Poems and Sonnets. MSS. D. G. Rossetti (Texas miscellaneous collection) Dante Gabriel Rossetti 1 © Harry Ransom Humanities Research Center, The University of Texas at Austin Poems and Sonnets. MSS. D. G. Rossetti (Texas miscellaneous collection) DGR 1848-1910 posthumous manuscript collection WMR gathered and bound these manuscripts sometime around the turn of the century Harry Ransom Humanities Research Center, The University of Texas at Austin various various 12 13/16 x 8 7/16 in. (bound volume size) Commentary
Introduction

The manuscripts and works in this miscellaneous volume of documents are mostly early work, though some date from as late as 1878, as the fragment of <hi rend="i">The White Ship</hi> on page 13v shows. These were manuscripts that WMR examined and worked over for publishing in his initial 1886 collected edition of his brother's works, for some of the publications he made in the 1890s, and also for his last collection of 1911.

Pages [2]-[5] contain DGR's notes for the translation project that eventually became <hi rend="i">The Early Italian Poets</hi> . WMR's note on page [5v] indicates that the pages were written in 1860, when DGR was in the last stages of preparing his book for the press. Several texts gathered near the end of this volume (pages 16-19) are also clearly related to DGR's translation project: his translation of a Cecco Angiolieri sonnet, “Prolonged Sonnet: When his Clothes were gone” , his transcription of a Donati Forese sonnet, “L'altra notte mi venne una gran tosse” , and his notes relating to these things.

 12 11/16 x 8 inches Ia Upper right corner of page, indicating facing page with an arrow. 12 11/16 x 8 inches This interleaved page is darker than the leaves of the notebook. Fold mark horizontal through middle. Ink smears on right edge and lower edge. These are DGR's rough drafts in Italian of the notes that would eventually appear in Part I of <hi rend="i">The Early Italian Poets</hi> .

Ubaldino degli Ubaldini 1184 Alcamo, Castello della Sicilia vicino a Palermo.

L. d. Vernaccia (famiglia prima trasportata da Firenze ad Castello di Assecchio e poscia in Urbino,) nacque di Pasquino in Firenze. Fù nomo nel maneggio delle cose politiche e civile assai riputato.

S. Francesco d'Assisi nacque 1182 di Bernardone Moriconi, mercatante, e al battesimo fù chiamato Giovanni. Seguì la vestigia del padre fin presso a 25 anni di età, di poi consequendosi tutto a Dio intrapresa la vita austerissima che è ben nota e fondò sotto Innocenzo III quella Religione che dal suo nome fù detta dei Francescani. Morì ai 4 Ottob. del 127 26 e dopo 2 altri anni fù da Greg IX assumerato trai Santi.

Federigo II emperor of Germany, grandson of Barbarossa [illegible] nacque in Jesi nella Marca d'Ancona 26 Dic. 1194 e coronato 13 Dic. 1220 ma poi per violenze contro La Chiesa fù privato dell'Imperio da Innocenzo IV nel consilio di Lione 21 Guigno 1245. Morì in Fercutino di Puglia 13 Dic 1250. È fama chi Manfredo suo figluolo bastardo il soffocanto in letto mentre dormia.

G. di Montesanti, non canti Fiori sotto F. II.

Folcachiero 1177, epoca nella quale fù conchiusa in Venezia la celebre pace tra Federigo I (Barbarossa) e Papa Alessandro 3 (according to Nannucci.) on account of (mondo senza guerra)

R. d'Aquino (luogo del regno di Napoli) perhaps the 3rd of that name in the family:— “Signore di Grottanenda[?]” al tempo di F. II, mandato vicerè in terra d'Otranto e Bari 1257. Trucchi says he was contemporary with Folcachiero because of 2 lines Lo Imperador con pace Tutto il mondo mantene.

12 11/16 x 8 inches This interleaved page is darker than the leaves of the notebook. Fold marks both horizontally and vertically through the middle of the page. Ink smears along the fold on the right and bottom halves of the page.

dal sestorie sestiere di Porta S. Pietro

12 11/16 x 8 inches This interleaved page is darker than the leaves of the notebook. Fold mark horizonal through the middle of the page. Ink smear along the fold.

