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(Yells)
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Down with the pretty ladies
of the old school!
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Down with the old masters!
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Down with the pretty ladies!
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Away with the pretty ladies!
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(Narrator) Arson, rapine, riot,
civil insurrection is terrifying Europe.
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The date is 1848.
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In England, rebels conspire
to overthrow the Royal Academy of Arts.
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The rebels are students and idealists.
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They are against industry,
state religion and official art.
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00:02:07,000 --> 00:02:11,000
They would replace these
with notions of honor, truth and beauty,
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quite unsuited to our times.
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This infatuation
with the deeds of knights and damsels
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has led them to join together
in a Pre-Raphaelite Brotherhood,
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through which they expect to derive inspiration.
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00:03:03,100 --> 00:03:07,900
The Pre-Raphaelite Brothers have fished out
a stunner from a milliner's near the Haymarket.
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She is working class but respectable,
an admirer says.
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Unusual for the Haymarket,
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where it is easier to walk the streets
for a few hours than to work in a shop for 15.
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Dante Gabriel Rossetti
has fallen in love with her.
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He drifts between being a poet
and being a painter,
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whatever impresses most,
is least effort and pays best.
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John Everett Millais has money,
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or rather, his parents have.
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Rossetti hangs about, hoping to acquire
the method of painting without working at it,
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or, if not the method, at least the model.
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Ophelia may please Millais,
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but Miss. Elizabeth Siddal
pleases Rossetti more.
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Rossetti has led Miss. Siddal
away from his brother Pre-Raphaelites.
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He accuses them
of using her as a mere clotheshorse,
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but has not got round
to painting the girl himself.
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He is leading her to expect
a proposal of marriage,
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but would have no objection if,
instead of a wife, he acquired a mistress.
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Miss. Siddal acts with the instincts
of her class,
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to protect herself
in a cruel and pitiless world,
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where love, more often than not,
leads to disillusion.
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It is best not to be caught too easily.
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That's enough of posing. Recite me a poem.
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- A sonnet for the sin.
- What's that, then?
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I looked, and saw your eyes
and the shadow of your hair
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As a stranger sees a stream
in the shadow of the wood.
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And I said, my faint heart sighs,
ah, me, to linger there,
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to drink deep and to sleep
in that sweet solitude.
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Oh, I like that, indeed!
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- Recite it again from the beginning.
- I have not finished.
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But it's lovely.
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Comprehending not the sense,
you like the sounds.
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I like the sentiments.
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- It's poor stuff. It's enough.
- It's lovely and you're to recite it again.
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Don't make a nuisance of yourself.
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- Can't you behave proper?
- Miss. Siddal, I'm sorry.
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Miss. Siddal, I'm sorry!
I'm beastly to you and I mean to be nice.
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You keep me at arms' length,
though I long to hug you.
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- Don't speak...
- Dog spit!
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You're just rude!
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Miss. Siddal, I am sorry.
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- What do you want, then?
- Oh, my God, what shall I do with the girl??
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I want to make you mine.
Don't you know that?
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Oh, then why can't I meet your ma and pa?
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- You shall.
- You've been saying that for months.
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- Well, give me time.
- Oh! You're ashamed of me.
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I'm a shop girl, what sells bonnets.
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I'm not a la-di-da like your sisters.
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Bonnets or not, I am jolly fond of you!
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Funny way of showing it.
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(Laughs )
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I'll take you away
from that damned Mrs. Tozer's bonnet shop.
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00:06:06,200 --> 00:06:08,000
Ooh, don't use language!
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I'll rescue you.
No more bonnets, no more Tozer.
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Down with Tozer! Death to Tozer!
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Ssh! This is wicked.
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No more Mrs. Tozer!
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Oh, if only.
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Why, I'd never wear a bonnet of hers again!
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- Well, let's rid you of this one first.
- No! No!
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I'm sorry.
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I'm sorry.
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She fluted with her mouth as when one sips,
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And gently waved her golden head, inclin'd,
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Outside his cage,
close to the window-blind;:
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Till her fond bird, with little turns and dips,
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Piped low to her
of sweet companionships.
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00:07:41,800 --> 00:07:45,100
And when he made an end,
some seed took she
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And fed him from her tongue, which rosily
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Peeped as a piercing bud between her lips.
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And like the child in Chaucer,
on whose tongue
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The blessed Mary laid, when he was dead,
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A grain, - who straightway
praised her name in song::
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00:07:59,800 --> 00:08:02,200
Even so, when she a little, slightly red,
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Now turned on me and laughed,
I heard the throng
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Of inner voices praise her golden head.
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So begins a ritual.
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Every day they spend together.
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Come evening, Mr. Rossetti walks Miss. Siddal
back from the rooms he occupies in Blackfriars,
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00:09:06,700 --> 00:09:09,300
over the biggest open sewer in London,
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to the digs that she occupies
in Marylebone,
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for which he pays the rent.
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At her front door he waits,
and is turned away every evening,
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to do just as he pleases
for the rest of the night.
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00:09:33,500 --> 00:09:38,600
Next morning, Mr. Rossetti is back in his rooms
in time for the spiritual session,
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00:09:38,700 --> 00:09:40,500
combining this, perhaps,
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with the more mundane matters
that seem to arise in an artist's life.
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00:09:45,100 --> 00:09:51,200
And every morning, in pops Lizzy,
a little paler, saying less, asking nothing.
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00:09:51,900 --> 00:09:54,500
Thus they exist in a world of their own,
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each shaping the other to their own desire,
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00:09:57,300 --> 00:10:01,900
each oblivious to the stench
from the sewer beneath their windows,
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00:10:02,000 --> 00:10:06,000
each lost to the smoking city
and the world beyond.
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00:10:06,100 --> 00:10:08,500
And the world does not intrude.
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00:10:08,600 --> 00:10:11,400
But kinsfolk do.
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When you meet them, Rossetti tells his model,
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say nothing and stay safe.
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00:10:17,600 --> 00:10:23,500
Christina Rossetti loves her mama, and her
papa, and her sister, and William Michael.
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00:10:23,600 --> 00:10:27,300
But the love she has for her brother,
Dante Gabriel,
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is greater than for all of them.
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00:10:30,400 --> 00:10:34,900
Miss. Siddal's respectability is good,
compared with that of Miss. Rossetti.
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00:10:35,000 --> 00:10:40,000
And Miss. Rossetti loves God,
which Miss. Siddal does not, except in passing,
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like dropping a curtsey to a statue in black.
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God has his uses,
according to William Michael,
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but his sister Christina makes altogether
too much of religion, to the point of religiosity.
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So these are the Rossettis,
pleased with themselves, apparently,
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not Italian, but not really English.
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00:11:02,000 --> 00:11:04,200
Except for William Michael.
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00:11:04,300 --> 00:11:07,700
He is resigned to supporting the family
in failed enterprises,
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00:11:07,800 --> 00:11:10,300
with Papa bedridden and barmy,
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00:11:10,400 --> 00:11:13,200
and Christina and Mama
failing to start a school,
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00:11:13,200 --> 00:11:17,000
and Mama being difficult
about Gabriel and Miss. Siddal.
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00:11:17,900 --> 00:11:22,100
Mama liked the idea of being a model
to an artist in her very own family,
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00:11:22,200 --> 00:11:27,000
and of having sons and daughters
painted as celebrities and saints.
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00:11:27,100 --> 00:11:31,900
But if Mrs. Rossetti has met the challenge
of Miss. Siddal by refusing to meet her,
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00:11:32,800 --> 00:11:35,500
her daughter is not so uncharitable.
131
00:11:38,900 --> 00:11:41,500
Excuse me, Miss. Rossetti,
would you take a cup of tea?
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00:11:42,700 --> 00:11:44,700
No, thank you.
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00:11:45,800 --> 00:11:50,300
And what are you doing, now that you are
no longer making hats in Mrs. Tozer's shop?
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I am teaching Miss. Siddal to draw.
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How clever! I must take up drawing myself.
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00:12:00,500 --> 00:12:02,000
We must go.
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Very well.
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00:12:04,300 --> 00:12:07,000
Well, goodbye.
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00:12:19,600 --> 00:12:22,400
We surely shall meet again...
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..some time.
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00:12:34,100 --> 00:12:36,600
Look at this. A fiver.
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Not the first, but the second quarter's rent
from my full feathered fellow tenant.
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00:12:41,800 --> 00:12:45,800
- You didn't tell me William was sharing.
- He won't live here amongst all this squalor.
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00:12:45,800 --> 00:12:49,800
- It's not as bad as...
- Oh, but I shall ensure he pays his share.
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00:12:53,500 --> 00:12:58,000
Come on.
Let's go and drink his health at supper.
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(Crockery shattering)
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Damn, that was Mother's present.
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00:13:06,400 --> 00:13:08,300
Oh, never mind. It doesn't matter.
149
00:13:10,400 --> 00:13:17,400
It is unbecoming for the personification
of a spiritual ideal to display an appetite.
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00:13:17,400 --> 00:13:20,400
But Miss. Siddal goes to the other extreme.
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She throws up almost as often as she eats,
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and what is more,
her ailment is genuine and baffling.
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(Laughing)
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- I in...
- Ssh!
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00:13:33,900 --> 00:13:37,400
- I insist you take a sovereign.
- It's all right, I can manage.
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00:13:37,500 --> 00:13:41,000
- But Guggums, you haven't eaten all evening.
- It were too rich.
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00:13:44,100 --> 00:13:48,100
And how... And how are your dwellings?
