Barr, Alan P. "From Eden to Haymarket: The Spoiled Garden in Rossetti’s 'Jenny.'"  CLA Journal 36 (1993): 327.

Bass, Eben E. Dante Gabriel Rossetti: Poet and Painter.  New York: Peter Lang, 1990.  Covers Proserpina, Astarte Syriaca, "The Blessed Damozel," "Found," and "Jenny."

Bentley, D.M.R. "The Belle Assemblee Version of ‘My Sister’s Sleep.’"  Victorian Poetry 12 (1974): 321-34.

Bentley, D.M.R. "'The Blessed Damozel': A Young Man's Fantasy." Victorian Poetry 20 (1982): 3-4.

Bose, Tirthankar. "Rossetti's 'The Blessed Damozel.'" The Explicator 53 (1995): 151.

Tirthankar discusses the identity of the speaker in the fourth stanza of "The Blessed Damozel." The change in voice is not a break in perception, but a transition. Instead of being separate, the voices of the poet and the lover are interlinked. One represents earthly loss, the other a spiritual reuniting. Both are part of the same person.

Brown, Thomas H. "The Quest of Dante Gabriel Rossetti in 'The Blessed Damozel,'" Victorian Poetry 10 (1972): 274-75.

Bryson, John, ed.  Dante Gabriel Rossetti and Jane Morris: Their Correspondence.  Oxford: Clarendon, 1976. Covers Astarte Syriaca.

Cooper, Robert. Lost on Both Sides: Dante Gabriel Rossetti, Critic and Poet. Athens: Ohio UP, 1970. Covers "The Blessed Damozel," "Jenny," and "Mary’s Girlhood."
 
Davies, Maurice.  "Treading the Boards."  Museums Journal 96 (1996): 33.  Covers The House of Life.

Dobbs, Brian and Judy. Dante Gabriel Rossetti: An Alien Victorian.  London: MacDonald and Jane's, 1977. Covers "The Blessed Damozel," "Found," and "Jenny."
 
The authors explore the life of Dante Rossetti in this work, arguing that he "misfit" the period in which he lived. His works are discussed in relation to what was happening in his life. More prominent, however, is how his works tied in with each other, and how these come together to demonstrate the underlying "fear" he had of women. Astarte Syriaca and "The Orchard Pit" are juxtaposed for comparison and contrast.  It is argued that, for as beautiful as Astarte Syriaca presents the woman, it still remains an overall "gloomy" piece.  This relates, the authors point out, to how he had previously equated Death with a woman in "the Orchard Pit":  "Life’s eyes are gleaming from her forehead fair, / And from her breasts the ravishing eyes of Death."

Doughty, Oswald. Dante Gabriel Rossetti: A Victorian Romantic. New Haven: Yale UP, 1949. Covers "The Blessed Damozel," "Found," "Jenny," and "Mary’s Girlhood."
 
Doughty, Oswald.  Dante Gabriel Rossetti. London: Longmans, 1957.  Covers Astarte Syriaca.

Doughty, Oswald. "Rossetti's Conception of the ‘Poetic’ in Poetry and Painting."  Pre-Raphaelitism: A Collection of Critical Essays.  Ed. James Sambrook.  Chicago: U of Chicago P, 1974.  153-165.
 
Faxon, Alicia Craig. "D.G. Rossetti’s Use of Photography."  History of Photography 16 (1992): 254-62. Covers The Girlhood of Mary Virgin.

Gabriel, Dante.  "Dante and Beatrice." Art Review 49 (1997): 36-37. Covers Beata Beatrix.

Leng, Andrew. "Behind 'Golden Barriers': Framing and Taming the Blessed Damozel." Victorian Newsletter 77 (1977): 13-16.
 
Leng, Andrew. "Three Cups in One: A Reading of ‘The Woodspurge.’"  Victorian Newsletter 78 (1990): 19-22.

Andrew Leng analyzes "The Woodspurge" and its trinitarian potential. The main focus of the article however, is how "The Woodspurge" is seen as Rossetti's renunciation of anti-Catholicism and his final break from Ruskinian and Wordsworthian aesthetics.  He discusses the Ruskin-Rossetti relationship and Rossetti's antagonism towards Ruskin’s principle of uncompromising truth to nature.  "The Woodspurge" he feels signals the end of Rossetti's art-catholic poetry and the beginning of his interest in secular subjects and work that was eroticized and decorative.

McGann, Jerome.  Critical Essays on Dante Gabriel Rossetti.  Ed. David G. Riede.  New York: Hall, 1992.

Rossetti in "My Sister’s Sleep" writes of a mother who takes care of her dying daughter on Christmas Eve while trying to remain optimistic about the future.  McGann believes this poem "epitomizes one of the fundamental vices of Pre-Raphaelitism: a refusal to choose between realism and symbolism, or, alternatively, between a secular and a religious point of view" (77).  McGann follows this statement by discussing Rossetti’s specific style while defending Rossetti from other critics.

