Christina Rossetti
Babylon the great
Meaning:
Rossetti takes the notion of ‘Babylon’ from the bible, using intertextuality as
she does so in many of her works. ‘Babylon’ is a biblically significant figure who
is said to be ‘THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.”
(Revelation 17:1, 5, 15) and thus Rossetti’s references to a central female figure
are likely symbolic of perhaps female sin, but also suggests the poet’s negative
feelings towards what would be described as ‘false religion’, believing in
anything other than the Christian Jehovah god. Indeed, Rossetti’s devout
relationship to god and religion arguably makes this poem a form of religious
commentary which criticizes the lack of fulfillment and purity associated with
worshipping ‘false idols’; something which is also mentioned within the ten
commandments.
Structure and form:
To some extent, the poem follows the form of the Petrarchan sonnet, divided
into octave and sestet. In this case, the octave sets up the subject whilst the
sestet emphasizes the symbolic meaning of Babylon and creates a warning for
the reader. This appears to act as an almost problem which is then solved by a
solution, as is common of Petrarchan sonnets. Indeed, it is the repeated use of
imperatives such as ‘gaze’ which appears to act as a sort of direct instruction
to the reader to be wary of false idols with pleasant appearances.
Rhyme scheme adds to this division within the poem as the regular use of rhyme
of ABBAABBC in the octave which is then followed by irregular and less frequent
use of rhyme in the sestet. Hence the sestet is more effective in portraying a
warning or sense of unease towards Babylon. This is also hinted by the use of
half-rhyme between ‘askew’ and ‘new’ in the octave, hinting at a sense of
corruption.
Sounds are also important in this poem as stress is put on the first syllable of the
poem and the author’s use of syntax which places emphasis on ‘foul’ rather
than ‘she’ in the line ‘foul is she’. This is amplified by the use of the harsh ‘f’
which is a voiceless fricative, the harshness of which emphasizes the horrid
implications, particularly as the very last line of the poem produces the same
sound ‘fire’ in order to emphasize this lingering sense of disgust and dread.
Throughout the poem, Rossetti uses a multitude of juxtaposed notions, such
as ‘foul’ and ‘fair’ which has the visual effect of balancing the structure of the
poem. This perhaps implies the speaker’s wish that the reader will literally weigh
up and evaluate the consequences of their decision and the implications of
these.
I ndeed, this final image ‘amid her pomp she set on fire.’ In one sense gives
connotations of hell, which the reader suggests is the path of those who do not
Babylon the great
Meaning:
Rossetti takes the notion of ‘Babylon’ from the bible, using intertextuality as
she does so in many of her works. ‘Babylon’ is a biblically significant figure who
is said to be ‘THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.”
(Revelation 17:1, 5, 15) and thus Rossetti’s references to a central female figure
are likely symbolic of perhaps female sin, but also suggests the poet’s negative
feelings towards what would be described as ‘false religion’, believing in
anything other than the Christian Jehovah god. Indeed, Rossetti’s devout
relationship to god and religion arguably makes this poem a form of religious
commentary which criticizes the lack of fulfillment and purity associated with
worshipping ‘false idols’; something which is also mentioned within the ten
commandments.
Structure and form:
To some extent, the poem follows the form of the Petrarchan sonnet, divided
into octave and sestet. In this case, the octave sets up the subject whilst the
sestet emphasizes the symbolic meaning of Babylon and creates a warning for
the reader. This appears to act as an almost problem which is then solved by a
solution, as is common of Petrarchan sonnets. Indeed, it is the repeated use of
imperatives such as ‘gaze’ which appears to act as a sort of direct instruction
to the reader to be wary of false idols with pleasant appearances.
Rhyme scheme adds to this division within the poem as the regular use of rhyme
of ABBAABBC in the octave which is then followed by irregular and less frequent
use of rhyme in the sestet. Hence the sestet is more effective in portraying a
warning or sense of unease towards Babylon. This is also hinted by the use of
half-rhyme between ‘askew’ and ‘new’ in the octave, hinting at a sense of
corruption.
Sounds are also important in this poem as stress is put on the first syllable of the
poem and the author’s use of syntax which places emphasis on ‘foul’ rather
than ‘she’ in the line ‘foul is she’. This is amplified by the use of the harsh ‘f’
which is a voiceless fricative, the harshness of which emphasizes the horrid
implications, particularly as the very last line of the poem produces the same
sound ‘fire’ in order to emphasize this lingering sense of disgust and dread.
Throughout the poem, Rossetti uses a multitude of juxtaposed notions, such
as ‘foul’ and ‘fair’ which has the visual effect of balancing the structure of the
poem. This perhaps implies the speaker’s wish that the reader will literally weigh
up and evaluate the consequences of their decision and the implications of
these.
I ndeed, this final image ‘amid her pomp she set on fire.’ In one sense gives
connotations of hell, which the reader suggests is the path of those who do not
