Symons, pp. 28-29, "The Street-Singer," contrast Rossetti's "Jenny": her physical appearance; her need for money; her relation to speaker; his attitude toward her (see also Symons's "Stella Maris," p. 43, an obvious case of influence)

Symons, 30, "On the Beach," st. 3, sea-skyline as infinity, contrast context in Rossetti's HL, "The Choice," no. 73

Symons, 31, "Morbidezza," female object associated with lilies, moon, enclosures, whiteness, swooning, rapture, cmp. beloved in Rossetti's HL (see also last 2 lines of S's "At Glan-y-Wern," 43, "Mater Liliarum," 55, st. 3

Symons, 32, "Maquillage," conclusion cmp. Rossetti's HL, "Autumn Idleness," no. 69, last 3 lines

Symons, 35, "April Midnight," cmp. Rossetti's HL, "Lost on Both Sides," no. 91, last lines, contrasting use of metaphor of two persons wandering through city night

Symons, 36, "During Music," cmp. Rossetti's HL, "Known in Vain," no. 65, and "Silent Noon," no. 19, last 2 lines. Lovers sit together in silent communion (see also Symons's "Celeste: The Prelude," 48)

Symons, 37, "For a Picture of Watteau," cmp. Rossetti's picture poems, esp. "For a Venetian Pastoral by Giorgione"

Symons, 38, "Nora on the Pavement," contrast Rossetti's "The Card-Dealer" (see also Symons's "Opals," 56 and "The Tarot Cards," 65)

Symons, 53, "Argues: Night," st. 3 and Rossetti's HL, "A Superscription," no. 97

Symons, 53, "Amor Triumphans: The Dance," and Rossetti's HL, passim (esp. "our two souls rushed together," "rushing winds encompassing our feet," and last three lines)

For language reminiscent of the HL, see also "Opals," 56,

And as the opal dies, and is reborn the same,

And all the fire that is its life-blood seems to dart,

Through the veined variable intricacies of its heart,

And ever wandering ever wanders back again. . . .

Symons, 57, "In the Wood of Finvara," sts. 2 and 4, Symons, 62, "The Andante of Snakes," esp. st. 1, and Symons, 66, "The Tragic Dawn," ll. 9-11 (also notice Astarte, subject of Rossetti's late painting, "Astarte Syriaca").

Symons, 62, "The Andante of Snakes," contrast Rossetti's "The Burden of Nineveh" and Wilde's "The Sphinx"

Symons, 63, "Song of the Sirens," Rossettian image of Siren, female voice like waters ("The Staff and the Scrip"), and of hair which tangles men's souls

Also interesting for comparison is Symons's "For a Picture of Rossetti" (60-61). Does Symons import non-Rossettian elements into his interpretation of what "Rossetti says/In the crisis of a face"?