Lentino la Sicilia arrivo al maggio [?] di Barberino Trucchi says 1220 Dante quotes Madonna dio vi voglio in Vulg: Eloq:

Ciuncio contemporary of Lentino

Prinzivalle wrote also in provençal. Egli fù molto caro ai conti di Provenza è per qualche tempo fù Podestà di Arli e di Avignon. Fù protetto da Beatrice moglie di Carlo I d'Angiò, che fù poi re di Napoli, e seguì re Carlo alla conquesta del regno nel 1266. Scrisse un trattato in lingua Provenzale “Della fina follia d'amore” e un altro “La guerra di Carlo re di Napoli contro il tiranno Manfredi. Morì ai Napolì nel 1276 anno dissi venici Cominciò a scrivere [?] italiani verso 1240 e di poi per amore della Contessa Beatrice si detta in tutto di coltivan la poesia provenzale.

C. Ghiberti Forse antenato di Lorenzo S. Dalle maniera fare che finisse nel 1250.

Bonaggiunta, was a notary. He is said to have corresponded with Dante—was contemporary with B. Latini & Guinicelli. Is censored in Volg: Eloq:

L. Gianni was a notary.

Dante da Maiano, poggio vicino a Firenze poche migliè. Purg CXXVI Somiglia precisamente a Guittone. Volgare, triviale e sconcia licenze.

Rustico di Filippo, detto anche R. Barbuto, fù cittadino fiorentino di tanto valore che Ser B. Latini, rigido guelfo, a lui, benchè di fazione ghibellina, dedica il suo Tesoretto, dicendolo nato di nobile sangue, guerriero prode, savio cittadino,

12 11/16 x 8 inches The comment on this page preceded by an “X” corresponds to a point on the facing page noted by another “X”

X sonnet mentioning Salinguerra (Trucchi p. 234, and referring to Ugolino—235

12 11/16 x 8 inches This interleaved page is darker than the leaves of the notebook. Fold mark horizontal through the middle of the page. There is an “X” on the left margin beside the word “circa.”

facondo oratori, d'indole cortese, di gentili costumi, e d'[?] reali. Brunetto fioriva nel 1260 nel quale anno fu mandato ambasciatore in Ispagno ai re di Castiglia. Rustico nacque probabilamente circa 1200 e morì 1270. His poems written 30 or 40 years before Guido & Dante are equal to them in purity. He has 3 styles (says Trucchi) the 3rd being perfect. Crescimbeni who had only seen one sonnet praises it highly. Trucchi calls him the greatest man of his time.

S. Orlandi born about 1270

Onesto was a physician, flourished about 1270. D. Petrarca fanno grand elogi di lui

Dino Frescobaldi, di nobile famiglia fiorentine. Fu amico di Dante e fu lui che nel 1305 mandò al Marchese Morello Malespina presso il quale dimorava Dante è 7 primi canti della Commedia, secondo che abbiamo dal Boccaccio ritrovati in un forziere nascosto nel 1300 in casa del fratello di Gemma Donati per sottrarlo alla rapacità; della plebe quando assalto la casa Alighieri; confortando il marchese a conforta di pregar Dante a voler compriere l'opera. È agguinge il Boc: che D. dopo 5 anni credeva i 7 canti perduti e quando li vide ricava meravigliarlo e disse al marchese: “Io estimava veramente che questi con altre nuè cose e scritture fu assai fossero nel tempo che rubata ai la cose perdute; e però del tutto n'[?] l'anima e il pensiero levato; ma poi che è piaciuto a Dio che perduti [?] ed [?] rimandati innanzi, io adoperò ciò.”

v.l.l.d. Beata cosa ch'uom chiamava il nome

12 11/16 x 8 inches This interleaved page is darker than the leaves of the notebook. Long ink blot in lower left of text. The intended location of the text on this page is not clear.

Dino Compagni fù dei priori nel 1289 e così doveva avere 30 anni. Fù dei più nobili di Firenze ma popolano. Nel 1293 Gonfaloniere. Morì in Firenze 1323.