Meyers, Frederic.  "Rossetti and the Religion of Beauty." Critical Essays on Dante Gabriel Rossetti. Ed. David Riede.  New York & Oxford: Maxwell, 1992.

Nelson, James G. "Aesthetic Experience and Rossetti’s ‘My Sister’s Sleep.’"  Victorian Poetry  7 (1969): 154-158.

 Pedrick, Gale. No Peacocks Allowed: Dante Gabriel Rossetti and His Circle. London: MacDonald, 1970. Covers "The Blessed Damozel" and "Jenny."

Peters, John. "My Sister’s Sleep." Explicator 35 (1976): 29-30.

Peters, J.U. "My Sister’s Sleep: Rossetti’s Midnight Mass." Victorian Poetry 17 (1979): 265-68.

In this article, Peters analyzes the interrelatedness of religious images and symbolism and how they affect the framework of the poem as a whole.  Peters mentions two articles to help form the basis of his argument. The first is by Herbert Sussman, on the revisions of "My Sister's Sleep." The second, by James G. Nelson concerns aesthetic experience and "My Sister's Sleep."  According to Peters, both Sussman and Nelson draw attention to aesthetic awareness within the poem, but fail to recognize the religious symbolism as it relates to the act of Communion.  Peters’s argument centers on the sequential activity of the imagery, and how the sequence of religious symbolism forms the elements of the Eucharistic ritual at Christmas Eve Mass.

Powell, Nicolas.  Bizarre Brotherhood.  Apollo (1986): 429-432.  Covers The House of Life.

Riede, David H. Dante Gabriel Rossetti and the Limits of Victorian Vision. Ithaca: Cornell UP, 1983.

Riede expresses Rossetti's conflicted feelings regarding "Jenny." The poem represents the author's confusion with intellect vs. experience. The author represents intellect while Jenny represents experience. This confusion led to the many revisions of "Jenny." Though Rossetti's fear of censure led him to find a new way of expressing this confusion, "Jenny" illustrates modern man's "progress" from experience to thought.

Riede, David.  Dante Gabriel Revisited.  New York, Twayne, 1992. Covers "The Blessed Damozel," "Found," "Jenny," Astarte Syriaca,and "Mary’s Girlhood."

Riede’s book analyzes the context of most of Rossetti’s works.  He deals initially with the "Rossetti Legend," then the general movements in 19th-Century art and literature, including Pre-Raphaelitism, then on to an even broader framework of Medievalism, Aestheticism, and Eroticism, all the while referring to Dante Rossetti’s place within them.  Finally, Riede analyzes most of Rossetti’s major works in relation to these broad themes.

Riede devotes a few pages to Rossetti’s painting, Astarte Syriaca, delving into themes of Victorian perception of beauty, male viewer perspective, and Victorian interpretations and representations of female sexuality.  He argues that, due to the immense size of the canvas and the "even huger woman presented," the viewer is "confronted with the threatening element in female beauty."  Finally, he concludes that the painting reflects an overall exclusion of women, "except as the subject of male fears and fantasies."

Shefer, Elaine.  "A Rossetti Portrait: Variation on a Theme." Arts in Virginia 27 (1987): 2-15. Covers The Blessed Damozel.

Spector, Stephen. "Dante Gabriel Rossetti." Critical Essays on Dante Gabriel Rossetti.  Ed. David G. Riede.  New York: Hall, 1992.

 Rossetti in "The Blessed Damozel" writes of a lonely lover who wishes for his "blessed Damozel" to return.  The lover goes so far as to pray to the Heavens for his partner.  One of the main questions that arises from this poem is whether or not there are two independent voices, the lover as well as the Damozel.

Spector states that "the Blessed Damozel does not exist as an independent voice in the poem; instead, her speech is a projection of the bereaved lover’s desire, it is what he imagines and hopes she would say if she could" (91).  He argues that Rossetti frequently writes of such isolated lovers who seek to be reunited with their beloved.

Stahr Hosman, Robert. The Germ, A Pre-Raphaelite Little Magazine.  Coral Gables: U of Miami P, 1970.

Stein, Richard.  The Ritual of Interpretation: The Fine Arts as Literature in Ruskin, Rossetti, and Pater.  Cambridge : Harvard UP, 1975.  Covers Astarte Syriaca, The House of Life, The Blessed Damozel, Beata Beatrix.

Sussman, Herbert. "Rossetti’s Changing Style: The Revisions of ‘My Sister’s Sleep.’"  Victorian Newsletter 41 (1972): 6-8.

Weatherby, Harold. "Problems of Form and Content in the Poetry of Dante G. Rossetti."  Critical Essays on Dante Gabriel Rossetti. Ed. David Riede.  New York and Oxford: Maxwell, 1992. Covers "The Orchard Pit."