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They're lovely.
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00:13:52,200 --> 00:13:54,400
I want you to take a quid.
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It would be nice.
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Come on, you've earned it.
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Good night, my little lamb.
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Good night, you old baggage.
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00:14:08,200 --> 00:14:11,200
(Laughs ) You old baggage!
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00:14:11,200 --> 00:14:13,200
(Whistles cheerfully)
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00:14:20,000 --> 00:14:23,500
Caught in his own ideals
of chivalry and chastity,
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00:14:23,500 --> 00:14:27,000
after five years of almost daily visits,
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Miss. Siddal remains a virgin.
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00:14:31,000 --> 00:14:33,600
Ideals apart, this could become most tedious.
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00:14:33,700 --> 00:14:36,600
Even more so if the virgin takes to art,
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00:14:36,600 --> 00:14:41,300
in slavish imitation of her tutor
and in preference to housekeeping,
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00:14:41,400 --> 00:14:45,700
at which she is also hopeless,
even at a medieval level.
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- Hell!
- And Tommy!
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00:14:49,600 --> 00:14:51,500
Another button's come off.
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00:14:51,500 --> 00:14:55,500
I was thinking of you and my heart gave a
sudden lurch and the button couldn't hold it.
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00:14:55,500 --> 00:14:57,200
It flew off, out of the window.
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00:14:57,600 --> 00:15:02,000
- I've got a mother of pearl here.
- Mother of pearl, sister of Janet.
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00:15:02,100 --> 00:15:05,200
Sweetheart of gold, all 20 carat.
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00:15:06,200 --> 00:15:07,800
Oh, no!
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00:15:08,300 --> 00:15:11,000
I've stitched and stitched that shirt.
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00:15:16,100 --> 00:15:17,800
Lizzy...
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00:15:19,400 --> 00:15:21,500
Lizzy, I'm sorry.
183
00:15:28,200 --> 00:15:31,800
Your hair is a golden vale
through which I see my dreams.
184
00:15:36,200 --> 00:15:37,900
I've got a needle.
185
00:15:39,100 --> 00:15:42,100
- You would stab me?
- I warn you.
186
00:15:50,600 --> 00:15:53,900
- You slashed me.
- I warned you.
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00:15:56,200 --> 00:15:57,800
You had no cause.
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00:15:58,200 --> 00:16:02,600
It's unbelievable! I rescue you,
protect you, cosset and cherish you,
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00:16:02,600 --> 00:16:04,700
and you...and you stab me!
190
00:16:04,800 --> 00:16:07,100
- Call that a stab?
- Well, you attacked me, then.
191
00:16:07,100 --> 00:16:09,700
Don't make me laugh!
192
00:16:14,000 --> 00:16:16,100
Not one drop of her blood is human.
193
00:16:18,400 --> 00:16:22,500
You should be made like a soft, sweet woman.
194
00:16:22,600 --> 00:16:24,500
- I want to go home.
- Who's stopping you?
195
00:16:25,500 --> 00:16:27,700
Are you going to take me?
196
00:16:27,800 --> 00:16:30,900
- Oh, I have some use, then?
- So has a carthorse.
197
00:16:31,000 --> 00:16:35,300
Well, unless you want me to come like this,
all bloodied, you had better wait.
198
00:16:35,400 --> 00:16:38,400
Then don't bother. I'll take meself.
199
00:16:48,600 --> 00:16:50,200
Despairing of home comforts,
200
00:16:50,300 --> 00:16:53,800
Rossetti looks to the possibility
of combining business with pleasure
201
00:16:53,900 --> 00:16:56,500
in the person of Miss. Fanny Conforth,
202
00:16:56,600 --> 00:17:01,000
another Cockney model,
of rather wider experience.
203
00:17:02,600 --> 00:17:05,900
Fancy him taking on like that
about a tiny scratch.
204
00:17:08,400 --> 00:17:10,500
Anyways, he deserve it.
205
00:17:12,600 --> 00:17:16,300
He's only got to pop the question.
Of course I'll marry him.
206
00:17:20,200 --> 00:17:22,800
God knows what I'd do if I lost him.
207
00:17:26,600 --> 00:17:30,500
Oh, Em, I hurt so.
208
00:17:33,900 --> 00:17:37,400
Like there was an iron band
locked tight around me.
209
00:17:37,400 --> 00:17:40,100
- Ever tried Mother's Blessing?
- What's that, then?
210
00:17:40,200 --> 00:17:42,700
Laudanum, of course.
211
00:17:42,800 --> 00:17:45,100
I gives it to kids when they're squally.
212
00:17:54,100 --> 00:17:59,600
Here you are, love.
Drink this and say ta-ta to your troubles.
213
00:17:59,600 --> 00:18:02,500
Oh, I'm that desperate, Emmy,
I'd drink anything.
214
00:18:05,000 --> 00:18:07,200
(Gasps ) It's bitter.
215
00:18:19,700 --> 00:18:22,100
Who is this?
216
00:18:22,200 --> 00:18:25,100
I don't know. Em, do you know who it is?
217
00:18:25,200 --> 00:18:27,600
Sweet Fanny Adams.
218
00:18:27,700 --> 00:18:31,100
Do you know her, Mrs. Brown?
Someone of your husband's acquaintance?
219
00:18:31,100 --> 00:18:34,600
- It is so unlike Gabriel.
- It ain't Brown's.
220
00:18:34,700 --> 00:18:36,500
I wouldn't let him alone with her.
221
00:19:15,300 --> 00:19:18,500
Don't matter who she is. She ain't pretty.
222
00:19:18,600 --> 00:19:23,000
It matters considerably if Dante Gabriel
is to be persuaded to sell his work.
223
00:19:23,000 --> 00:19:25,700
It is partly his fault that he's so neglected.
224
00:19:28,800 --> 00:19:32,900
Oh, if we could only find some person
of influence to become his patron.
225
00:19:33,000 --> 00:19:36,200
If pigs had wings, they'd fly.
226
00:19:38,000 --> 00:19:40,200
I am trying to help you both.
227
00:19:41,000 --> 00:19:43,200
Yes, Miss. Rossetti.
228
00:19:44,400 --> 00:19:48,500
(Christina )
One face looks out from all his canvasses.
229
00:19:48,500 --> 00:19:53,500
One selfsame figure sits or walks or leans;:
230
00:19:53,500 --> 00:19:56,900
We found her hidden
just behind those screens,
231
00:19:57,000 --> 00:20:00,600
That mirror gave back all her loveliness.
232
00:20:00,700 --> 00:20:03,700
A queen in opal or in ruby dress,
233
00:20:03,800 --> 00:20:07,900
A nameless girl in freshest summer greens,
234
00:20:08,000 --> 00:20:11,900
A saint, an angel;: every canvass means
235
00:20:11,900 --> 00:20:15,900
That same one meaning. neither more nor less.
236
00:20:16,800 --> 00:20:20,000
He feeds upon her face by day and night,
237
00:20:20,100 --> 00:20:23,700
And she with true kind eyes looks back on him,
238
00:20:23,800 --> 00:20:26,900
fair as the moon and joyfull as the light;:
239
00:20:27,000 --> 00:20:30,900
Not wan with waiting, nor with sorrow dim;:
240
00:20:31,600 --> 00:20:36,200
Not as she is, but was when hope shone bright;:
241
00:20:37,200 --> 00:20:41,900
Not as she is, but as she fills his dream.
242
00:20:45,200 --> 00:20:49,300
He's not coming.
He's doing it on purpose, to pay me out.
243
00:20:51,100 --> 00:20:53,200
Mrs. Brown and me are going now.
244
00:20:53,300 --> 00:20:55,900
- Can you leave the key under the mat?
- Yes, of course.
245
00:20:56,000 --> 00:20:59,400
Lizzy, you look far from well.
246
00:21:00,700 --> 00:21:03,600
Yes, well... Good afternoon.
247
00:21:04,700 --> 00:21:06,300
Come along, Emma.
248
00:21:11,600 --> 00:21:12,800
The Light Of The World
249
00:21:12,900 --> 00:21:16,900
is most certain to establish the fame
of one Pre-Raphaelite brother.
250
00:21:17,600 --> 00:21:21,700
William Holman Hunt
is also a most sincere Christian.
251
00:21:23,000 --> 00:21:26,900
He need be,
to continue helping Gabriel Rossetti,
252
00:21:27,000 --> 00:21:29,800
who repays kindness with condescension,
253
00:21:29,900 --> 00:21:32,500
and renewed requests for loans of tin,
254
00:21:32,600 --> 00:21:36,200
or for introductions to wealthy patrons.
255
00:21:36,300 --> 00:21:38,800
I see Annie Miller's playing Jesus this week.
256
00:21:38,800 --> 00:21:42,600
I decided that it was blasphemous
for a woman to pose as Christ.
257
00:21:42,700 --> 00:21:46,900
Hmm, that's a pity. We might have got some
of that five thousand quid he's asking for it,
258
00:21:47,000 --> 00:21:48,800
and God only knows, we need it.
259
00:21:48,900 --> 00:21:51,000
I want to talk with you about Lizzy.
260
00:21:53,800 --> 00:21:55,500
That's none of your business.
261
00:22:20,500 --> 00:22:22,100
(Hums gibberish)
262
00:22:36,400 --> 00:22:39,500
Look, you are looney.
263
00:22:39,600 --> 00:22:44,200
I'm looney? What about Hunt? For years,
he's been planning a painting trip to Palestine,
264
00:22:44,200 --> 00:22:47,400
and next week he's off to the Dead Sea.
