2. How do I ensure I select the most apt and relevant material?
With reference to Up-Hill

3. Does the road wind up-hill all the way?
Yes, to the very end.
Will the day’s journey take the whole long day?
From morn to night, my friend.
But is there for the night a resting-place?
A roof for when the slow dark hours begin.
May not the darkness hide it from my face?
You cannot miss that inn.
Shall I meet other wayfarers at night?
Those who have gone before.
Then must I knock, or call when just in sight?
They will not keep you standing at that door.
Shall I find comfort, travel-sore and weak?
Of labour you shall find the sum.
Will there be beds for me and all who seek?
Yea, beds for all who come.

4. Does the road wind up-hill all the way?
Yes, to the very end.
Will the day’s journey take the whole long day?
From morn to night, my friend.
But is there for the night a resting-place?
A roof for when the slow dark hours begin.
May not the darkness hide it from my face?
You cannot miss that inn.
Shall I meet other wayfarers at night?
Those who have gone before.
Then must I knock, or call when just in sight?
They will not keep you standing at that door.
Shall I find comfort, travel-sore and weak?
Of labour you shall find the sum.
Will there be beds for me and all who seek?
Yea, beds for all who come.

5. Does the road wind up-hill all the way?
Yes, to the very end.
Will the day’s journey take the whole long day?
From morn to night, my friend.
But is there for the night a resting-place?
A roof for when the slow dark hours begin.
May not the darkness hide it from my face?
You cannot miss that inn.
Shall I meet other wayfarers at night?
Those who have gone before.
Then must I knock, or call when just in sight?
They will not keep you standing at that door.
Shall I find comfort, travel-sore and weak?
Of labour you shall find the sum.
Will there be beds for me and all who seek?
Yea, beds for all who come.

6. Does the road wind up-hill all the way?
Yes, to the very end.
Will the day’s journey take the whole long day?
From morn to night, my friend.
But is there for the night a resting-place?
A roof for when the slow dark hours begin.
May not the darkness hide it from my face?
You cannot miss that inn.
Shall I meet other wayfarers at night?
Those who have gone before.
Then must I knock, or call when just in sight?
They will not keep you standing at that door.
Shall I find comfort, travel-sore and weak?
Of labour you shall find the sum.
Will there be beds for me and all who seek?
Yea, beds for all who come.

7. Does the road wind up-hill all the way?
Yes, to the very end.
Will the day’s journey take the whole long day?
From morn to night, my friend.
But is there for the night a resting-place?
A roof for when the slow dark hours begin.
May not the darkness hide it from my face?
You cannot miss that inn.
Shall I meet other wayfarers at night?
Those who have gone before.
Then must I knock, or call when just in sight?
They will not keep you standing at that door.
Shall I find comfort, travel-sore and weak?
Of labour you shall find the sum.
Will there be beds for me and all who seek?
Yea, beds for all who come.

8. Does the road wind up-hill all the way?
Yes, to the very end.
Will the day’s journey take the whole long day?
From morn to night, my friend.
But is there for the night a resting-place?
A roof for when the slow dark hours begin.
May not the darkness hide it from my face?
You cannot miss that inn.
Shall I meet other wayfarers at night?
Those who have gone before.
Then must I knock, or call when just in sight?
They will not keep you standing at that door.
Shall I find comfort, travel-sore and weak?
Of labour you shall find the sum.
Will there be beds for me and all who seek?
Yea, beds for all who come.

9. Critics have stated that Rossetti’s poetry ‘shows her constantly interrogating religious ideas and beliefs, often with a degree of tension and anxiety’. To what extent do you agree with this view?

11. APT
RELEVANT

12. RELATIONSHIPS
When I am dead, my dearest
When I am dead, my dearest,
Sing no sad songs for me;
Plant thou no roses at my head,
Nor shady cypress tree:
Be the green grass above me
With showers and dewdrops wet;
And if thou wilt, remember,
And if thou wilt, forget.
I shall not see the shadows,
I shall not feel the rain;
I shall not hear the nightingale
Sing on, as if in pain:
And dreaming through the twilight
That doth not rise nor set,
Haply I may remember,
And haply may forget.

13. DEATH
When I am dead, my dearest
When I am dead, my dearest,
Sing no sad songs for me;
Plant thou no roses at my head,
Nor shady cypress tree:
Be the green grass above me
With showers and dewdrops wet;
And if thou wilt, remember,
And if thou wilt, forget.
I shall not see the shadows,
I shall not feel the rain;
I shall not hear the nightingale
Sing on, as if in pain:
And dreaming through the twilight
That doth not rise nor set,
Haply I may remember,
And haply may forget.

14. Simplified Context
Over a career which spanned nearly half a century, Christina Rossetti ( ) produced poetry in a wide range of forms and styles. A major influence and drive for Rossetti’s writings was her devout religious belief. As the sister of the painter-poet Dante Gabriel Rossetti ( ), Rossetti was at the centre of the Pre-Raphaelite movement in the mid-to-late Victorian period, a radical group which challenged conventions about art in many ways. She was sometime model for her brother’s paintings – significantly being painted as the Virgin Mary in The Girlhood of Mary Virgin (1848-9) and Ecce Ancilla Domini! (1850) – but she quickly became the movement’s lead poet. Her strong religious beliefs marked her out from the majority of the other Pre-Raphaelites. Indeed, while Dante Gabriel would become more free-thinking and withdraw from established belief, Christina, along with her sister Maria and their mother Frances, maintained a strong commitment to High Anglicanism. Worshipping at Christ Church, Albany Street (London) from the early-1840s, the Rossetti women came under the influence of the Oxford Movement, with its increased emphasis on rituals such as confession and communion. Maria would eventually become an Anglican nun in 1873 and Christina would work for some time with the Anglican sisterhood at the St Mary Magdalene Penitentiary, Highgate, helping prostitutes escape their lives on the streets by retraining them for domestic service. Christina would turn down two potential suitors, James Collinson and Charles Bagot Cayley, on the grounds of religious incompatibility. Many of her poems are overtly concerned with religious issues and it is fair to argue that all her work, even that which seems to deal with more secular concerns, has a resonating religious or spiritual drive. Indeed, Rossetti was viewed as a great spiritual writer in her own day and came to be seen, along with Gerard Manley Hopkins ( ), as one of the great religious poets of the age. . Writing at a time when established religious beliefs were being challenged by new developments in science – particularly the theory of evolution as it was advanced in Charles Darwin’s Origin of Species (1859) and The Descent of Man (1871) – Rossetti demonstrates one way in which a key Victorian writer examined the ambiguities of faith in a time of major change.

15. Critics have stated that Rossetti’s poetry ‘shows her constantly interrogating religious ideas and beliefs, often with a degree of tension and anxiety’. To what extent do you agree with this view?