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Time Flies: A Reading Diary
Excerpt from Time Flies: A Reading Diary
Mother Church who opens the ecclesiastical year for her children with the alarum of Advent, Opens for them the civil year with a Divine example of self denial.
For whatever Christ did or suffered for us was all, first and last, the loving choice of His own free Will.
Christ met but a cold welcome into this cold world when a public inn could not take Him in; there was no room for Him, and only a stable afforded Him shelter: thus He began His natural human life.
And He was but eight days old when He shed the first drops of His Blood: thus (in a sense) He began His spiritual life.
His natural and His spiritual life began one with privation, the other with suffering.
Let us not be too eager to lie soft and warm, or too chary of undergoing pain. Had anyone been ready to forego bed on that first Christmas Eve in favour of a poor wayfaring woman ill fitted to encounter the brunt of hardship, he also like St. Joseph would have ranked as the Lord's foster-father.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Mother Church who opens the ecclesiastical year for her children with the alarum of Advent, Opens for them the civil year with a Divine example of self denial.
For whatever Christ did or suffered for us was all, first and last, the loving choice of His own free Will.
Christ met but a cold welcome into this cold world when a public inn could not take Him in; there was no room for Him, and only a stable afforded Him shelter: thus He began His natural human life.
And He was but eight days old when He shed the first drops of His Blood: thus (in a sense) He began His spiritual life.
His natural and His spiritual life began one with privation, the other with suffering.
Let us not be too eager to lie soft and warm, or too chary of undergoing pain. Had anyone been ready to forego bed on that first Christmas Eve in favour of a poor wayfaring woman ill fitted to encounter the brunt of hardship, he also like St. Joseph would have ranked as the Lord's foster-father.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
294 pages, Hardcover
First published November 3, 1886
About the author
Christina Rossetti
454 books585 followersChristina Georgina Rossetti, sister of Dante Gabriel Rossetti, wrote lyrical religious works and ballads, such as "Up-hill" (1861).
Frances Polidori Rossetti bore this most important women poet writing in nineteenth-century England to Gabriele Rossetti. Despite her fundamentally religious temperament, closer to that of her mother, this youngest member of a remarkable family of poets, artists, and critics inherited many of her artistic tendencies from her father.
Dante made seemingly quite attractive if not beautiful but somewhat idealized sketches of Christina as a teenager. In 1848, James Collinson, one of the minor pre-Raphaelite brethren, engaged her but reverted to Roman Catholicism and afterward ended the engagement.
When failing health and eyesight forced the professor into retirement in 1853, Christina and her mother started a day school, attempting to support the family, but after a year or so, gave it away. Thereafter, a recurring illness, diagnosed as sometimes angina and sometimes tuberculosis, interrupted a very retiring life that she led. From the early 1860s, she in love with Charles Cayley, but according to her brother William, refused to marry him because "she enquired into his creed and found he was not a Christian." Milk-and-water Anglicanism was not to her taste. Lona Mosk Packer argues that her poems conceal a love for the painter William Bell Scott, but there is no other evidence for this theory, and the most respected scholar of the Pre-Raphaelite movement disputes the dates on which Packer thinks some of the more revealing poems were written.
All three Rossetti women, at first devout members of the evangelical branch of the Church of England, were drawn toward the Tractarians in the 1840s. They nevertheless retained their evangelical seriousness: Maria eventually became an Anglican nun, and Christina's religious scruples remind one of Dorothea Brooke in George Eliot's Middlemarch : as Eliot's heroine looked forward to giving up riding because she enjoyed it so much, so Christina gave up chess because she found she enjoyed winning; pasted paper strips over the antireligious parts of Swinburne's Atalanta in Calydon (which allowed her to enjoy the poem very much); objected to nudity in painting, especially if the artist was a woman; and refused even to go see Wagner's Parsifal, because it celebrated a pagan mythology.
After rejecting Cayley in 1866, according one biographer, Christina (like many Victorian spinsters) lived vicariously in the lives of other people. Although pretty much a stay-at-home, her circle included her brothers' friends, like Whistler, Swinburne, F.M. Brown, and Charles Dodgson (Lewis Carroll). She continued to write and in the 1870s to work for the Society for Promoting Christian Knowledge. She was troubled physically by neuralgia and emotionally by Dante's breakdown in 1872. The last 12 years of her life, after his death in 1882, were quiet ones. She died of cancer.
Frances Polidori Rossetti bore this most important women poet writing in nineteenth-century England to Gabriele Rossetti. Despite her fundamentally religious temperament, closer to that of her mother, this youngest member of a remarkable family of poets, artists, and critics inherited many of her artistic tendencies from her father.
Dante made seemingly quite attractive if not beautiful but somewhat idealized sketches of Christina as a teenager. In 1848, James Collinson, one of the minor pre-Raphaelite brethren, engaged her but reverted to Roman Catholicism and afterward ended the engagement.
When failing health and eyesight forced the professor into retirement in 1853, Christina and her mother started a day school, attempting to support the family, but after a year or so, gave it away. Thereafter, a recurring illness, diagnosed as sometimes angina and sometimes tuberculosis, interrupted a very retiring life that she led. From the early 1860s, she in love with Charles Cayley, but according to her brother William, refused to marry him because "she enquired into his creed and found he was not a Christian." Milk-and-water Anglicanism was not to her taste. Lona Mosk Packer argues that her poems conceal a love for the painter William Bell Scott, but there is no other evidence for this theory, and the most respected scholar of the Pre-Raphaelite movement disputes the dates on which Packer thinks some of the more revealing poems were written.
All three Rossetti women, at first devout members of the evangelical branch of the Church of England, were drawn toward the Tractarians in the 1840s. They nevertheless retained their evangelical seriousness: Maria eventually became an Anglican nun, and Christina's religious scruples remind one of Dorothea Brooke in George Eliot's Middlemarch : as Eliot's heroine looked forward to giving up riding because she enjoyed it so much, so Christina gave up chess because she found she enjoyed winning; pasted paper strips over the antireligious parts of Swinburne's Atalanta in Calydon (which allowed her to enjoy the poem very much); objected to nudity in painting, especially if the artist was a woman; and refused even to go see Wagner's Parsifal, because it celebrated a pagan mythology.
After rejecting Cayley in 1866, according one biographer, Christina (like many Victorian spinsters) lived vicariously in the lives of other people. Although pretty much a stay-at-home, her circle included her brothers' friends, like Whistler, Swinburne, F.M. Brown, and Charles Dodgson (Lewis Carroll). She continued to write and in the 1870s to work for the Society for Promoting Christian Knowledge. She was troubled physically by neuralgia and emotionally by Dante's breakdown in 1872. The last 12 years of her life, after his death in 1882, were quiet ones. She died of cancer.
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