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            <titlestmt>

                <title>Beauty. (<hi rend="i">A Combination from Sappho.</hi>)</title>

                <title>One Girl </title>

                <author>Dante Gabriel Rossetti</author>

                

                

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                <edition>1</edition>

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            <date>1869</date>

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            <form>

                <rhyme>aaa</rhyme>

                <meter>iambic hexameter</meter>

                <genre>fragment</genre>

                <note>The meter is basically iambic, with anapaestic variations; in fact, an

                    Alexandrine. It is an effort to represent Sappho's quantitative hexameters in

                    English accentual verse.</note>

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                        <bibl>

                            <title>

                                <hi rend="i">A History of the Literature of Ancient Greece</hi>

                            </title>

                            <author>by Karl Otfried Müller, continued by John William Donaldson</author>

                            <city> (London, </city>

                            <publisher/>

                            <date>1858), </date>

                            <pages>I. 237-238.</pages>

                        </bibl>

                        <note>Donaldson states in his <title level="wrk">&#8220;Translator's

                            Preface&#8221;</title> that the first twenty-two chapters of the

                            work were translated by Sir George Cornewall Lewis, the remainder by

                            himself. Lewis's translation is therefore the immediate source of DGR's text.</note>

                    </citntranslationoriginal>

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            <commentaries>

                <head>Commentary</head>

                <section type="intro">

                    <head>Introduction</head>

                    <p>DGR closes the first section of his 1870 <title level="doc">

                            <xref doc="a.1-1870.1stedn.rad" workcode="42-1869" from="186">

                                <hi rend="i">Poems</hi>

                            </xref>

                        </title> with this poem, a work that hardly calls attention to itself. The

                        title of the translation in the 1870 volume was <title level="wrk">&#8220;One Girl&#8221;</title>, not <title level="wrk">&#8220;Beauty&#8221;</title> (the latter was the title

                        DGR gave it when he reprinted the work in his 1881 volume <title level="doc">

                            <xref doc="a.1-1881.1stedn.rad" workcode="42-1869" from="288">

                                <hi rend="i">Poems. A New Edition</hi>

                            </xref>

                        </title>).</p>

                    <p>But the diminuendo of this little work is a subtle obliquity on DGR's part.

                        D. M. R. Bentley's identification of the source of the poem, in the volumes

                        that both completed and translated <bibl>

                            <author>Karl Otfried Müller</author>'s <title level="bk">

                                <xref doc="a.mueller001.rad" link="dead" workcode="42-1869">

                                    <hi rend="i">History of the Literature of Ancient Greece</hi>

                                </xref>
                     </title> (<date>1858</date>), <pages>I. 237</pages>
                  </bibl>, suggests that weighty themes are being lightly carried in DGR's

                        translation&#8212;themes that pervade the whole of the 1870 volume and

                        that figure prominently in <title level="wrk">

                            <xref doc="a.44-1869.raw">

                                <hi rend="i">The House of Life</hi>

                            </xref>

                        </title>, the section of the volume that follows immediately upon this fragment.</p>

                    <p>Briefly, Bentley shows that the two Sapphic fragments translated by DGR were

                        implicitly given a mythic significance in Müller's volumes. The

                        fragments deliver a cryptic message out of the Eleusinian and Orphic

                        mysteries, a message Nietzsche would make famous in his exposition of the

                        myth of the Eternal Return. In terms of the Sappho fragments translated by

                        DGR, the theme is located in hymeneal hymns that celebrate, in the language

                        of flowers, the mystic or mythic marriage that founds the whole myth of the

                        Eternal Return.</p>

                    <p>This modest translational work therefore clarifies the place DGR has made for

                        the set of translations with which he concludes the first section of his

                        book. All focus on love and death, and they intimate the universality of the

                        subject in poetic discourse as well as the transhistorical (i.e., mythic)

                        character of the subject. Ultimately DGR has aligned his work with the myth

                        of Orpheus and his Chthonian counterpart Dionysius. The &#8220;One

                        Girl&#8221; is Persephone/Euridice, although in DGR's book she has as

                        well many other particular names.</p>

                </section>

                <section type="texthistcomp">

                    <head>Textual History: Composition</head>

                    <p>WMR (<xref doc="a.pr5240.f11.rad" workcode="42-1869">1911</xref>) dates the

                        translation 1869, but without any corroborating data. The (1858) source of

                        the text, however, might argue an earlier date of composition.    The character

                        of the printer's copy 
                        <xref doc="a.poemssonnets.fizms.rad" workcode="42-1869" from="[54r]">manuscript</xref> 
                        gives no clue as to date of

                        composition, but there is another <xref doc="a.gettymsbook.rad" from="[16]" workcode="42-1869">fair copy</xref> manuscript, in the 
                        library of J. Paul Getty, that seems earlier.  There is also a 
                        
                        <xref doc="a.nb0002.duke.rad" workcode="42-1869" from="[4]">draft text</xref> of the 
                        poem in Notebook I in the Duke University

                        Library that suggests it was composed sometime between 1863-1868.</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>It is first printed in the <xref doc="a.1-1870.penkb.trox.rad" workcode="42-1869">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.raw">

