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         <titlestmt>
            <title>Winged Hours </title>
            <author>Dante Gabriel Rossetti</author>

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         <date>1869</date>
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         <form>
            <rhyme>abbaabbacddcee</rhyme>
            <meter>iambic pentameter</meter>
            <genre>sonnet</genre>
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         <commentaries>
            <head>Commentary</head>
            <section type="intro">
               <head>Introduction</head>
               <p>This sonnet follows closely the motifs first touched in 
<title level="wrk">
                     <xref doc="a.1-1869.raw">&#8220;Bridal Birth&#8221;</xref>
                  </title> and 
<title level="wrk">
                     <xref doc="a.3-1869.raw">&#8220;Lovesight&#8221;</xref>
                  </title>. Most 
relevant are the images of the bird of Love and the grove or covert where 
the drama of Love is intimately played out.</p>
               <p>As Baum observes, &#8220;<quote>The note of foreboding, first sounded in 
[<title level="wrk">
                        <xref doc="a.3-1869.raw">&#8216;Lovesight&#8217;</xref>
                     </title>] . . . 
returns now clearly</quote>&#8221; (see <bibl>
                     <xref doc="a.pr5241.b3.rad" link="dead" from="276" workcode="7-1869">
                        <title level="bk">
                           <hi rend="i">Poems, Ballads, and Sonnets</hi>
                        </title>
                     </xref> 
                     <pages>276n</pages>
                  </bibl>). Because 
of the intimate relation DGR draws between love and art/poetry&#8212;a 
relation underscored in this sonnet with the wordplay in lines 4 and 
11&#8212; the threat to love intimated here is equally imagined as a threat 
to the imagination.</p>
            </section>
            <section type="texthistcomp">
               <head>Textual History: Composition</head>
               <p>Although we have no certain evidence of the fact,
this sonnet was almost certainly written in early 1869&#8212;one of the
new pieces he composed for publication in the March <title level="per">
                     <xref doc="a.ap4.f7.5.rad" workcode="7-1854" from="270">
                        <hi rend="i">Fortnightly Review</hi>
                     </xref>
                  </title>.  A <xref doc="a.44-1869.fizms.rad" workcode="7-1869" from="8v">draft copy</xref> is preserved in the Princeton composite <xref doc="a.44-1869.raw">
                     <title level="wrk">&#8220;House of Life&#8221;</title>
                  </xref> manuscript.</p>
            </section>
            <section type="texthistrev">
               <head>Textual History: Revision</head>
               <p>The text underwent some revisions between its initial
printing in March 1869 and its final authorial constitution in 1881.</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 as Sonnet IX in the initial 
<title level="per">
                     <xref doc="a.ap4.f7.5.rad" workcode="7-1869">Fortnightly 
Review</xref>
                  </title> sequence  
of sonnets (March 1869) of <title level="wrk">
                     <xref doc="a.44-1869.raw">The House of Life</xref>
                  </title> project. It was printed 
again in the <xref doc="a.1-1870.penkb.trox.rad" workcode="7-1869">Penkill Proofs</xref> 
in August and kept through all prepublication texts until its publication in 
the 1870 <title level="doc">
                     <xref doc="a.1-1870.1stedn.rad" workcode="7-1869">Poems</xref>
                  </title>. The sonnet is number XXV in <title level="wrk">
                     <xref doc="a.44-1869.raw">The House of Life</xref>
                  </title> as published in the 
<xref doc="a.1-1870.1stedn.rad" workcode="7-1869">1870</xref> volume, and number 
XXV in the <xref doc="a.22-1881.raw">sequence</xref> as published 
in <xref doc="a.2-1881.1stedn.rad" workcode="7-1869">1881</xref>.</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>Recurring to the <foreign lang="Italian">stil novisti</foreign> 
image of the embowered bird (a trope of Love), which figures regularly in the
sequence, DGR underscores his attempt to relate his own passage through
&#8220;<quote>the difficult deeps of love</quote>&#8221; (<title level="wrk">
                     <xref doc="a.2-1871.raw">&#8220;Heart's Hope&#8221;</xref>
                  </title> line 2) to his Italian and 
specifically Dantean heritage. Also, the tree/leaf/bough images owe a good 
deal to Petrarch here and throughout the sequence.</p>
            </section>
            <section type="translation">
               <head>Translation</head>
               <p/>