Cecco d'Ascoli burnt by the Inquisition at Flamma in 1327, probably as a ghibelline but Villani says for his other heresies of his book La Spera. and others for satirizing Dante Guido. Sonnet to Cino (Trucchi p 268) rhymes morso, bene.

Cecco Angiolieù, viveva ai tempi di Carlo, re di Napoli e Conte di Provenza (come si vede dalle rime) il quale morì nel 1289 (In Rime Toscane Vol 3 2)

Barberino figlio di Neri di Rinnucio da Barberine di Valdelsa, nacque 1264. Studiò in Firenze sotto B. Latini Nel 1290 cominciò Doc. d'A. Fù celebre oratore e buon Professor di Leggè nelle quali 1313 si dottorè. Ebbe due mogli e morì Aprile 1348 d'anni 84.

12 11/16 x 8 inches Fold marks across upper right corner and at a slight diagonal in two parallel places across the center of the page. These 4 leaves are notes as to the lives &c. of poets included in Rossetti's Early Italian Poets. The handwriting of the notes wd. be c. 1860. WMR's note written vertically on the lower half of the left edge of the page. 8 9/16 x 7 in ruled white page torn from one of DGR's typical notebooks Ib Upper right corner. a5 Written faintly to the left of the title. Long inked-out section to right of title. <hi rend="u">The <del>Crown Jewel</del> <add>Cup of Water</add> </hi>

The young King of a country is hunting on a day witha great Earl young Knight, his friend; when, feeling thirsty, they he stops at a Forester's cottage, and the Forester's daughterbrings them him a cup of water to drink. Both ofthem are equally enamoured at once of herunequalled beauty. The King however has beenaffianced from boyhood to a Princess, worthy of alllove and whom he has always believed he loveduntil undeceived by his new absorbing passion;but the Earl Knight, resolved to sacrifice all otherconsiderations to his love, goes again to theforester's cottage and asks his daughter's hand.He finds that the girl has ? fixed her thoughtson the King, whose rank she does not know. On hearing it and this she tells her suitor humbly that [illegible] she must die if such be her fate, butcannot love another. The Earl Knight goes to the Kingto tell him all and beg his help; and the twofriends then come to an explanation. Ultimatelythe King goes to the girl pleads his friend's cause,not disguising his own passion, but saying thatas he sacrifices himself to honour, so should she,at his prayer, accept a noble man whomhe loves better than all men and whom shewill love too. This she does at last; and theKing makes his friend an earl and gives them him a grant of the forest andsurrounding country as a marriage gift, and being/ builds a hunting lodge on the spot where the cottage stood, with the with the annexedcondition, that the Earl's wife shall bring theKing a cup of water at the same place spot onevery anniversary of their first meeting whenhe rides a-hunting with her husband. Atno other time will he see her, loving her too much.He weds the princess, and thus two years pass,the condition being always fulfilled. But before 12 11/16 x 8 inches smaller page pasted onto notebook leaf The illegible words at the foot of the page are written upside down. the third anniversary the lady dies in childbirth,leaving a daughter. The King's life wears on, andstill he and his friend pursue their practice of hunting on that day, for sixteen years.When the anniversary comes round for thesixteenth time since the lady's death, theEarl tells his daughter, who has grown toher mother's perfect likeness (but whom theKing has never seen), to meet them on theold spot with the cup of water, as her motherfirst did when of the same age. The King,on seeing her, is deeply moved; but on herbeing presented to him by the Earl, he isabout to take the cup from her hand, whenhe is aware of a second figure in herexact likeness, but dressed in peasant'sclothes, who steps to her side as he bendsfrom his horse to take the cup, looks inhis face with solemn words of love andwelcome, and kisses him on the mouth.He falls forward on his horse's neck, & islifted up dead.

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[?]

