In the following essay, Bristow examines the sonnet “He and I” within the context of the sonnet sequence “The House of Life,” focusing on Rossetti's portrayal of sexuality in the poem.

In the following essay, McGann traces the thematic development of Rossetti's poetry, asserting that his work repeats “Dante's journey in the opposite direction, descending from various illusory heavens through a purgatory of unveilings to the nightmares and hells of his greatest work, the unwilled revelations arrived at in ‘The House of Life’.”

In the following essay, McGann traces Rossetti's career-spanning concern with disillusionment and the betrayal of artistic ideals.

In the following essay, Bullock applies Walter Benjamin's reading of Charles Baudelaire to Rossetti, and delineates the “differences of style and stature” between the two poets.

In the following essay, Maxwell elucidates the religious elements of “The Woodspurge.”

In the following essay, Bentley studies the theme of modern indifference to God in Rossetti's political poetry.

In the following essay, Danahay explores the commodification of women's bodies in Rossetti's paintings and poetry.

In the following essay, Harris examines how Rossetti utilizes the form of the interior monologue to reveal cultural values in “Jenny.”

In the following essay, Harris focuses on Rossetti's critique of Victorian culture through a poetic representation of silence, sexuality, and economic exchange in "Jenny."

In the following essay, Miller offers an analysis of "the double mirroring structure" of Rossetti's poetry.

In the following essay, originally published in Victorian Poetry in 1982, McGowan probes Rossetti's attempts to reconcile art and reality in his poetry.

In the following essay, Harrison discusses the parodic nature and self-consciously aesthetic ideology of Rossetti's poetry.

In the following essay, Bentley interprets "The Blessed Damozel" as a poem celebratory of "medieval-Catholic awareness."

In the following essay, Starzyk traces the aestheticization of Rossetti's “Jenny,” and underscores “how the painterly hand of Rossetti influenced the verbal articulation of the muted image of this Victorian whore.”

In the following essay, Wasko explores Rossetti's alignment of eroticism with themes of death, destruction, and deceit in three ballads written between 1869 and 1871.

In the following essay, Howard evaluates "A Last Confession " as a skillfully-crafted dramatic monologue.

In the following essay, Fuchs considers Rossetti's place in literature, contending that “his attempt to push against the limitations of his art reveal that he was caught between the nineteenth century and the stirrings of modernism.”

In the following essay, Cooksey determines the influence of Dante Alighieri on Rossetti's Dante at Verona.

In the following essay, Leng investigates narrative technique and its relation to gender themes in "The Blessed Damozel."

In the following essay, Cervo maintains that “The Stream's Secret” is concerned with the reconciliation of animus and anima.

In the following essay, Cohen explores Rossetti's poetic strategies in “Jenny,” focusing on the poet's combination of religious and art imagery.

In the following essay, O'Donnell compares and contrasts Rossetti's “The Stream's Secret” and the conventions of the epithalamion poetic form.

In the following excerpt, Maitland (a pseudonym of Robert Buchanan), negatively critiques the poetry of Rossetti and the Pre-Raphaelites.

In the following essay, Thornton investigates the relationship between Rossetti's art and poetry.

In the following essay, Cervo considers the function of “The House of Life”'s introductory sonnet.

In the following excerpt, Boos discusses love and sexuality in Rossetti's The House of Life.

In the following excerpt, Rossetti rebukes the criticism aimed at him by Thomas Maitland (Robert Buchanan) in “The Fleshly School of Poetry.”

In the following essay, Fontana examines Rossetti's "On the Field of Waterloo" in relation to William Wordsworth's earlier poem on the same subject.

In the following essay, Cervo reads “Ave” in light of Il mister dell' amor platonico del medio evo, by Gabriele Rossetti (D. G. Rossetti's father.)

In the following essay, Markley investigates the function of the monologue in “The Portrait.”

In the following essay, Cervo contends that Rossetti works within two conflicting contexts in his poem “A Last Confession”: alchemy and Roman Catholicism.