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         <titlestmt>
            <title>Ardour and Memory</title>
            <author>Dante Gabriel Rossetti</author>
            <!-- revised proofed parsed 22 aug 06 jjm -->
</titlestmt>
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            <edition>1</edition>
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      </filedesc>
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         <date compdate="1879-12-29">1879 December 29</date>
         <classification>
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               <keyword/>
               <keyword/>
            </scheme>
         </classification>
         <subject/>
         <form>
            <rhyme>abbaaccadeedde</rhyme>
            <meter>iambic pentameter</meter>
            <genre>sonnet</genre>
         </form>
         <addressee/>
         <model>
            <name/>
            <note/>
         </model>
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            <date/>
            <desc/>
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                  <bibl/>
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         <commentaries>
            <head>Commentary</head>
            <section type="intro">
               <head>Introduction</head>
               <p>This is a sonnet carefully built to represent nature in symbolical terms, with the symbols all being ambiguous.  The octave carries a series of figurations whose primary value is related to springtime and to summertime as periods of pleasure and fertile growth.  But every line is at the same time made to carry an undertone of something degenerative, and so carries a forecast of the dark topics raised in the sestet.  The double-meanings begin with the ambiguous symbol of the cuckoo, the bird who flourishes as an emblem of spring by bringing death to the offspring of other birds.  (In the following lines note for example the phrases &#8220;leaves it&#8221;, &#8220;visit&#8221;, &#8220;sunset&#8221;, &#8220;furtive flickering&#8221;, and &#8220;lusts&#8221;.)  The sonnet is a more personal version of many texts in Swinburne, most famously, I suppose, the great chorus in <bibl>
                     <xref doc="a.">
                        <title level="bk">
                           <hi rend="i">Atalanta in Calydon</hi>
                        </title>
                     </xref>
                  </bibl>, &#8220;When the hounds of spring are on winter's traces&#8221;.</p>
            </section>
            <section type="texthistcomp">
               <head>Textual History: Composition</head>
               <p>DGR finished the sonnet on 28 December 1879, and sent a <xref doc="a.8-1874.bodleianms.rad" workcode="4-1873" from="[6b]">copy</xref> (titled  <title level="wrk">&#8220;Pleasure and Memory&#8221;</title>) to Jane Morris the next day.  He sent copies as well to family members and friends, two of which conform to the manuscript sent to Mrs. Morris: a <xref doc="a.gettymsbook.rad" workcode="4-1873" from="[23]">fair copy</xref> in the J.Paul Getty bound notebook, and <xref doc="a.4-1873.leedsms.rad">another</xref> at Leeds (the Brotherton Collection) signed and dated &#8220;Xmas 1879&#8221;, as in the 
<xref doc="a.4-1873.tinkerms.rad">fair copy</xref> at Yale (Tinker Collection) (the latter is reproduced in facsimile in <xref doc="a.nd497.r8s5.rad" link="dead" workcode="4-1873" from="[426a]">Sharp</xref> between pages 426-427).  Other copies are: in the Library of Congress, a <xref doc="a.sonnets.lcms.rad" workcode="4-1873" from="[13]">fair copy</xref>; and a corrected copy in the Fitzwilliam composite <xref doc="a.44-1869.fizms.rad" workcode="4-1873" from="78">
                     <title level="wrk">&#8220;House of Life&#8221;</title>
                  </xref> sequence.  The sonnet is one of the earliest indications we have of DGR making practical moves to construct the augmented version of <title level="wrk">&#8220;The House of Life&#8221;</title> that would eventuate in his 1881 volume of <title level="wrk">
                     <hi rend="i">Ballads and Sonnets</hi>
                  </title>.</p>
               <p>The sonnet is worked up from DGR's notebooks, which exhibit scraps of lines from the early 1870s.  Ashley Library Note Book I has drafts of <xref doc="a.22p-1880.blnb1.rad" workcode="4-1873" from="[17v]">line 6</xref>, <xref doc="a.22p-1880.blnb1.rad" workcode="4-1873" from="[23r]">line 14</xref>, <xref doc="a.22p-1880.blnb1.rad" workcode="4-1873" from="[30v]">line 11</xref>, and another stab at <xref doc="a.22p-1880.blnb1.rad" workcode="4-1873" from="[31v]">line 11</xref>.  Ashley Note Book II has drafts of <xref doc="a.22p-1880.blnb2.rad" workcode="4-1873" from="[14v]">lines 2-3</xref>, <xref doc="a.22p-1880.blnb2.rad" workcode="4-1873" from="[15v]">line 1</xref>, <xref doc="a.22p-1880.blnb2.rad" workcode="4-1873" from="[19r]">lines 12-13</xref>, <xref doc="a.22p-1880.blnb2.rad" workcode="4-1873" from="[26v]">lines 13-14</xref>, and <xref doc="a.22p-1880.blnb2.rad" workcode="4-1873" from="[29v]">lines 10-11</xref>. 
  The texts drafted in the Duke Library notebooks are: in Note Book II, <xref doc="a.nb0004.duke.rad" workcode="4-1873" from="[33]">line 10</xref>; and in Note Book III, <xref doc="a.nb0003.duke.rad" workcode="4-1873" from="[1]">lines 13, 12</xref>, <xref doc="a.nb0003.duke.rad" workcode="4-1873" from="[2]">line 11</xref>, and <xref doc="a.nb0003.duke.rad" workcode="4-1873" from="[4]">lines 6, 7-8, 10, 7</xref>.</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="4-1873" from="226">
                     <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="4-1873" from="228" to="229">
                        <title level="bk">
                           <hi rend="i">DGR Designer and Writer</hi>
                        </title>
                     </xref>, <pages>228-229</pages>
                  </bibl> 
                  <bibl>
                     <author>Baum, ed.</author>, <xref doc="a.pr5244.h6.rad" link="dead" workcode="4-1873" from="163" to="164">
                        <title level="bk">
                           <hi rend="i">House of Life</hi>
                        </title>
                     </xref> 
                     <pages>163-164</pages>
                  </bibl>
               </p>
            </section>
         </commentaries>
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            <basis>1881 <xref doc="a.2-1881.1stedn.rad" workcode="4-1873" from="226">
                  <title level="bk">
                     <hi rend="i">Ballads and Sonnets</hi>
                  </title>
               </xref> first edition text</basis>
            <lines n="8">
               <gloss>An oblique echo of Job 38:7.</gloss>
            </lines>
            <lines n="14">
               <gloss>With: the preposition refers (ambiguously) both to &#8220;wind&#8221; (line 11) and to &#8220;verdure&#8221; (line 12).  The syntax privileges the latter, the sense privileges the former; which is precisely why the ambiguity functions so well, and produces a complex synaesthesia.</gloss>
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         <title level="bk">
            <hi rend="i">Ballads and Sonnets</hi>
         </title>
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