 12 11/16 x 8 inches smaller page pasted onto notebook leaf The xes in lines 10, 13, and 14 are WMR's notations that correspond to his manuscript additions noted at the bottom of the page. Ic Pagination added in upper right corner. ? 1849 Nov. Oct WMR's note written above the title, surmising the date of the text. 1542 1 Numbering at upper right, perhaps WMR's surmise about some historical context for the poem. On Leaving a City.<ornlb>-----</ornlb> The city's steeple-towers remove away Each singly; as each vain infatuate faith Leaves God in heaven and passes. A mere breath Each soon appears, so far. Yet that which lay The first is now scarce further or more grey Than is the last. Now all are wholly gone. The sunless sky has not once had the sun Since the first weak beginning of the day. The air falls back as the wind finishes, And the clouds stagnate: on the water's face The current xmoves along, but is not stirr'd. There is no branch that thrills with any bird: Lo! Winter xmust possess the earth a space And have xhis will upon the extreme seas. ------ x printed breathes x Winter is to x its 12 11/16 x 8 inches This relates to Bruges—was completed in 40, but the handwriting here is much later, c. 60—only published in the Collected Works from a different copy (variant noted in front). WMR's note; it appears written vertically on the left margin. 6 1/4 x 8 in ruled pale green paper page torn from one of DGR's typical notebooks Id Far upper right corner. VII. 13 Upper left corner 16 Upper right corner Two Songs from Victor Hugo's “Burgraves.”<lb/>1<lb/> Through the long winter the rough wind tears; With their white garment the hills look wan. Love on: who cares? Who cares? Love on. My mother is dead; God's patience wears; It seems my chaplain will not have done. Love on: who cares? Who cares? Love on. The Devil, hobbling up the stairs, Comes for me with his ugly throng. Love on: who cares? Who cares? Love on. 2 In the time of the civil broils Our swords are stubborn things. A fig for all the cities! A fig for all the kings! 6 1/4 x 8 inches ruled pale green paper page torn from one of DGR's typical notebooks The Burgrave prospereth: Men fear him more and more. Barons, a fig for his Holiness! A fig for the Emperor! Right well we hold our own With the brand and the iron rod. A fig for Satan, Burgraves! Burgraves, a fig for God! Early c.47 WMR's note written vertically along bottom of the left edge of the page. 6 1/8 x 8 7/8 in smooth white paper A triangular piece is torn from the upper right corner and upper right top edge. Dark fold mark down center of page. page torn from one of DGR's typical notebooks Ie Upper right corner. II.2.5 Durre B At the Sun-rise in 1848.<ornlb>------</ornlb> God said, Let there be light; and there was light. Then heard I we sounds as though the Earth did sing And the Earth's angel cried upon the wing: We saw priests fall together & turn white: And covered in the dust from the sun's sight, A king I was spied, and yet another king. I We said: “The round world keeps its balancing; On this globe, they and we are opposite,— If it is day with us, with them 'tis night. Still, France Man, in thy just pride, remember this:— Thou hadst not made that thy sons' sons shall ask What the word King may mean in their day's task, But for the light that led: and if light is, It is because God said, Let there be light.” ------- This composed in 48, the handwriting may be c. 63 WMR's note was written vertically in the left margin. 6 1/4 x 8 916 in smooth white paper If Upper right corner 50 Upper right corner II.18 Upper left corner 9 Lower left corner Antwerp and Bruges.<add>B</add> <ornlb>--------</ornlb> I climbed the stair in Antwerp Church, What time the circling thews of sound At sunset seem to heave it round. Far up, the carillon did search The wind, and the birds came to perch Far under, where the gables wound. In Antwerp harbour on the Scheldt I stood along, a certain space Of night. The mist was near my face; Deep on, the flow was heard and felt. The carillon kept pause, and dwelt In music through the silent place. John Memmeling and John van Eyck Hold state at Bruges. In sore shame I scanned the works that keep their name. The carillon, which then did strike Mine ears, was heard of theirs alike: It set me closer unto them. blank page 12 11/16 x 8 inches 51 Upper right corner 10 Lower left corner I climbed at Bruges all the flight The belfry has of ancient stone. For leagues I saw the east wind blown; The earth was grey, the sky was white. I stood so near upon the height That my flesh felt the carillon. -------- 2 pages—composed /49—handwriting c./ 63 WMR's note written vertically on the left margin. 