It is striking that DGR approaches the close of his volume with a poem that
takes such a light and (in his brother's terms)
âplayfulâ attitude. Nevertheless, DGR's
sonnet makes a clear reflexive turn on the volume as a whole, as the poem's
central gameâthe literalization of the
âsimilesâ (line 3) in four subsequent instances
âshows unmistakeably.
The moon in the poem represents, of course, the poetic imagination. Her easy
relations with her poet, as here represented, literalize the idea
of âsweet companionshipsâ touched in
the preceding sonnet (âBeauty and the Birdâ), and recurred to throughout the volume. DGR's light tone here
intimates that the spirit presiding over his work, and its future promise,
need not be imagined in fearful terms. Lines 9-10, recalling as they do
Coleridge's âRime of the
Ancient Marinerâ (lines 446-451), emphasize the illusory character of the dark
âshadow[s]â often evoked in the volume.
The closing lines of the poem recapitulate, in a tone we have not before
registered, a familiar motif in the book: the double nature of the poet's
beloved (and desire)âSoul's Beauty and Body's Beauty.
According to WMR (1911)
the poem was written in 1854. Three manuscripts survive: a corrected fair
copy in the Huntington Library (the earliest manuscript); another
corrected
fair copy in the Fitzwilliam Museum; and a fair
copy at Princeton.
The text in the A2
Proofs underwent only one revision before it was
published in the 1870 Poems â in line 6, "liquorish" was changed to "vapourish." Thereafter the text did not change. The manuscript in the
Princeton-Taylor collection was either printer's copy or the copy from which
printer's copy was made.
First printed in the A2
Proofs in September 1869; DGR hesitated about including it in the
1870 volume. On 14 September 1869 he wrote his brother that
âI have now included two old sonnets âAutumn Idlenessâ and âA Match with the Moonâ. The first as now revised I like well. The second I like too,
but do you think it lays itself open to ridicule?â (Fredeman,
Correspondence,
69.154
).
WMR replied that he found ânothing
exceptionableâ in the poem's âplayful
quaintnessâ, and so DGR kept the poem (Peattie,
Letters of William Michael Rossetti,
231
). DGR reprinted it in his 1881 New Edition and it was collected thereafter.
The autobiographical elements of the three previous poems in the volume, and
especially of âBeauty and the Birdâ (immediately preceding), incline one to see a glancing reference to
DGR's dead wife in the closing lines of the sonnet.
This collection contains 38 texts and images, including:
1881 Poems First Edition text
Scholarly Commentary
IntroductionÂ
It is striking that DGR approaches the close of his volume with a poem that takes such a light and (in his brother's terms) âplayfulâ attitude. Nevertheless, DGR's sonnet makes a clear reflexive turn on the volume as a whole, as the poem's central gameâthe literalization of the âsimilesâ (line 3) in four subsequent instances âshows unmistakeably.
The moon in the poem represents, of course, the poetic imagination. Her easy relations with her poet, as here represented, literalize the idea of âsweet companionshipsâ touched in the preceding sonnet (âBeauty and the Birdâ), and recurred to throughout the volume. DGR's light tone here intimates that the spirit presiding over his work, and its future promise, need not be imagined in fearful terms. Lines 9-10, recalling as they do Coleridge's âRime of the Ancient Marinerâ (lines 446-451), emphasize the illusory character of the dark âshadow[s]â often evoked in the volume.
The closing lines of the poem recapitulate, in a tone we have not before registered, a familiar motif in the book: the double nature of the poet's beloved (and desire)âSoul's Beauty and Body's Beauty.
Textual History: CompositionÂ
According to WMR (1911) the poem was written in 1854. Three manuscripts survive: a corrected fair copy in the Huntington Library (the earliest manuscript); another corrected fair copy in the Fitzwilliam Museum; and a fair copy at Princeton.
Textual History: RevisionÂ
The text in the A2 Proofs underwent only one revision before it was published in the 1870 Poems â in line 6, "liquorish" was changed to "vapourish." Thereafter the text did not change. The manuscript in the Princeton-Taylor collection was either printer's copy or the copy from which printer's copy was made.
Printing HistoryÂ
First printed in the A2 Proofs in September 1869; DGR hesitated about including it in the 1870 volume. On 14 September 1869 he wrote his brother that âI have now included two old sonnets âAutumn Idlenessâ and âA Match with the Moonâ. The first as now revised I like well. The second I like too, but do you think it lays itself open to ridicule?â (Fredeman, Correspondence, 69.154 ). WMR replied that he found ânothing exceptionableâ in the poem's âplayful quaintnessâ, and so DGR kept the poem (Peattie, Letters of William Michael Rossetti, 231 ). DGR reprinted it in his 1881 New Edition and it was collected thereafter.
AutobiographicalÂ
The autobiographical elements of the three previous poems in the volume, and especially of âBeauty and the Birdâ (immediately preceding), incline one to see a glancing reference to DGR's dead wife in the closing lines of the sonnet.