Do you know what for? To paint a goat.
265
00:22:47,400 --> 00:22:49,000
- A goat?
- Annie Miller told me.
266
00:22:49,100 --> 00:22:52,700
He's educating her, and he's worried
she's going to fall behind while he's away.
267
00:22:52,800 --> 00:22:55,800
So I've agreed to take over where he left off.
268
00:22:55,900 --> 00:22:59,500
And why should Holman Hunt
ask you to educate his model??
269
00:22:59,600 --> 00:23:03,400
- The fool wants to marry her when he returns.
- Oh, Gabriel!
270
00:23:03,500 --> 00:23:06,500
And as recompense
for time spent away from my work,
271
00:23:06,500 --> 00:23:10,600
he's going to introduce me to the one and only,
the great John Ruskin.
272
00:23:12,700 --> 00:23:16,800
And if Ruskin can't find anybody
to buy my work, then... then nobody will.
273
00:23:17,600 --> 00:23:19,700
And if he cannot?
274
00:23:21,200 --> 00:23:23,300
Then there's my poetry.
275
00:23:23,400 --> 00:23:27,800
Self-made millionaires,
city fathers, municipal dignitaries
276
00:23:27,800 --> 00:23:31,100
and other art lovers
with ready open check books
277
00:23:31,200 --> 00:23:34,300
look for guidance
on what to buy from one man.
278
00:23:35,000 --> 00:23:39,200
John Ruskin is the arbiter of what is art
and what is not.
279
00:23:40,100 --> 00:23:43,800
And it is John Ruskin who comes to Rossetti.
280
00:23:44,500 --> 00:23:49,900
Oh, that's Sir Lancelot, and that's a study by
Miss. Siddal. It shouldn't be there. She's a pupil.
281
00:23:50,000 --> 00:23:52,800
This is another one of hers.
I don't know how they got in here.
282
00:23:52,800 --> 00:23:55,400
- Another one...
- I'm terribly sorry.
283
00:23:58,600 --> 00:24:02,800
- You did this?
- Erm... Will you take some tea?
284
00:24:02,900 --> 00:24:06,200
Oh, Miss. Siddal, you're under no obligation
to play hostess to me.
285
00:24:06,200 --> 00:24:09,200
The plain, hard fact is that you have genius.
286
00:24:09,300 --> 00:24:11,500
And genius must be encouraged.
287
00:24:12,400 --> 00:24:15,000
I have plans for you.
288
00:24:15,100 --> 00:24:16,700
And for our friend here.
289
00:24:17,800 --> 00:24:21,000
In the tactics of patronage,
John Ruskin is a master.
290
00:24:21,100 --> 00:24:25,600
He raises the weak with the same suave charm
with which he humbles the proud.
291
00:24:26,400 --> 00:24:30,600
Gabriel says Ruskin
keeps his personal effects under glass,
292
00:24:30,700 --> 00:24:33,600
since he never has occasion to use them.
293
00:24:33,700 --> 00:24:37,600
Among other irritations,
Ruskin calls Lizzy ''Ida'',
294
00:24:37,700 --> 00:24:40,000
and treats Gabriel like a schoolboy.
295
00:24:40,100 --> 00:24:44,000
(Gabriel) Ruskin is a sneak who is growing to
love me because I am a sneak, too.
296
00:24:44,000 --> 00:24:46,700
He half likes Hunt
because Hunt is half a sneak.
297
00:24:46,800 --> 00:24:50,400
He adores Millais,
because Millais is the prince of sneaks.
298
00:24:50,500 --> 00:24:51,700
But too much so,
299
00:24:51,700 --> 00:24:54,200
for he has sneaked away Ruskin's wife,
300
00:24:54,200 --> 00:24:59,200
and so Ruskin is obliged to hate him
for having too much of his favorite quality.
301
00:24:59,200 --> 00:25:01,000
Admiring my portrait?
302
00:25:03,200 --> 00:25:04,500
No, not particularly.
303
00:25:05,700 --> 00:25:09,600
I wish to see Ida
freed from any financial anxiety.
304
00:25:09,700 --> 00:25:11,300
That also is my dearest wish.
305
00:25:14,400 --> 00:25:17,600
I should be delighted to settle
a pension on her,
306
00:25:17,700 --> 00:25:21,100
but I fear she is too proud
to acquiesce in such an arrangement.
307
00:25:21,200 --> 00:25:24,100
- Not necessarily.
- You think not?
308
00:25:24,200 --> 00:25:28,000
That just shows your lack of understanding
of a woman's pride.
309
00:25:28,100 --> 00:25:34,100
Now then, I will advance you
one hundred and fifty pounds per annum,
310
00:25:34,900 --> 00:25:37,300
and a similar sum to Ida.
311
00:25:37,400 --> 00:25:41,000
This will be for work
which I will value as you produce it.
312
00:25:42,500 --> 00:25:44,500
Well, I erm... I don't know about that.
313
00:25:44,600 --> 00:25:48,100
Ida must spend the winter abroad
at my expense.
314
00:25:48,200 --> 00:25:50,500
Would you like some snuff?
315
00:25:50,600 --> 00:25:54,400
Art is my stimulant, Rossetti. Now then,
what delights have you brought me this day?
316
00:25:56,200 --> 00:25:57,900
Hello, Gugg.
317
00:25:59,600 --> 00:26:03,200
From Ruskers. With fondest regards.
318
00:26:07,100 --> 00:26:09,200
Come on, then. Open it.
319
00:26:09,300 --> 00:26:13,800
The most valuable thing in all the world,
he said. What do you reckon, diamonds?
320
00:26:13,800 --> 00:26:17,100
Well, you must admit that stupid old bastard
is out to make our fortune.
321
00:26:17,200 --> 00:26:18,800
If only you let him.
322
00:26:31,700 --> 00:26:33,300
''My dear Ida,
323
00:26:33,400 --> 00:26:36,600
''the most precious thing of all is health.
324
00:26:36,700 --> 00:26:39,700
''In this respect,
you are the poorest of the poor.
325
00:26:40,800 --> 00:26:44,200
''This box contains
one pound of ivory bone dust,
326
00:26:44,300 --> 00:26:47,600
''the rarest and most expensive
of health restoratives.
327
00:26:47,600 --> 00:26:50,100
''I ground it with my own hand.
328
00:26:50,200 --> 00:26:55,600
''Make it this way: to the contents,
add exactly two quarts of fresh, clean water.
329
00:26:55,700 --> 00:26:59,200
''Boil gently - gently, mark you -
for eight hours.
330
00:26:59,300 --> 00:27:02,300
''Remove, and take great care
not to disturb the sediment.
331
00:27:02,400 --> 00:27:04,300
''Strain this through clean muslin twice.
332
00:27:04,400 --> 00:27:09,600
''Put the jelly in a clean stew pan, add six
ounces of sugar, two teaspoonfuls of brandy.
333
00:27:09,600 --> 00:27:12,700
''My father insists you use a superior kind.
334
00:27:12,800 --> 00:27:15,000
''The juice of one lemon, preferably Italian.''
335
00:27:15,100 --> 00:27:19,000
Oh, Gugg, what does the stupid fool think I am?
336
00:27:19,100 --> 00:27:21,800
A sick elephant?
337
00:27:23,200 --> 00:27:26,700
Well, let's have a look at his diamond dust,
shall we?
338
00:27:28,600 --> 00:27:30,200
(Sniffs )
339
00:27:42,200 --> 00:27:45,800
Oh, really! I wish he wouldn't call me Ida.
340
00:27:45,900 --> 00:27:48,000
Of all the stupid names!
341
00:27:48,100 --> 00:27:51,600
He wants to send you to the South of France,
you lucky old devil.
342
00:27:51,600 --> 00:27:54,100
He's trying to force us apart.
343
00:27:54,200 --> 00:27:57,000
Oh, don't talk such cock.
344
00:27:57,000 --> 00:27:58,900
He's concerned about your health.
345
00:28:03,600 --> 00:28:05,200
And so am I.
346
00:28:07,500 --> 00:28:09,100
Oh, dovey, more tears?
347
00:28:11,600 --> 00:28:15,900
That stupid old Ruskers is a bit of a trial,
I know.
348
00:28:15,900 --> 00:28:21,100
But please, for both our sakes,
will you try and accommodate him?
349
00:28:21,100 --> 00:28:23,200
I don't want to be an artist.
350
00:28:23,300 --> 00:28:26,000
I only did it to please you.
351
00:28:26,100 --> 00:28:27,700
Please me?
352
00:28:29,800 --> 00:28:31,500
I've got no money.
353
00:28:32,900 --> 00:28:35,300
What's the use of trying to please me?
354
00:28:37,200 --> 00:28:39,200
(Music box tinkles )
355
00:28:45,000 --> 00:28:48,100
Things are looking up at Rossetti's place.
356
00:28:48,200 --> 00:28:51,700
Except that Gabriel is seldom there
and Emma Brown always is.
357
00:28:51,800 --> 00:28:54,600
The place is positively cheerful.
358
00:28:54,700 --> 00:28:59,200
It is ironic that Lizzy's success with Ruskin -
he continues to call her Ida -
359
00:28:59,300 --> 00:29:02,200
has spurred Gabriel into attempting hard work
360
00:29:02,300 --> 00:29:06,000
under the tutelage of Emma's husband,
Ford Madox Brown.