            </section>
            <section type="autobio">
               <head>Autobiographical</head>
               <p>Baum rightly observes that &#8220;<quote>Autobiography is 
unmistakable here, but not unambiguous</quote>&#8221; (see Baum, <bibl>
                     <xref doc="a.pr5244.h6.rad" link="dead" from="101" workcode="7-1869">
                        <title level="bk">
                           <hi rend="i">The House of Life</hi>
                        </title>
                     </xref> 
                     <pages>101</pages>
                  </bibl>)&#8212;by which he means that the sonnet can be read both in relation to DGR's
wife and to Jane Morris.</p>
            </section>
            <section type="biblio">
               <head>Bibliographic</head>
               <p> 
                  <bibl>
                     <author>Baum, ed.</author>, <xref doc="a.pr5244.h6.rad" link="dead" from="100" workcode="7-1869" to="102">
                        <title level="bk">
                           <hi rend="i">The House of Life</hi>
                        </title>
                     </xref> 
                     <pages>100-102</pages>
                  </bibl>
                  <bibl>
                     <author>WMR</author>, <xref doc="a.nd497.r8r8.rad" from="200" workcode="7-1869" to="201">
                        <title level="bk">
                           <hi rend="i">Dante Gabriel Rossetti as Designer and Writer.</hi>
                        </title>
                     </xref> 
                     <pages>200-201</pages>
                  </bibl>
               </p>
            </section>
         </commentaries>
         <linenotes>
            <basis>
               <xref doc="a.1-1870.1stedn.rad" from="203" workcode="7-1869">1870 <hi rend="i">Poems</hi> First Edition text</xref>
            </basis>
            <lines n="1-3">
               <gloss>The passage glances at one of DGR's favorite images, which 
he takes from <foreign lang="Italian">stil novisti</foreign> poetry, and in particular from
Guinizelli (see the opening lines of his canzone <title level="wrk" lang="Italian">
                     <xref doc="a.153d-1861.raw">&#8220;Al cor gentil ripara sempre Amore&#8221;</xref>
                  </title> and Dante, 
<title level="wrk">
                     <xref doc="a.dante002.2.rad" link="dead">
                        <hi rend="i">Paradiso</hi>
                     </xref>
                  </title> XXIII.1. See also 
<title level="wrk">
                     <xref doc="a.50-1869.raw">&#8220;The Portrait&#8221;</xref>
                  </title> line 54.</gloss>
            </lines>
            <lines n="4">
               <gloss>Here and in line 11 it is difficult not to take the words 
<quote>&#8220;leaves&#8221;</quote> and <quote>&#8220;unleaved&#8221;</quote> as coded textual references: the 
bird of Love sings in the leaves of the poet's manuscripts. That DGR is thinking 
of manuscript (as opposed to printed) leaves is clear from what we know of the 
evolution of <title level="wrk">
                     <xref doc="a.44-1869.raw">The House 
of Life</xref>
                  </title> sequence in particular, and the 1870 <title level="doc">
                     <xref doc="a.1-1870.raw">Poems</xref>
                  </title> in general: both 
works evolve out of the manuscript volume of poetry DGR buried with his wife in 1862.</gloss>
            </lines>
            <lines n="8">
               <gloss>Each version of this line suggests that the immediate
&#8220;<quote>joys</quote>&#8221; (or &#8220;<quote>kisses</quote>&#8221;) are cut across by a
&#8220;<quote>strain . . . unheard</quote>&#8221;: in autobiographical terms, that the love
of DGR and Jane Morris is haunted (or perhaps glossed) by the earlier love
of DGR and Elizabeth Siddal.</gloss>
            </lines>
            <lines n="11">
               <gloss>Compare <title level="wrk">
                     <xref doc="a.3-1859.raw">&#8220;A Little While&#8221;</xref>
                  </title> line 12; both texts recall Shakespeare's Sonnet 73.</gloss>
            </lines>
            <lines n="11-12">
               <gloss>unleaved . . . scattered: the images here recollect
Petrarch's <title level="wrk" lang="Italian">
                     <xref doc="a.petrarch006.rad" link="dead">
                        <hi rend="i">Rime sparse</hi>
                     </xref>
                  </title> (see especially CXLII. 22-23).</gloss>
            </lines>
            <lines n="13">
               <gloss>&#8220;<quote>She</quote>&#8221; may refer either to the poet's
first love or to the Innominata (i.e, autobiographically, either to
DGR's wife Elizabeth or to Jane Morris).</gloss>
            </lines>
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