6 1/4 x 8 9/16 in. ruled white paper page torn from one of DGR's typical notebooks Ig Upper right corner 108 Upper left corner Written over the top of the following addition. II.46 Upper left corner, faint 11 Lower left corner Centered above title, two large indecipherable letter-like shapes. ‘Dawn on the Night-Journey.’<ornlb>-------</ornlb> Till dawn the wind drove round me. It is past And still, and leaves the air to lisp of bird, And to the quiet that is almost heard Of the new-risen day, as yet bound fast In the first warmth of sunrise. When the last Of the sun's hours to-day shall be fulfilled, There shall another breath of time be stilled For me, which now is to my senses cast As much beyond me as eternity, Unknown, kept secret. On the newborn air The moth quivers in silence. It is vast, Yea, even beyond the hills upon the sea, The day whose end shall give this hour as sheer As chaos to the irrevocable Past. --------- I don't rightly know when this was composed, perhaps /55—The handwriting is more c. /63. WMR's note written vertically on left margin. 6 1/4 x 8 9/16 in. ruled white paper Fold mark across middle of the page. page torn from one of DGR's typical notebooks Ih Upper right corner 4 Upper right corner V.2 Upper left corner, inside stamp Stamp in upper left corner with the word “AYLESBURY” visible. 12 Lower left corner <foreign lang="italian"> <del>Serenata</del> <add>Barcarola</add> </foreign> <ornlb>------</ornlb> Per carità, Mostrami amore: Mi punge il cuore, Ma non si sa Dove è amore. Che mi fa La bella età, Sè non si sa Come amerà? Ahi me solingo! Il cuor mi stringo! Non più ramingo, Per carità! Per carità, Mostrami il cielo: Tutto è un velo, E non si sa Dove è il cielo. Sè si sta Così colà, Non si sa Sè non si va. Ahi me lontano! Tutto è in vano! Prendimi in mano, Per carità! ---------- C. 75 WMR's note on the lower-left corner 7 x 8 9/16 in. ruled white paper page torn from one of DGR's typical notebooks Ij Upper right corner 13 Lower left corner title added later in pencil by WMR <add>Possession</add> There is a cloud above the sunset hill, That wends and makes no stay, For its goal lies beyond the fiery west; A lingering breath no calm can chase away, The onward labour of the wind's last will; A flying foam that overleaps the crest Of the top wave: and in possession still A further reach of longing; though at rest From all the yearning years, Together in the bosom of that day Ye cling, and with your kisses drink your tears. The bottom portion of this page is divided into two columns. The left side contains the last 5 lines of this section of the poem; the right side contains 5 lines which are struck through, and shown here below the poem. Ik Centered at the top edge of the page “The White Ship” l1-27 248-273 ?? l28-32 According to Mr. Muddergie, Oxford, 6-1-67. FM There is a small piece of paper interleaved with a handwritten note, probably from Fairfax Murray. Then first through the hall the King was 'ware Of a sweet[?] little boy with golden hair,— As [illegible] bright as the golden poppy is That the Gulf[?] beach breeds for the surf to kiss: And Knightly his cheeks were glowing[?] Yet pale his cheek as the thorn in spring But And his garb was black as like the raven's wing. Nothing heard but his foot through the hall For now the lords were silent all. And the King wondered, &said, Alack! Who sends me a sweet pale fair boy dress'd in black? Why, sweet boy heart, do you pace through my[?] the hall As though my court were a funeral? Then lowly knelt the child at the dais And looked up weeping in the King's face. “O wherefore black, O King, ye may say, For white is the hue of death today. Your son and all his fellowship Lie low in the sea's bed with