rad" link="dead">
                        <hi rend="i">Hervis de Metz</hi>
                     </xref>
                  </title>.</gloss>
            </lines>
            <lines n="20">
               <gloss>Daughter of Count Helia, of Maine.</gloss>
            </lines>
            <lines n="21-22">
               <gloss>Joan of Arc.</gloss>
            </lines>
         </linenotes>
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      <xref doc="a.1-1881.1stedn.rad" workcode="38-1869" from="279">1881 <hi rend="i">Poems</hi> First 
Edition text</xref>
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