361
00:29:06,700 --> 00:29:09,400
And Mrs. Brown has taken it upon herself
362
00:29:09,500 --> 00:29:11,400
to bring Gabriel to marriage,
363
00:29:11,500 --> 00:29:15,600
which entails the shoving of Lizzy
into the best artistic circles.
364
00:29:15,700 --> 00:29:19,200
Miss. Elizabeth Siddal,
the well-known paintress,
365
00:29:19,300 --> 00:29:23,500
caused a sensation upon her appearance
at the Royal Academy.
366
00:29:23,600 --> 00:29:25,700
Oh, you ain't half a stunner.
367
00:29:25,700 --> 00:29:27,400
Here, you can have this one.
368
00:29:29,100 --> 00:29:32,800
(Both) There's plenty more
where that came from!
369
00:29:34,100 --> 00:29:36,400
Oh, Em, you don't half dance lovely.
370
00:29:41,700 --> 00:29:43,400
Ooh!
371
00:29:54,600 --> 00:29:56,300
I was poorly again.
372
00:29:59,200 --> 00:30:00,800
Here.
373
00:30:02,200 --> 00:30:03,800
Here, feel.
374
00:30:06,000 --> 00:30:09,000
These are for you,
when you're properly dressed.
375
00:30:11,300 --> 00:30:14,500
- Where is Rossetti?
- He's with Brown.
376
00:30:14,600 --> 00:30:19,800
- Working.
- At that preposterous daub he calls Found?
377
00:30:22,400 --> 00:30:25,200
(Hurdy-gurdy:
# There's No Business Like Show Business )
378
00:30:40,600 --> 00:30:43,300
(Ruskin ) Geniuses are all alike, little and big.
379
00:30:44,000 --> 00:30:47,500
With Turner, Hunt, Millais,
Rossetti and Miss. Siddal
380
00:30:47,600 --> 00:30:50,000
I don't know which is the wrongest headed.
381
00:30:50,000 --> 00:30:52,500
I'm like the old woman
who lived in the shoe,
382
00:30:52,500 --> 00:30:55,800
only I don't want to send them to bed
and can't whip 'em.
383
00:30:55,900 --> 00:30:57,500
For that's what they all want.
384
00:30:58,800 --> 00:31:00,800
One thing is certain.
385
00:31:00,900 --> 00:31:04,900
Gabriel Rossetti will never be happy,
nor truly powerful,
386
00:31:05,000 --> 00:31:09,200
till he gets over the habit
of doing nothing but what pleases him.
387
00:31:09,200 --> 00:31:11,900
(Hurdy-gurdy:
There's No Business Like Show Business )
388
00:31:32,200 --> 00:31:34,100
What did old face-ache want?
389
00:31:37,000 --> 00:31:38,600
Tickets?
390
00:31:41,200 --> 00:31:42,600
''Good news.
391
00:31:42,600 --> 00:31:47,300
''Arrangements for your convalescence
in the South of France have been completed.
392
00:31:49,200 --> 00:31:53,400
''Gabriel has arranged for his aunt
to act as your chaperone.
393
00:31:53,500 --> 00:31:57,700
''When you return,
I shall expect you chirpy as a Cockney canary.''
394
00:31:59,700 --> 00:32:01,300
Oh, Gugg!
395
00:32:03,200 --> 00:32:07,000
- That's my idea.
- An Awakening Conscience, your idea?
396
00:32:07,100 --> 00:32:09,100
You must have come over queer.
397
00:32:11,400 --> 00:32:13,000
It's been my idea for years.
398
00:32:14,500 --> 00:32:17,700
A picture that freezes the moment
when an erring woman apprehends with terror
399
00:32:17,800 --> 00:32:20,200
that the bottomless pit awaits her.
400
00:32:21,200 --> 00:32:22,800
And Hunt filched it.
401
00:32:24,200 --> 00:32:26,000
By rights, I should filch you.
402
00:32:28,700 --> 00:32:31,800
Yesterday was St. Valentine.
403
00:32:31,900 --> 00:32:34,200
Thought you at all, dear dove divine,
404
00:32:34,300 --> 00:32:37,500
upon the hair in sorry trim
and rueful countenance of him,
405
00:32:37,600 --> 00:32:39,500
that Orson who's your valentine?
406
00:32:40,500 --> 00:32:43,000
He daubed, you know, as usual.
407
00:32:43,100 --> 00:32:45,000
The stick would slip, the brush would fall::
408
00:32:45,000 --> 00:32:46,800
Yet daubed he till the lamp lighter
409
00:32:46,800 --> 00:32:49,600
set those two seedy flames astir;:
410
00:32:49,700 --> 00:32:52,300
But growled all day at slow St. Paul.
411
00:32:52,400 --> 00:32:55,400
''The bore was heard ere noon. The dun
412
00:32:55,500 --> 00:32:57,700
''Was at the door by half past one;
413
00:32:57,800 --> 00:33:00,500
''At least, 'tis thought so, but the clock -
414
00:33:00,600 --> 00:33:02,900
''No Lizzy there to help its stroke -
415
00:33:03,000 --> 00:33:05,400
''Struck work before the day begun.
416
00:33:06,500 --> 00:33:08,700
''Some time over the fire he sat,
417
00:33:08,800 --> 00:33:11,300
''So lonely that he missed his cat;
418
00:33:11,400 --> 00:33:14,300
''Then wildly rushed to dine on tick -
419
00:33:14,400 --> 00:33:17,000
''Nine minutes swearing for his stick,
420
00:33:17,100 --> 00:33:19,900
''And thirteen minutes for his hat.
421
00:33:24,500 --> 00:33:27,000
''And now another day is gone;
422
00:33:27,100 --> 00:33:29,000
''Once more, that intellectual one
423
00:33:29,100 --> 00:33:31,400
''Desists from high minded pursuits,
424
00:33:31,500 --> 00:33:34,000
''And hungry, staring at his boots,
425
00:33:34,000 --> 00:33:36,300
''Has not the strength to pull them on.
426
00:33:37,800 --> 00:33:40,900
''Come back, dear Liz, and, looking wise
427
00:33:41,000 --> 00:33:43,600
''In that arm-chair which suits your size,
428
00:33:43,700 --> 00:33:47,300
''Through some fresh drawing scrape a hole.
429
00:33:47,400 --> 00:33:49,800
''Your valentine and Orson's soul
430
00:33:49,900 --> 00:33:52,500
''is sad for those two friendly eyes.''
431
00:35:47,500 --> 00:35:50,700
Get out! Go on, get out!
432
00:35:54,200 --> 00:35:56,900
- Get out!
- I was here before you!
433
00:36:03,500 --> 00:36:08,900
Oh, Mama, how surprised dear Lizzy will be
when she arrives and finds you waiting for her.
434
00:36:15,900 --> 00:36:18,800
If you're unexpected,
I warn you, she's home.
435
00:36:18,900 --> 00:36:20,500
(Lizzy shouts )
436
00:36:20,900 --> 00:36:23,600
And in excellent bloody health, I'm sure.
437
00:36:29,300 --> 00:36:32,600
What's the matter? Ain't you ever seen
anyone laughing before?
438
00:36:42,300 --> 00:36:44,500
Damn your bloody ivory dust!
439
00:36:47,800 --> 00:36:49,800
(Steam train rattles and clanks )
440
00:37:04,400 --> 00:37:09,600
And it came to pass that a dreadful dragon
held all the land in its thrall.
441
00:37:09,600 --> 00:37:14,100
Such steam and smoke came from its snout
that all the land grew dark,
442
00:37:14,200 --> 00:37:17,100
and flames belched from its arse.
443
00:37:17,900 --> 00:37:22,300
And the dragon begat dragons
that shrieked and roared.
444
00:37:23,400 --> 00:37:26,800
''Who will deliver us from this scourge?''
cried the goodly brethren,
445
00:37:26,900 --> 00:37:30,200
''and bind us about
with bands of iron and steel??''
446
00:37:31,500 --> 00:37:36,900
Then came there forth a full noble knight
to take up arms in the name of art
447
00:37:37,000 --> 00:37:43,200
against the dragons of iron and steel...
(Coughs ) ..called Progress.
448
00:37:53,300 --> 00:37:57,000
- Excalibur!
- (Train whistle blares )
449
00:37:58,800 --> 00:38:00,400
(Fanfare )
450
00:38:08,200 --> 00:38:10,600
And the goodly brethren
were exceeding joyous
451
00:38:10,700 --> 00:38:14,700
and accompanied him to that sweet city
with her dreaming spires
452
00:38:14,700 --> 00:38:17,500
that the vulgar do call Oxford.
453
00:38:17,600 --> 00:38:19,900
And those who came with him were three:
454
00:38:20,000 --> 00:38:22,500
one exceeding hairy, named Morris,
455
00:38:22,600 --> 00:38:24,800
whom all call Topsy;
456
00:38:24,900 --> 00:38:28,100
one exceeding thin, named Jones,
457
00:38:28,200 --> 00:38:30,000
whom all call Ned;
458
00:38:30,000 --> 00:38:34,000
and one most beauteous,
whom all call Algernon Swinburne,
459
00:38:34,100 --> 00:38:37,500
because he cannot paint, but only pose.
460
00:38:38,100 --> 00:38:41,900
Then said they all that he henceforth
would be their liege and champion,
461
00:38:42,000 --> 00:38:47,100
''Truly,'' said the brethren, ''all men throughout
the realm do say that ye make marvels.''
462
00:38:47,200 --> 00:38:50,000
- Marvels, eh?