                                <hi rend="i">Poems</hi>

                            </xref>

                        </title>. When it was reprinted in the <xref doc="a.1-1870.tauchnitz.rad" workcode="42-1869">Tauchnitz edition</xref> (1874) DGR changed the title

                            from <title level="wrk">&#8220;One Girl&#8221;</title> to

                            <title level="wrk">&#8220;Beauty&#8221;</title>, and he kept

                        the latter in his 1881 <title level="doc">

                            <xref doc="a.1-1881.1stedn.rad" workcode="42-1869">

                                <hi rend="i">Poems. A New Edition</hi>

                            </xref>

                        </title>.</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>The Sappho fragments are nos. 93 and 94 in Bergk's editions; he was the first

                        to attribute the fragments to Sappho (see <bibl>

                            <author>Theodor Bergk</author>, <title level="bk" lang="Latin">

                                <xref doc="a.bergk001.rad" link="dead">
                           <hi rend="i">Poetae Lyricae Graecae</hi>
                        </xref>

                            </title> [<city>Leipzig</city>, <date>1843</date>]</bibl>). The text

                        that directed DGR's translation was the following passage from the English

                        translation of <bibl>

                            <author>Karl Otfried Müller</author>'s <title level="bk">

                                <xref doc="a.mueller001.rad" link="dead">

                                    <hi rend="i">History of the Literature of Ancient Greece</hi>

                                </xref>

                            </title>
                  </bibl>: &#8220;<quote>In a fragment lately discovered, which bears a

                            strong impression of the simple language of Sappho, she compares the

                            freshness of youth and the unsullied beauty of a maiden's face to an

                            apple of some peculiar kind, which, when all the rest of the fruit is

                            gathered from the tree, remains alone at an unattainable height, and

                            drinks in the whole vigour of vegetation; or rather (to give the simple

                            words of the poetess in which the thought is placed before us and

                            gradually heightened with great beauty and nature) &#8216;like the

                            sweet apple which ripens at the top of the bough, on the topmost point

                            of the bough, forgotten by the gatherers&#8212;no, not quite

                            forgotten, but beyond their reach.&#8217; A fragment written in a

                            similar tone, speaks of a hyacinth, which growing among the mountains is

                            trodden underfoot by the shepherds and its purple flower is pressed to

                            the ground; thus obviously comparing the maiden who has no husband to

                            protect her, with the flower which grows in the field, as contrasted

                            with that which blooms in the shelter of a garden.</quote>&#8221; (<bibl>

                            <pages>I. 237-8</pages>

                        </bibl>).</p>

                </section>

                <section type="autobio">

                    <head>Autobiographical</head>

                    <p>At the autobiographical level of the text the <title level="wrk">&#8220;One Girl&#8221;</title> is both his dead

                        wife Elizabeth and his living beloved Jane Morris.</p>

                </section>

                <section type="biblio">

                    <head>Bibliographic</head>

                    <p>

                        <bibl>

                            <author>Gregory</author>, <xref doc="a.gregory.vol2.rad" link="dead" workcode="42-1869" from="125">&#8220;Life and Works of

                                DGR&#8221; vol. 2</xref>, <pages>125</pages>.</bibl>

                        <bibl>

                            <author>Bentley</author>, <title level="es">

                                <xref doc="a.ag305.n7.rad" link="dead" workcode="42-1869" from="181" to="182">&#8220;The Source of D. G. Rossetti's <title level="wrk">&#8216;Combination from Sappho&#8217;</title>&#8221;</xref>

                            </title>.</bibl>

                    </p>

                </section>

            </commentaries>

            <linenotes>

                <basis>

                    <xref doc="a.1-1881.1stedn.rad" workcode="42-1869" from="288">1881 <hi rend="i">Poems</hi> First Edition text</xref>

                </basis>

                <lines n="title">

                    <gloss>The title <title level="wrk">&#8220;One Girl&#8221;</title> in

                        1870 underscores two important themes in the volume: first, the figure of

                        the divine woman (in myth she is Persephone), announced in the opening poem

                            <title level="wrk">

                            <xref doc="a.1-1847.s244.raw">&#8220;The Blessed Damozel&#8221;</xref>

                        </title> and encountered throughout in various transformations; second, the

                        ideal of the One, or mystic unity, which is also represented in multiple

                        forms. When DGR changed the title to <title level="wrk">&#8220;Beauty&#8221;</title> in 1874 he somewhat

                        obscured the earlier emphasis on particularities, but he emphasized the

                        mythic issues at stake.</gloss>

                </lines>

                <lines n="1">

                    <gloss>The line carries a subtle echo of the previous poem in the 1870 <title level="doc">

                            <xref doc="a.1-1870.raw">

                                <hi rend="i">Poems</hi>

                            </xref>

                        </title> volume, <title level="wrk">

                            <xref doc="a.40-1869.raw">&#8220;John of Tours&#8221;</xref>

                        </title> (line 3, &#8220;<quote>Sweet apple-blossom</quote>&#8221;).</gloss>

                </lines>

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