‘Where you see wrong or inequality or injustice, speak out’. In light of this view,
consider ways in which writers explore inequality.
Throughout her life, Rossetti overlooked many significant electoral and social changes (for
women in particular), and the institutions of her time were heavily influenced by gender,
class and marriage status adaptations, all of which caused Rossetti to vocalise her views
amongst numerous radical moments in history, and arguably founded her work upon
inequality holistically.
In regards to gender inequality, Rossetti was arguably influenced by her biographical factors,
including things such as the significant role her brother Dante had in her career. For
instance, within every one of her composed texts, Rossetti stated the dedication to Dante
prior to stating the dedication to her mother. This - as critics argue - may be due to the social
expectations of her time, in which women were highly regarded as inferior to men. In a
similar way this inequality is internalised within ‘The Round Tower At Jhansi’, because while
the husband is referred to by name throughout the poem, the wife is simply titled as that; ‘his
wife’. In this way, it may be interpreted as Rossetti’s explicit support for social reform. In the
same breath however, Rossetti may be suggesting that this form of inequality is strictly
necessary for the functioning of society (as critics may observe Rossetti’s denial for women’s
rights as a supporting factor). Similarly, this gender inequality is further reinforced through
‘Goblin Market’ (1862), in which Laura and Lizzie are arguably characterised as sexual
objects for the pleasure of the goblins (which some critics argue to be representative of men
holistically). In this way, Rossetti may be criticising the expectations of society, and this
supposedly radical message functions as her method of taking advantage of her upper class
social status. However, critics argue that Rossetti’s discussion on gender inequalities may
stem from Dante’s involvement in her life, in ways such as encouraging Rossetti to change
the initial name of ‘Goblin Market’ - ‘A Peep At The Goblins’. This initial name has
connotations of desire for something out of your reach, and it may link to the mutual
message held within ‘From The Antique’; women would rather be dead than continue living
in vain as the ‘inferior’ gender, practically devaluing the two sphere model and Patmore’s
‘The Angel in The House’.
Alongside this, Rossetti discusses class inequality rather explicitly throughout works such as
‘Seour Louise’. In this poem, Rossetti draws significant attention to the deeds of the
characters, because while the isolated and marginalised woman is overtaken by the guilt
and shame of her shameless sexual indulgence, the upper-class Lord gives his actions no
second thought. This radical difference between the two highlights the injustice weaved
within social expectations of the working class (women in particular) and the upper classes.
While social reform was inbound and put into action (through things such as the society
promoting the employment of women), this could have arguably only applied to women of
higher social classes. Rossetti explores class inequalities rather implicitly - yet significantly -
in ‘Goblin Market’ too, with the goblins being representative of the bourgeoisie, as Laura and
Lizzie are representative of the working class. This is a Marxist interpretation that works to
criticise the higher institutions within society and their consistent exploitation of the working
class. In regards to this however, some critics argue that Rossetti cannot talk about these
inequalities in great detail due to her high status. On the other hand, opposing critics argue
that because Rossetti volunteered at the St Mary Magdalene’s Home for Fallen Women in
consider ways in which writers explore inequality.
Throughout her life, Rossetti overlooked many significant electoral and social changes (for
women in particular), and the institutions of her time were heavily influenced by gender,
class and marriage status adaptations, all of which caused Rossetti to vocalise her views
amongst numerous radical moments in history, and arguably founded her work upon
inequality holistically.
In regards to gender inequality, Rossetti was arguably influenced by her biographical factors,
including things such as the significant role her brother Dante had in her career. For
instance, within every one of her composed texts, Rossetti stated the dedication to Dante
prior to stating the dedication to her mother. This - as critics argue - may be due to the social
expectations of her time, in which women were highly regarded as inferior to men. In a
similar way this inequality is internalised within ‘The Round Tower At Jhansi’, because while
the husband is referred to by name throughout the poem, the wife is simply titled as that; ‘his
wife’. In this way, it may be interpreted as Rossetti’s explicit support for social reform. In the
same breath however, Rossetti may be suggesting that this form of inequality is strictly
necessary for the functioning of society (as critics may observe Rossetti’s denial for women’s
rights as a supporting factor). Similarly, this gender inequality is further reinforced through
‘Goblin Market’ (1862), in which Laura and Lizzie are arguably characterised as sexual
objects for the pleasure of the goblins (which some critics argue to be representative of men
holistically). In this way, Rossetti may be criticising the expectations of society, and this
supposedly radical message functions as her method of taking advantage of her upper class
social status. However, critics argue that Rossetti’s discussion on gender inequalities may
stem from Dante’s involvement in her life, in ways such as encouraging Rossetti to change
the initial name of ‘Goblin Market’ - ‘A Peep At The Goblins’. This initial name has
connotations of desire for something out of your reach, and it may link to the mutual
message held within ‘From The Antique’; women would rather be dead than continue living
in vain as the ‘inferior’ gender, practically devaluing the two sphere model and Patmore’s
‘The Angel in The House’.
Alongside this, Rossetti discusses class inequality rather explicitly throughout works such as
‘Seour Louise’. In this poem, Rossetti draws significant attention to the deeds of the
characters, because while the isolated and marginalised woman is overtaken by the guilt
and shame of her shameless sexual indulgence, the upper-class Lord gives his actions no
second thought. This radical difference between the two highlights the injustice weaved
within social expectations of the working class (women in particular) and the upper classes.
While social reform was inbound and put into action (through things such as the society
promoting the employment of women), this could have arguably only applied to women of
higher social classes. Rossetti explores class inequalities rather implicitly - yet significantly -
in ‘Goblin Market’ too, with the goblins being representative of the bourgeoisie, as Laura and
Lizzie are representative of the working class. This is a Marxist interpretation that works to
criticise the higher institutions within society and their consistent exploitation of the working
class. In regards to this however, some critics argue that Rossetti cannot talk about these
inequalities in great detail due to her high status. On the other hand, opposing critics argue
that because Rossetti volunteered at the St Mary Magdalene’s Home for Fallen Women in