- Oh, I wouldn't go so far as to say that.
463
00:38:50,100 --> 00:38:52,700
Modest success, growing reputation.
464
00:38:52,700 --> 00:38:57,100
And the full noble knight
doth dwell among us right merrily.
465
00:38:57,200 --> 00:39:04,100
''And in the castle there is much creation,
and many beautiful things are done,'' he said.
466
00:39:04,200 --> 00:39:07,500
Rossetti does manage things.
467
00:39:07,600 --> 00:39:10,700
Yesterday he told me neither Ned nor Topsy
had painted a bloody thing
468
00:39:10,800 --> 00:39:12,900
until he put them up to this.
469
00:39:13,000 --> 00:39:15,300
Yet he insisted on having them.
470
00:39:16,200 --> 00:39:19,700
Topsy is, after all, very rich.
471
00:39:20,800 --> 00:39:24,000
And Rossetti has the greatest confidence
in his abilities.
472
00:39:24,100 --> 00:39:25,700
Bah! Blockhead, Topsy!
473
00:39:26,100 --> 00:39:28,600
Golden hair for the bitch, not pitch black.
474
00:39:28,700 --> 00:39:31,800
- Don't you make notes on the model??
- Yes, old fellow, but I prefer black.
475
00:39:31,900 --> 00:39:34,600
Preference...granted.
476
00:39:34,700 --> 00:39:37,400
Argh! Damn you fat thick-arsed lummocker!
477
00:39:37,500 --> 00:39:40,100
May you die on a dung heap!
478
00:39:40,200 --> 00:39:43,100
- You don't take notes.
- No need to, you hairy man.
479
00:39:43,100 --> 00:39:46,000
Models float round and round in my head.
480
00:39:46,000 --> 00:39:47,700
Well, I need something more earthy.
481
00:39:47,800 --> 00:39:50,500
By Gumm the great, you do. So do I.
482
00:39:50,600 --> 00:39:52,800
Let's go Studder hunting.
483
00:39:52,800 --> 00:39:57,300
# Let's go Studder hunting,
we're going Studder hunting... #
484
00:40:43,500 --> 00:40:45,100
(Organ music drowns speech)
485
00:40:55,900 --> 00:40:59,200
Sustained by soda pop,
currant buns, breakfast and bed,
486
00:40:59,300 --> 00:41:01,900
all laid of for free by Oxford University,
487
00:41:01,900 --> 00:41:04,900
we lack only professional fees.
488
00:41:05,000 --> 00:41:07,500
and the delicious sensation of wickedness
489
00:41:07,600 --> 00:41:10,600
that the presence of female company imparts.
490
00:41:12,100 --> 00:41:14,700
Miss. Burden, I'd like you to meet
some colleagues of mine.
491
00:41:14,800 --> 00:41:18,100
This is Swinburne,
a poet born but not yet burst upon us.
492
00:41:18,200 --> 00:41:22,300
Topsy, an artist born, who bubbles and boils
at the slightest provocation.
493
00:41:22,300 --> 00:41:25,600
And there's Ned here,
who's...who's whatever he chooses.
494
00:41:25,700 --> 00:41:30,000
- Gentlemen, we should be grateful to Miss...
- Burden.
495
00:41:30,100 --> 00:41:33,900
Miss. Burden, who has now agreed
to sit for us as Queen Guinevere.
496
00:42:12,000 --> 00:42:13,600
Speil us a grind, Top.
497
00:42:13,600 --> 00:42:16,500
- You've heard 'em all.
- Miss. Burden hasn't.
498
00:42:16,600 --> 00:42:19,600
- Oh, I haven't my book.
- I have.
499
00:42:19,600 --> 00:42:22,800
- Are you going to punt?
- No fear.
500
00:42:22,900 --> 00:42:26,500
- Then how can I read?
- If I might hold the book.
501
00:42:26,600 --> 00:42:28,900
I'll choose the grind.
502
00:42:30,300 --> 00:42:33,800
This one.
That's if you can see it from back there.
503
00:42:35,700 --> 00:42:38,800
See it? It's etched on my heart.
504
00:42:40,100 --> 00:42:42,900
My lady seems of ivory
505
00:42:42,900 --> 00:42:45,000
Forehead, nose and cheeks that be
506
00:42:45,000 --> 00:42:47,100
Hollowed a little mournfully.
507
00:42:47,100 --> 00:42:49,100
Beata mea Domina!
508
00:42:50,200 --> 00:42:53,500
Not greatly long, my lady's hair,
509
00:42:53,600 --> 00:42:56,100
Nor yet with yellow color fair,
510
00:42:56,200 --> 00:42:58,500
But thick, and crisped wonderfully:
511
00:42:58,600 --> 00:43:01,700
(All) Beata mea Domina!
512
00:43:01,700 --> 00:43:05,100
Beneath her brows, the lids fall low,
513
00:43:05,200 --> 00:43:08,000
The lashes a clear shadow throw
514
00:43:08,100 --> 00:43:10,200
Where I would wish my lips to be.
515
00:43:10,200 --> 00:43:12,800
(All) Beata mea Domina!
516
00:43:12,800 --> 00:43:15,900
Her great eyes, standing far apart,
517
00:43:16,000 --> 00:43:18,200
Draw up some memory from her heart,
518
00:43:18,300 --> 00:43:20,800
And gaze out mournfully;
519
00:43:20,800 --> 00:43:23,200
(All) Beata mea Domina!
520
00:43:23,200 --> 00:43:26,000
So beautiful and kind they are,
521
00:43:26,100 --> 00:43:28,100
But most times gazing out afar,
522
00:43:28,200 --> 00:43:31,400
Waiting for something, not for me.
523
00:43:32,400 --> 00:43:34,100
Beata mea Domina!
524
00:43:47,100 --> 00:43:48,700
Ah.
525
00:44:02,400 --> 00:44:04,600
Hello. You're new.
526
00:44:04,700 --> 00:44:06,800
And beautiful.
527
00:44:06,900 --> 00:44:08,500
Let me show you around.
528
00:44:08,800 --> 00:44:12,300
All these frescoes illustrate medieval romances.
529
00:44:13,400 --> 00:44:17,700
Mr. Rossetti up there,
he's painting the Lady Guinevere,
530
00:44:17,700 --> 00:44:20,100
one libidinous whore,
531
00:44:20,200 --> 00:44:24,900
who left her husband, King Arthur,
for Sir Lancelot.
532
00:44:25,000 --> 00:44:31,200
While over there, Topsy Morris is painting
a white-hot adulteress called Isolde,
533
00:44:31,300 --> 00:44:34,900
who left her husband, King Mark,
534
00:44:35,000 --> 00:44:37,000
for Tristan.
535
00:44:37,100 --> 00:44:41,900
And inspired by these
promiscuous legendary stories,
536
00:44:42,000 --> 00:44:47,600
over there Ned Jones
introduces an appropriate Cupid.
537
00:44:47,700 --> 00:44:51,700
Ah, Miss. Siddal.
And what brings you here?
538
00:45:30,000 --> 00:45:32,200
I knew you'd come back to me.
539
00:45:57,300 --> 00:46:00,300
Morris to Burden, spliced.
540
00:46:00,400 --> 00:46:04,400
Burne-Jones to MacDonald, spliced.
541
00:46:04,500 --> 00:46:07,900
Rossetti to Siddal, spliced.
542
00:46:21,400 --> 00:46:23,400
It's ten years since we met.
543
00:46:23,500 --> 00:46:25,500
So it is, my dear.
544
00:46:25,600 --> 00:46:29,200
All such things touch secret strings
For heavy hearts to hear.
545
00:46:30,200 --> 00:46:31,800
So it is, my dear.
546
00:46:34,900 --> 00:46:37,200
You're still the only one.
547
00:46:37,300 --> 00:46:38,900
Very like, indeed.
548
00:46:39,300 --> 00:46:42,200
Sea and sky, afar, on high,
549
00:46:42,200 --> 00:46:44,300
Sand and strewn seaweed, -
550
00:46:44,400 --> 00:46:46,000
Very like, indeed.
551
00:46:49,200 --> 00:46:53,600
But the sea stands spread
As one wall with flat skies,
552
00:46:53,600 --> 00:46:58,200
Where the lean black craft like flies
Seem well-nigh stagnated,
553
00:46:58,300 --> 00:47:00,700
Soon to drop off dead.
554
00:47:02,100 --> 00:47:04,100
Seemed it so to us
555
00:47:04,200 --> 00:47:06,900
When I was thine and thou wast mine,
556
00:47:07,000 --> 00:47:09,300
And all these things were thus,
557
00:47:10,000 --> 00:47:13,100
But all our world in us?
558
00:47:14,500 --> 00:47:17,100
Could we be so now?
559
00:47:17,200 --> 00:47:21,400
Not if all beneath heaven's pall
Lay dead but I and thou,
560
00:47:21,500 --> 00:47:23,500
Could we be so nowI
561
00:47:23,600 --> 00:47:25,200
( # Wedding March)
562
00:48:04,500 --> 00:48:06,200
And we conclude like this.
563
00:48:06,200 --> 00:48:08,700
These artists,
having for many years been deeply attached
564
00:48:08,800 --> 00:48:11,800
to the study of the decorative arts
of all times and countries,
565
00:48:11,800 --> 00:48:14,700
have felt more than most people
the want of some one place
566
00:48:14,700 --> 00:48:19,000
where they could either obtain or get produced
works of a genuine and beautiful character.
