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The Damozel’s devastation and loneliness continues throughout the
stanzas, demonstrated through the bold statement suggesting the ‘sun was gone
now: the curl’d moon/ was like a little feather'(The Blessed Damozel,10.55.56). Through imagery
Rosetti reflects the sadness felt by the Damozel, whereby she cannot see the
light from the sun anymore, nor can she appreciate the once beautiful moon,
which now resembles a little feather. The unappreciation of her surroundings reflects
the sadness in her heart, whereby nothing brings joy to her anymore, unless it
is her lover. However, in stanza the tone of the poem alters slightly whereby
the Damozel, shifts her sadness from firstly having no freedom to embrace her
partner, and secondly not embracing the freedom within heaven by being trapped
within her sadness, towards positivity. She exclaims ‘when round his head the
aureole clings and he is cloth’d white'(The Blessed Damozel,13.73), the Damozel
appears to be imagining his clothes that would be worn, and the day when they
are finally reconnected. Rosetti shifts the impression that absence of love is
an impingement on freedom, towards a mentality by the Damozel which looks to
the future, allowing her to get excited for when her lover does arrive, and
further relaxes her troubled mind full of entrapment. The tone of the poem
shifts towards positivity whereby excitedly she plans their future ‘we two will
lie.’ (The Blessed Damozel,14.79). The Damozel has turned her vacant self whom only
desired freedom, towards a character whom can embrace her freedom knowing she
will one day be at peace with her lover.

(Within the fourth stanza, Rosetti
cleverly incorporates her lover’s thoughts and emotions into the poem, allowing
readers to understand the effect on one another by their absence. Her lover
also demonstrates his impinged freedom through being unable to see and touch
her, as he anticipates what The Damozel is doing, ‘surely she lean’d o’er
me-her hair/fell all about my face’ (The
Blessed Damozel,4.21.22) “Around her,
lovers, newly met” (The Blessed Damozel,7.37) Evidently, the Damozel is surrounded by couples, an image that evidently
evokes emotions and desire for her partner. Furthermore, by exclaiming they are
‘newly met’, emphasises her impinged freedom as she has chosen to focus all her
attention to her lover down on Earth as she ‘bow’d herself'(The Blessed Damozel,8.43)  and be
trapped within her loneliness, rather than to escape and embrace her new world.
It appears Rosetti wants to portray the Damozel as out of place and longing to

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relation to Tennyson’s ‘Mariana’, Rosetti highlights through the Blessed
Damozel’s absence of love in heaven she is emotionally and physically isolated;
lacking the freedom to alter this or see her loved one. Consequently, the
absence of her lover acts as an impingement on freedom; prohibiting her
happiness. Rosetti suggests that ‘The Damozel’s’ absent lover is disallowing
her from embracing heaven and whilst everybody else has found a lover, she
lacks the independence and freedom of finding happiness by being solely
dependent on the arrival of her lover. Rosetti emphasises how the Damozel can only
focus on Earth and her lover, rather than having the freedom to explore her
surroundings and the freedom to enjoy herself. 
Rosetti draws the reader’s attention to the Damozel’s intense focus on
Earth, when she leans her ‘bosom’ (The
Blessed Damozel,8.45) on the bar until it makes it ‘warm'(The Blessed Damozel,8.46), emphasising
the intensity in her leaning and her intensity of the looking down onto Earth
which demonstrates the desperation of the Damozel. The flowers are personified
within ‘Blessed Damozel’, whereby Rosetti states how the ‘lilies lay asleep'(The Blessed Damozel,8.47) emphasising
just how alone the Damozel is, whereby even her lilies are asleep.

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