the White Ship. King Henry fell as a man struck dead And speechless still he stared from his bed When to him next day my rede I read. There's many an hour must needs beguile A King's high heart that he should smile, Full many a lordly hour full fain Of his realm's rule & pride of his reign But this King never smiled again. Dark they stand o'er the vale below And hide that heaven which yet shall show The thing their master's heart doth know. Where the road looks to the castle-steep, The track runs high, for the rifts are deep. 7 x 8 9/16 in. ruled white paper page torn from one of DGR's typical notebooks Il Upper right corner. A Road in Summer.<lb/> <ornlb>----</ornlb> It is grey tingling azure overhead With silver drift. Beneath, where from the green The trees are reared, the distance stands between At peace: but on this side the whole is spread For sowing & for harvest, subjected Clear to the sky & wind. The sun's slow height Holds it through noon; and at the furthest night It lies to the moist starshine and is fed. That side there is no country seen,—for miles You think,— because of the near roadside path Dense with long forest. Where the waters run They have the sky sunk into them—a bath Of still blue heat; and in their flow, at whiles, There is a blinding vortex of the sun. ------- Printed in GFL Written faintly on lower right below poem. Written in 1849—The ms. may be 1863. WMR's note. 7 x 8 1/2 in. ruled white paper page torn from one of DGR's typical notebooks Im Upper right corner 15 Lower left corner <add>The Lady's Lament.</add> <del>A Lament</del> <ornlb>----</ornlb> Never happy any more! Aye, turn the saying o'er and o'er, It says but what it said before, And heart and life are just as sore. The wet leaves blow aslant the floor In the rain through the open door. No, No more, never more, No, never more! No, No, no more! Never happy any more! The eyes are weary and give o'er, But still the soul weeps as before. And always must each one deplore Each once, nor bear what others bore? This is now as it was of yore. No more, never more, No, never more! No, No no more! Never happy any more! Is it not but a sorry lore blank page 7 x 8 1/2 in ruled white paper page torn from one of DGR's typical notebooks That says, “Take strength, the worst is o'er”? Shall the stars seem as heretofore? The day weareth wears on more and more,— While I was weeping the day wore. No more, never more, No, never more! as above Never happy any more! In the cold behind the door That was the dial striking four: One for the past joy of yore,- the past hours bore,- Two for hope and will cast o'er,- One for the naked dark before. No more, never more, No, never more! Ditto Never happy any more! Put the light out, shut the door, Sweep the wet leaves from the floor. Even thus Fate's God's hand has [illegible] swept her floor; Even thus Love's God's hand has shut that the door At length which was not shut before Through which his sweet warm feet passed of yore: Shall it be opened any more? No more, never more, No, never more! Ditto No, no, no more ------ Written c./48—MS c./63 WMR's note on lower half of page Smaller page laid onto notebook page In Upper right corner. Never so bare and naked was church-stone As is my clean-stripped doublet in my grasp; Also I wear a gown without a clasp Which is a dismal thing to look upon. Ah! had I still but today the sweet coins [illegible] I won That time I sold my nag and staked the [?] pay, I'd not skulk[?] lie hidden beneath the roof this [?] to-day And To eke out sonnets with this moping moan. Daily a thousand times stark [illegible] mad am I At my dad's meanness who won't clothe me now, For “How about the house?” is still his cry: Till this thing strikes me as clean anyhow,— No rag I'll get clothes kill [illegible] stand. The wretch has sworn, I see, Not to invest another doit in me. And all because of the fine doublets' price He gave me, when I [illegible] vowed I'd throw no dice, And for his [illegible] damned nag's sake! Well, this is nice. 17 lower left corner of the poem shirt won't one Faint words in WMR's hand in center of page. Perhaps decoding DGR's words on the other side of the page. By Cecco Angiolieri italian[?] MS c/59