567
00:48:19,100 --> 00:48:21,700
They have therefore
now established themselves as a firm,
568
00:48:21,800 --> 00:48:25,200
for the production, by themselves
and under their supervision, of, one:
569
00:48:25,300 --> 00:48:28,600
mural decorations,
either in pictures or in pattern work,
570
00:48:28,700 --> 00:48:32,300
or merely in the arrangements of colors
as applied to dwelling houses, churches...
571
00:48:32,400 --> 00:48:37,000
Oh, enough of that, Guggy! Christina's written us
a toast in verse, which she's going to read us.
572
00:48:37,000 --> 00:48:38,700
Now, Christina, let's have it.
573
00:48:38,800 --> 00:48:40,700
The two Rossettis, (brothers they )
574
00:48:40,800 --> 00:48:43,400
And Holman Hunt and John Millais,
575
00:48:43,400 --> 00:48:45,600
Ten years ago this very night,
576
00:48:45,700 --> 00:48:48,100
A very solemn cause did plight,
577
00:48:48,100 --> 00:48:50,300
To make the name Pre-Raphaelite
578
00:48:50,300 --> 00:48:52,700
Synonymous with life and art,
579
00:48:52,800 --> 00:48:55,100
Amalgam of both mind and heart.
580
00:48:55,200 --> 00:48:57,100
Oh, bravo!
581
00:48:57,900 --> 00:49:01,100
As fires decline to dying embers,
582
00:49:01,200 --> 00:49:06,000
- The P.R.B soon lost its members.
- Oh, dear God!
583
00:49:06,000 --> 00:49:08,900
But from the ash a phoenix flies.
584
00:49:08,900 --> 00:49:11,600
Pre-Raphaelites once more arise.
585
00:49:11,700 --> 00:49:15,400
Full fledged their art I eulogize.
586
00:49:16,000 --> 00:49:19,500
Toast these men of greater promise,
587
00:49:19,500 --> 00:49:21,500
Ned Burne-Jones
588
00:49:21,500 --> 00:49:23,700
and William Morris.
589
00:49:25,700 --> 00:49:27,700
I give you the firm.
590
00:49:27,800 --> 00:49:29,300
(Both) The firm.
591
00:49:29,400 --> 00:49:31,700
The firm.
592
00:49:37,800 --> 00:49:39,400
Who threw that?
593
00:49:42,000 --> 00:49:44,400
I'll chuck the fellow through the window.
594
00:49:44,500 --> 00:49:46,500
(Clucks )
595
00:50:10,300 --> 00:50:11,600
Oh, but acquaint!
596
00:50:19,700 --> 00:50:21,700
Your vicarious feelings I note!
597
00:50:56,200 --> 00:50:58,500
It's a pity you lost your baby, my dear.
598
00:51:00,400 --> 00:51:04,600
Don't fret too much. I am sure
that you and Gabriel will have many more.
599
00:51:15,700 --> 00:51:18,900
As when desire, long darkling, dawns and first
600
00:51:18,900 --> 00:51:21,200
The mother looks upon a newborn child,
601
00:51:22,100 --> 00:51:24,500
Even so my lady stood agaze and smiled
602
00:51:24,600 --> 00:51:27,100
When her soul knew at length
the love it nurs'd.
603
00:51:28,600 --> 00:51:32,100
Born with her life, creature of poignant thirst
604
00:51:32,100 --> 00:51:35,000
And exquisite hunger, at her heart Love lay,
605
00:51:35,000 --> 00:51:38,500
Quickening in darkness, till a voice that day
606
00:51:38,600 --> 00:51:43,700
Cried on him,
and the bonds of birth were burst.
607
00:51:52,100 --> 00:51:53,700
(Belches )
608
00:51:55,700 --> 00:51:58,100
Can thou put that in rhyme?
609
00:51:58,200 --> 00:52:00,700
When a poet eats pasta
610
00:52:00,700 --> 00:52:02,800
And gobbles it faster
611
00:52:02,900 --> 00:52:05,000
Than we who are sharing the platter
612
00:52:06,000 --> 00:52:10,200
Then the breath that he held
is obscenely expelled
613
00:52:10,200 --> 00:52:12,000
In a mouthful of gaseous matter.
614
00:52:13,200 --> 00:52:15,700
You are so much better than Guggy.
615
00:52:16,600 --> 00:52:18,900
What a gut stuffer!
616
00:52:21,000 --> 00:52:22,800
Shall I tell you a secret?
617
00:52:22,900 --> 00:52:25,000
If you want to.
618
00:52:25,100 --> 00:52:27,400
Guggy's going to be a daddy.
619
00:52:27,500 --> 00:52:30,400
Does that mean
that you're going to be a mummy?
620
00:52:31,500 --> 00:52:33,500
You're so clever, Algy.
621
00:52:34,900 --> 00:52:37,600
Gugg could never guess a thing like that.
622
00:52:38,300 --> 00:52:40,400
Lizzy, you know how this always ends up.
623
00:52:40,500 --> 00:52:42,100
Leave me alone.
624
00:52:45,800 --> 00:52:48,200
Look, I'm sorry. She... She's not very well.
625
00:52:48,300 --> 00:52:50,900
She... Well, she took a pick-me-up
before we left home.
626
00:52:51,000 --> 00:52:54,300
He knows all about Lizzy's little black bottle.
627
00:52:56,000 --> 00:53:00,800
Look, Lizzy, you are obviously not hungry.
I'll take you home.
628
00:53:01,800 --> 00:53:05,200
Not home. No, no! Please, no!
629
00:53:06,100 --> 00:53:09,400
We return home via Cranbourne Alley,
630
00:53:09,500 --> 00:53:13,200
haunt of those in search of pleasure...
and hats.
631
00:53:14,600 --> 00:53:17,800
For this is where Lizzy worked,
twelve years ago,
632
00:53:17,900 --> 00:53:20,200
before the hysteria,
633
00:53:20,300 --> 00:53:22,200
and her addiction to laudanum.
634
00:53:22,200 --> 00:53:24,700
Leave me alone.
635
00:53:25,600 --> 00:53:30,600
We come here so I can be reminded
of what he saved me from.
636
00:53:36,900 --> 00:53:40,700
Such a short step from shop to street.
637
00:53:42,400 --> 00:53:44,600
Ain't it, Mr. Rossetti?
638
00:53:52,200 --> 00:53:54,700
Give you a good time, Guggy!
639
00:53:56,200 --> 00:53:58,800
You knows you likes it.
640
00:54:00,400 --> 00:54:03,700
Especially with the married ones!
641
00:54:07,600 --> 00:54:09,500
Lizzy, for God's sake!
642
00:54:09,900 --> 00:54:11,200
What are you doing?
643
00:54:12,500 --> 00:54:14,800
I am...writing poetry.
644
00:54:14,900 --> 00:54:17,500
A sonnet for the blackhaired bitch!
645
00:54:25,800 --> 00:54:28,200
Give me a pencil.
646
00:54:32,900 --> 00:54:34,500
Put it on the table.
647
00:54:37,200 --> 00:54:38,900
Now I'd like my laudanum.
648
00:54:39,000 --> 00:54:43,600
- Lizzy, you can't go on.
- Don't nag. Give it to me.
649
00:54:50,100 --> 00:54:54,900
Tonight's the night I...
I teach the working men, so...
650
00:54:55,000 --> 00:54:56,900
if you don't mind, I'd like to go.
651
00:54:58,900 --> 00:55:01,200
You'll go, whether I like it or not.
652
00:55:02,500 --> 00:55:06,600
Well, then, as you don't mind, I erm...
653
00:55:06,700 --> 00:55:08,300
I think I will go.
654
00:55:14,600 --> 00:55:17,300
I won't be long.
655
00:55:18,800 --> 00:55:20,900
Leave the door open.
656
00:55:23,000 --> 00:55:25,500
How's your poem going?
657
00:55:25,600 --> 00:55:27,900
I'll finish it tonight.
658
00:55:32,700 --> 00:55:35,200
Gugg, don't leave me!
659
00:55:36,600 --> 00:55:39,900
Don't go! Don't go!
660
00:55:42,300 --> 00:55:43,900
(Coughing and sobbing)
661
00:55:46,800 --> 00:55:48,500
Don't leave me.
662
00:55:50,500 --> 00:55:52,100
Don't go!
663
00:57:22,300 --> 00:57:25,400
I am gazing upwards to the sun,
664
00:57:26,100 --> 00:57:30,000
Lord, Lord, remembering my lost one.
665
00:57:31,000 --> 00:57:33,600
Oh, Lord, remember me.
666
00:57:35,500 --> 00:57:38,500
How is it in the unknown land?
667
00:57:38,600 --> 00:57:42,100
Do the dead wander hand in hand?
668
00:57:42,200 --> 00:57:45,200
Do we clasp dead hands and quiver
669
00:57:45,200 --> 00:57:47,300
With an endless joy for ever?
670
00:57:49,800 --> 00:57:52,700
Is the air filled with the sound of spirits,
671
00:57:53,200 --> 00:57:55,800
Circling round and round?
672
00:57:55,900 --> 00:57:58,500
Are there lakes of endless song
673
00:57:58,600 --> 00:58:01,300
To rest our tired eyes upon?
674
00:58:02,600 --> 00:58:05,500
Do tall white angels gaze and wend
675
00:58:05,600 --> 00:58:07,800
Along the banks where lilies bend?
