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  3. Since her own era, Christina Rossetti’s devout Christianity has often b

Since her own era, Christina Rossetti’s devout Christianity has often b

游客2024-01-11  16
问题          Since her own era, Christina Rossetti’s devout Christianity has often been
     seen as a characteristic setting her apart from the other avowedly non-Christian
     members of the Pre-Raphaelite circle. In designating their movement a form of
     "aesthetic mysticism", one established critic, Alice Law described the place
(5)  Pre-Raphaelitism holds in the development of Victorian artistic culture as a
     movement away from a predominantly religious and moralizing function toward
     a culture of aestheticism—precisely what Rossetti’s work has long been thought
     to reject. The Pre-Raphaelites’ attention to picturesque detail, the medievalist
     atmosphere and settings, the pervasive melancholy of their works, and their
(10)  awareness of their art’s primarily Christian literary and pictorial origins—all
     these have been traditionally downplayed in their similarity to the
     characteristics of Christina Rossetti’s poetry.
         This belief persists, despite the distinctly religious "atmosphere" of much
     of the work produced by both generations of Pre-Raphaelites: its employment of
(15)  biblical images and typology; of religious figural language; and, more especially
     and pervasively, of medievalist backgrounds and settings that were seen by
     their early audiences to have clearly devotional, if not dangerously "Romanist",
     associations. When discussing Pre-Raphaelitism as an historical movement, we
     must remember that the first brotherhood was inspired largely by a sacramental
(20)  aesthetic that tended to alienate Victorian society, which generally abhorred the
     notion of sacrifice. It is true that Rossetti’s traditional solution to the Romantic
     and Victorian literary problem of alienation from nature and the more
     characteristically Victorian problem of despair at life’s meaninglessness, was
     fundamentally Christian. But with few exceptions, Rossetti relied on the
(25)  colloquial and angst-ridden language of both generations of Pre-Raphaelites.
     Even Swinburne, the Pre-Raphaelite whose anti-orthodoxy and iconoclasm seem
     to conflict most profoundly with Rossetti’s values, enthusiastically hailed her.
          That most Victorians themselves perceived Christina Rossetti as
     unequivocally Pre-Raphaelite in her poetic affinities is clear, for throughout her
(30)  poetry and much of her prose Christina Rossetti demonstrated true and deep
     affinities with Pre-Raphaelite aesthetic values, in both innovative and traditional
     ways. We must not forget her "pictorial" modes of representation, the medieval
     atmosphere and settings that appear repeatedly in her poems, her appreciation
     of the world’s physical beauty and its expression in lush images, the intensity of
(35)  her poems, which seems inseparable from their "sincerity", and not least her
     preoccupation with love. To a greater extent than figures more peripheral to
     the Pre-Raphaelite circle, Christina Rossetti produced works that appear to be
     dominated by the same aesthetic consciousness and literary values that make
     Pre-Raphaelitism the central movement which unintentionally spawned the
(40)  aestheticism of the 1880s and 1890s. Pre-Raphaelitism, in fact, influenced
     aesthetic thought in a way that made the movement central to the transition
     from the sentimental moral idealism of the Victorian mainstream to the
     variously nihilistic, skeptical, and ironic value systems that dominate modern
     poetry.
选项 A、Rosetti and the Pre-Raphaelites：A Hagiography
B、The Pre-Raphaelites：Divergent Styles Within a Movement
C、Rossetti and Her Influence：The Development of Victorian Poetry
D、The Aesthetics of Religious Poetry：Rossetti’s Contribution
E、Rossetti’s Estrangement from the Pre-Raphealites：An Exaggerated Notion
答案 E
解析
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