Forese Donati M. S. Chigiani Cod. 5do Giovanni varjionetti contra Dante ed altri nella Bib. Stozzi (Rime-Palermo) 1270 fin presso al 1300.

Fiacchi. Fin 1812 (Collezime d'Opuicoli scientifici e litterary. Vol. 14-15-16

Bruchietta 1480 or perhaps before or perhaps 1432

Sonnet translated in Dante & Circle Handwriting c59 Written along left margin of original page in WMR's hand Io Upper right corner of notebook page 18 Lower left corner of notebook page 7 7/8 x 4 1/8 in. Ip Upper left corner L'altra notte mi venne una gran tosse; Perch'io non avea che tenere addosso; Ma incontinente che fù di fui mosso Per gire a guadagnare ove che fosse. Udite la fortuna ave m'addosse, Ch'io credetti trovar perle in un bosso, E bei fiorini coniati d'oro rosso, Ed io trovai Alaghier tra le fosse; Legato a nudo ch'io non saccio il nome, Se fù di Salamone o d'altro saggio: Allora mi segnai verso Levante. E quei me disse: per amore di Dante Scio'mi, ed io non potetti veder come; Tornai adrieto, e compie' mio viaggio.

Ubaldini (segnarsi)

6 15/16 x 4 1/4 in. Iq Upper right corner. 19 Upper left corner, sideways 19 Lower left corner Although WMR's note (on the verso) speculates that the poem is by Cecco Angiolieri, it is actually the work of Forese Donati. It was written against Dante, but DGR did not translate it. Va, rivesti San Gal prima che dichi Parole o motti d'altrui povertate, Che troppo n'è venuto gran pietate. In questo vetno a tutti suoi amichi: Ed anche se tu ci hai per sì mendichi, Perchè pur mandi a noi per caritate: Dal castel l'altra fonte ha ta' grembiate, Ch'io saccio ben, che tu te ne nutrichi. Ma ben ti lecerà il lavorare: C'è Dio t salvi, la Tana Den, e'l Francesco, Che col Belluzzo tu non sei in brigata. Allo spedale a' Pintè ha' riparare E già mi par vedere stare a desco, E in terzo Alighier con la farsata. apronfulls [?] Written in DGR's hand, fainter than original text, along right margin. The first two letters are overwritten, as if to correct a spelling error. la parta la piè del farsetto cucita con esso il busto. Written across lower margin, fainter than original text. DGR's hand. Sonnet by Cecco Angiolieri, I fancy Is not among the writings of C.A. translated by Rossetti WMR's note on the left margin. 19 Right lower corner 7 x 4 7/16 in. amalgam flam damn Ir Upper right corner. This fragment was never included in the published version of “Soothsay”. Do still thy best, albeit the clue Be snapt of that thou strovest to: Do still thy best, though direful hate Should toil to Fire around should leave thee desolate; Do still thy best, though whom Fate would damn. Say; Such as I was made I am, And did even that who it such as I could do sham swarm lamb dam lower left quadrant, under text of poem 20 lower left corner This is a stanza wh. Rossetti proposed to insert (but did not) in his poem Soothsay—Date c. 1880—It has never been published, but may be by me some day Written on right margin, WMR's hand. WMR finally did publish the lines in 1911. [illegible] bitter gall venom rancour rankling malign grim dispiteous fell relentless list of words on lower half of the page in a slanting column, DGR's hand evanescing ephemeral exanimate DGR's hand, short list of words in upper right quadrant, rotated counter-clockwise 90 degrees Is Upper right corner. “Glory unto the Newly Born!” So, as said angels, she did say; Because we were in Christmas-day, Though it would still be long till dawn morn She stood a moment with her hands Kept in each other, praying much; A moment that the soul may touch But the heart only understands. Almost unwittingly, my mind Repeated her words after her; Perhaps tho' my lips did not stir; It was scarce thought, or cause assign'd. Just then in the room over us There was a pushing back of chairs, As some who had sat unawares So late, now heard the hour, and rose. Anxious, with With anxious softly stepping haste, Our mother went where Margaret lay, Fearing the sounds o'erhead—should they Have broken her long-watched for rest! She stooped an instant, calm, and turned; But suddenly turned back again; 21 lower left corner 12 11/16 x 8 in. Fold marks divide the page in thirds and also into quadrants. The cancelled text is of course in DGR's hand.

This is not only objectionable from its pietism, but seems theatrical also, & in conjunction with the last stanza has a sort of puling quality.

Rossetti, when getting together his privately printed poems 1869, had not a copy of his old poem (in The Germ) My Sister's Sleep— He got Christina to copy it out, & send it to him in Scotland—This is extant portion of C's copy, with revision &c by Rossetti. WMR's note on left margin, lower two-thirds of page, rotated 90 degrees counter-clockwise. blank page [blank page]