676
00:58:08,900 --> 00:58:12,800
Lord, we know not how this may be:
677
00:58:14,000 --> 00:58:17,200
Good Lord, we put our faith in thee -
678
00:58:18,100 --> 00:58:21,700
Oh, God, wait not for me.
679
00:59:06,200 --> 00:59:09,900
Don't do it, Gabriel.
No good can come from it.
680
00:59:11,100 --> 00:59:13,500
I gave her little enough when she was alive.
681
00:59:16,800 --> 00:59:20,100
She shall have something of me.
682
00:59:24,300 --> 00:59:26,000
Your poems?
683
00:59:28,000 --> 00:59:30,600
My heart.
684
00:59:56,900 --> 00:59:59,800
..kindle and rally the dead,
685
00:59:59,800 --> 01:00:03,200
The most barren of verse and obscene.
686
01:00:04,100 --> 01:00:05,700
Things monstrous are thine,
687
01:00:06,200 --> 01:00:09,400
Oh, my pallid and poisonous queen.
688
01:00:10,700 --> 01:00:12,200
Take a look at this, dear.
689
01:00:12,300 --> 01:00:13,900
Eugh!
690
01:00:26,700 --> 01:00:27,800
(Yells)
691
01:00:29,600 --> 01:00:31,700
Hey! Darling!
692
01:00:31,800 --> 01:00:33,900
Do you fancy a bit of the other tonight?
693
01:00:35,500 --> 01:00:37,500
Go away.
694
01:00:37,600 --> 01:00:39,600
Of all London night haunts,
695
01:00:39,700 --> 01:00:44,200
the Grand Turkish Rooms
are those most favored by Rossetti's creature,
696
01:00:44,300 --> 01:00:46,600
Charles Augustus Howell.
697
01:00:46,600 --> 01:00:51,300
This toady profits Rossetti
by flogging his paintings at inflated prices.
698
01:00:51,400 --> 01:00:55,900
He sees a profit to himself
in egging on Rossetti to publish his poems,
699
01:00:56,000 --> 01:01:02,300
although most of them rot in a coffin that has
lain in Highgate Cemetery these seven years.
700
01:01:03,700 --> 01:01:09,500
Rossetti is sodden with insomnia,
whisky and a new drug, chloral.
701
01:01:10,200 --> 01:01:14,100
With only Janey Morris to dream about
and whores to confide in,
702
01:01:14,200 --> 01:01:18,200
he gropes for courage
to desecrate his wife's grave.
703
01:03:49,300 --> 01:03:50,900
(Murmurs )
704
01:03:54,300 --> 01:03:56,400
You don't half put it away, don't you?
705
01:03:57,800 --> 01:04:00,600
- What are you after?
- Same as per usual.
706
01:04:02,200 --> 01:04:06,800
Well, if you must know,
the armadilly's arrived.
707
01:04:06,900 --> 01:04:08,500
Have you got tin for that?
708
01:04:08,600 --> 01:04:11,000
- I blued it on your booze, didn't I?
- Liar!
709
01:04:12,500 --> 01:04:16,700
Where money's concerned,
you're as bottomless as the pit.
710
01:04:16,700 --> 01:04:19,800
My bottom's all right, thank you very much.
711
01:04:19,900 --> 01:04:22,300
I'll tell them the usual, you'll pay later.
712
01:04:25,500 --> 01:04:28,400
- Gabriel??
- Yes.
713
01:04:28,400 --> 01:04:31,000
When're you gonna finish me picture?
714
01:04:31,900 --> 01:04:36,700
- When I feel like it.
- You never feels like anything these days.
715
01:04:45,000 --> 01:04:48,600
He's put the armadilly in the garden
with the rest of 'em.
716
01:04:48,600 --> 01:04:51,400
By the way, that owl's outside.
717
01:04:51,500 --> 01:04:54,500
What's the matter with you?
You're jumpy as a bag of fleas.
718
01:04:54,600 --> 01:04:57,900
What does he want?
I don't want him in here!
719
01:04:58,000 --> 01:05:00,300
He's back again.
720
01:05:00,400 --> 01:05:02,800
Bring that horror in here and I'll leave.
721
01:05:02,900 --> 01:05:06,500
You give me the creeps,
you and that bleedin' boozer, Swinburne.
722
01:05:13,300 --> 01:05:14,900
How did it go?
723
01:05:25,800 --> 01:05:29,000
Smoothly. I took 'em out myself.
724
01:05:30,000 --> 01:05:35,000
It's a ghastly business.
I should never have let you persuade me.
725
01:05:35,100 --> 01:05:36,700
You wanted them.
726
01:05:37,100 --> 01:05:38,700
I need them.
727
01:05:40,400 --> 01:05:43,200
Then...take 'em.
728
01:05:46,400 --> 01:05:49,300
- They'll sell like hot cakes.
- They're poems!
729
01:05:51,300 --> 01:05:52,900
They're not pastries.
730
01:05:56,200 --> 01:06:00,500
I suppose you'll...you'll blab to all and sundry.
731
01:06:00,500 --> 01:06:02,600
Me? Hmm.
732
01:06:02,600 --> 01:06:05,600
I'm as discreet as the grave.
733
01:06:05,600 --> 01:06:10,800
So... Well, I've changed my mind.
734
01:06:26,000 --> 01:06:29,800
This is her picture as she was.
735
01:06:31,100 --> 01:06:33,500
It seems a thing to wonder on,
736
01:06:33,600 --> 01:06:35,400
As though mine image in the glass
737
01:06:35,500 --> 01:06:38,200
Should tarry when myself am gone.
738
01:06:39,100 --> 01:06:41,400
I gaze until she seems to stir,
739
01:06:42,400 --> 01:06:44,200
Until mine eyes almost aver
740
01:06:44,200 --> 01:06:47,300
That now, even now, the sweet lips part
741
01:06:47,400 --> 01:06:50,500
To breathe the words of the sweet heart -
742
01:06:51,600 --> 01:06:54,100
And yet the earth is over her.
743
01:06:55,800 --> 01:06:59,900
Alas, even such the thin-drawn ray
744
01:07:00,000 --> 01:07:02,900
That makes the prison depths more rude,
745
01:07:03,000 --> 01:07:05,900
The drip of water, night and day
746
01:07:06,000 --> 01:07:09,000
Giving tongue to solitude.
747
01:07:09,000 --> 01:07:13,900
Yet this, of all love's perfect prize remains,
748
01:07:14,000 --> 01:07:17,900
Save what in mournful guise
Takes counsel with my soul alone,
749
01:07:18,800 --> 01:07:22,100
Save what is secret and unknown,
750
01:07:22,200 --> 01:07:26,200
Below the earth, above the skies.
751
01:07:28,300 --> 01:07:31,900
Here with her face doth memory sit
752
01:07:32,000 --> 01:07:35,500
Meanwhile, and wait the day's decline,
753
01:07:35,500 --> 01:07:37,800
Till other eyes shall look from it,
754
01:07:38,700 --> 01:07:41,000
Eyes of the spirit's Palestine,
755
01:07:41,000 --> 01:07:44,600
Even than the old gaze tenderer:
756
01:07:44,700 --> 01:07:47,200
While hopes and aims long lost with her
757
01:07:47,300 --> 01:07:49,700
Stand round her image, side by side,
758
01:07:50,800 --> 01:07:53,500
Like tombs of pilgrims that have died
759
01:07:53,600 --> 01:07:57,100
About the Holy Sepulchre.
760
01:08:07,500 --> 01:08:10,100
(Abide With Me on hurdy-gurdy
drowns speech)
761
01:08:24,500 --> 01:08:27,500
Like to come and keep me company, guv?
762
01:08:27,600 --> 01:08:29,300
It ain't far.
763
01:08:44,500 --> 01:08:47,400
(Screams )
764
01:08:47,400 --> 01:08:49,400
Can't you treat anyone proper?!
765
01:08:49,500 --> 01:08:53,300
Come back! You shan't get away from me.
766
01:08:53,400 --> 01:08:55,900
I'll get you! Come back!
767
01:11:40,200 --> 01:11:45,000
Tempted as he was, Rossetti's plunge
into suicide was not by drowning.
768
01:11:45,000 --> 01:11:49,000
He chose the drug used by his wife,
laudanum.
769
01:11:49,100 --> 01:11:54,500
As always, his ex-mistress and present
housekeeper Fanny the Faithful Elephant
770
01:11:54,500 --> 01:12:00,900
is there to help him back, a little paralyzed,
into the gloom of his Chelsea house.
771
01:12:04,100 --> 01:12:07,300
You're a bleedin' sly one, ain't you, eh?
772
01:12:07,300 --> 01:12:10,700
- Go away.
- You have a visitor.
773
01:12:12,100 --> 01:12:15,400
- Ha! Well, if that's your attitude.
- Go away!
774
01:12:16,100 --> 01:12:18,600
He don't want to see you.
775
01:12:18,700 --> 01:12:20,200
Gabriel.
776
01:12:23,500 --> 01:12:28,400
Don't mind little old me. You carry on, girl.
I'm just part of the furniture.
777
01:12:28,500 --> 01:12:31,900
Well, here's summat you don't know.
He tried to kill his self, he did.
778
01:12:31,900 --> 01:12:35,700
And it was me what saved his life. Me.
Nursed him, I did.
779
01:12:35,800 --> 01:12:38,500
- Go away, you bitch.
- I will, I will.
780
01:12:38,600 --> 01:12:41,900
She can have you. Huh! Look at you.
781
01:12:42,000 --> 01:12:45,700
You can hardly walk, you can hardly see.
A blind cripple.
782
01:12:45,800 --> 01:12:47,900
Well, she's bleedin' welcome to you!
783
01:12:47,900 --> 01:12:50,300
I'll get that stuff out the way!
784
01:12:50,300 --> 01:12:52,400
That's a bloody disgrace!
785
01:12:52,500 --> 01:12:55,100
Well, here you are.
Cop hold of that, see how you like that!
786
01:12:55,200 --> 01:12:58,000
I'm fed up with bloody waiting on you
hand and foot.
787
01:12:58,000 --> 01:12:59,600
I'm just fed up with you!
788
01:13:03,200 --> 01:13:04,800
It's arranged.
789
01:13:05,000 --> 01:13:07,300
We've found a place near Oxford.
790
01:13:08,300 --> 01:13:10,500
It's ready and waiting for you.
791
01:13:11,600 --> 01:13:13,200
Waiting?
792
01:13:14,500 --> 01:13:16,800
For me?
793
01:13:16,900 --> 01:13:18,500
Hmm?
794
01:13:20,800 --> 01:13:24,600
But a web of gold is before her,
and therein by her shuttle wrought,
795
01:13:24,700 --> 01:13:29,100
The early days of the Volsungs,
and the war by the sea's rim fought,
796
01:13:29,200 --> 01:13:33,100
And the crowned queen over Sigmund,
and the Helper's pillared hall,
797
01:13:33,200 --> 01:13:37,100
And the golden babe uplifted
to the eyes of duke and thrall;
798
01:13:38,300 --> 01:13:42,400
And there was the slender stripling
by the knees of the Dwarf-folks' lord,
799
01:13:42,400 --> 01:13:46,200
And the gift of the ancient Gripir,
and the forging of the sword:
800
01:13:46,300 --> 01:13:50,300
And there were the coils of Fafnir,
and the hooded threat of death,
801
01:13:50,400 --> 01:13:56,100
and the king by the cooking fire,
and the fowl of the Glittering Heath;
802
01:13:56,100 --> 01:13:59,900
And there was the headless king-smith,
and the golden halls of the Worm,
803
01:14:00,000 --> 01:14:04,000
And the laden Greyfell
faring through the land of perished storm;
804
01:14:05,200 --> 01:14:09,200
And there was the head of Hindfell,
and the flames to the sky-floor driven;
805
01:14:09,300 --> 01:14:13,600
And there was the glittering shield-burg,
and the fallow bondage riven,
806
01:14:13,600 --> 01:14:18,800
And there was the wakening woman,
and the golden Volsung done;
807
01:14:18,900 --> 01:14:24,200
And they twain o'er the earthly kingdoms,
in the lonely evening sun.
808
01:14:50,600 --> 01:14:52,500
You haven't changed your mind about sharing?
809
01:14:52,600 --> 01:14:56,200
- No, why should I?
- You're the most changeable fellow I know.
810
01:14:56,300 --> 01:14:59,700
I shall like it here,
lacking in comforts though it is.
811
01:14:59,800 --> 01:15:02,600
Oh, comforts!
There's nothing less important.
812
01:15:03,400 --> 01:15:06,300
- Iceland?
- It's beyond me.
813
01:15:06,400 --> 01:15:11,500
You translate from the Italian and remain
indifferent to Italy. You've never been there!
814
01:15:11,600 --> 01:15:15,000
Do you think I can translate Icelandic sagas
and remain indifferent to Iceland?
815
01:15:15,100 --> 01:15:17,000
These Icelandic sagas say it all.
816
01:15:17,200 --> 01:15:20,200
And all within the compass
of a few hundred words. Unlike Dante.
817
01:15:20,200 --> 01:15:22,000
And unlike Dante, without poetry.
818
01:15:23,300 --> 01:15:28,000
That's the reason, and no other,
why I have decided to take a trip there.
819
01:15:29,200 --> 01:15:31,500
I shan't be taking her.
It's no place for a woman.
820
01:15:41,300 --> 01:15:44,900
Of Heaven or Hell I have no power to sing,
821
01:15:45,700 --> 01:15:48,300
I cannot ease the burden of your fears,
822
01:15:48,400 --> 01:15:51,300
or make quick-coming death a little thing,
823
01:15:52,400 --> 01:15:55,200
or bring again the pleasure of past years.
824
01:15:57,300 --> 01:15:59,300
You don't object to him sharing.
825
01:16:03,200 --> 01:16:04,800
It's a bit late now.
826
01:16:21,200 --> 01:16:23,900
This hour be her sweet body all my song.
827
01:16:25,000 --> 01:16:28,600
Now the same heartbeat
blends her gaze with mine,
828
01:16:28,700 --> 01:16:32,400
One parted fire, Love's silent countersign::
829
01:16:33,900 --> 01:16:37,400
Her arms lie wide open,
throbbing with their throng
830
01:16:37,500 --> 01:16:42,100
Of confluent pulses, bare and fair and strong::
831
01:16:42,100 --> 01:16:45,400
And her deep-freighted lips expect me now,
832
01:16:45,500 --> 01:16:47,800
Amidst the clustering hair
that shrines her brow
833
01:16:47,900 --> 01:16:53,200
Five kisses broad, her neck ten kisses long.
834
01:16:55,100 --> 01:16:58,700
And on his heart,
the weight of woe so pressed
835
01:16:58,800 --> 01:17:01,900
That he his wretched head could never hide,
836
01:17:02,000 --> 01:17:05,500
But needs must wander forth until he died.
837
01:17:06,300 --> 01:17:11,000
Ah, God, more full of horror seemed that place
838
01:17:11,000 --> 01:17:13,900
Than the world's curious eyes upon his face.
839
01:17:15,200 --> 01:17:20,100
For there he seemed to sleep,
that he might dream the worst of dreams.
840
01:17:20,200 --> 01:17:22,100
He seemed to be awake,
841
01:17:22,200 --> 01:17:25,500
That through them all
might pierce no hopeful gleam,
842
01:17:25,500 --> 01:17:28,400
That he the fearful chain might never break;:
843
01:17:29,300 --> 01:17:32,200
And shameful images his eyes must make
844
01:17:32,200 --> 01:17:35,300
That shuddering
he must call by his love's name,
845
01:17:36,200 --> 01:17:39,800
And on his lips must gather words of shame.
846
01:17:40,700 --> 01:17:44,500
And yet, indeed, if I must live alone,
847
01:17:44,600 --> 01:17:48,200
If fellowship be but an empty dream,
848
01:17:49,000 --> 01:17:52,500
Is there not left a world that is mine own?
849
01:17:53,700 --> 01:17:59,100
Am I not real if all else doth but seem?
850
01:18:01,800 --> 01:18:05,100
Yea, rather with what wealth
the world doth teem,
851
01:18:06,300 --> 01:18:08,300
When we are once content from us to cast
852
01:18:08,300 --> 01:18:13,600
the dreadful future and remorseful past.
853
01:18:15,700 --> 01:18:20,800
Jenny May and Janey Morris
give Gabriel the inspiration for new sonnets.
854
01:18:21,600 --> 01:18:24,200
Morris can sweat it out in Iceland,
855
01:18:24,300 --> 01:18:26,100
Fanny can peddle his paintings.
856
01:18:26,200 --> 01:18:29,900
A critic, anonymous,
can attack his newly published poems.
857
01:18:31,000 --> 01:18:34,800
For these clouds
beyond the clear skies of his earthly paradise,
858
01:18:34,900 --> 01:18:37,200
Gabriel gives not a damn.
859
01:18:37,200 --> 01:18:43,900
He savors only the joys, the innocence
and the bliss of happy family life.
860
01:18:43,900 --> 01:18:46,100
Please be my daddy.
861
01:18:48,900 --> 01:18:51,300
Can Mr. Rossetti adopt me too,
please, Mummy?
862
01:19:15,300 --> 01:19:19,000
Sometimes she is a child within mine arms,
863
01:19:20,000 --> 01:19:23,100
Cowering beneath dark wings
that love must chase,
864
01:19:23,900 --> 01:19:27,900
With still tears showering and averted face,
865
01:19:28,800 --> 01:19:31,600
Inexplicably fill'd with faint alarms::
866
01:19:33,000 --> 01:19:35,500
And oft, from mine own spirit's hurtling harms
867
01:19:35,500 --> 01:19:38,500
I crave the refuge of her deep embrace,
868
01:19:38,500 --> 01:19:41,400
Against all ills the fortified strong place
869
01:19:41,500 --> 01:19:45,400
And sweet reserve
of sovereign counter-charms.
870
01:19:45,400 --> 01:19:47,500
Would you like a child of your own?
871
01:19:50,800 --> 01:19:53,100
No.
872
01:19:53,200 --> 01:19:55,300
Suppose you had no choice?
873
01:19:58,100 --> 01:20:00,300
Do you see me as a father?
874
01:20:02,300 --> 01:20:04,500
No.
875
01:20:12,300 --> 01:20:15,300
(Rossetti) Don't leave me! Don't leave me!
876
01:20:16,800 --> 01:20:19,400
Don't leave me!
877
01:20:22,700 --> 01:20:26,400
What of her glass without her? The blank gray
878
01:20:26,500 --> 01:20:29,200
There where the pool is blind
of the moon's face.
879
01:20:30,100 --> 01:20:33,700
Her dress without her?
The tossed, empty space
880
01:20:33,800 --> 01:20:36,200
Of cloud-rack
whence the moon has passed away.
881
01:20:37,400 --> 01:20:40,000
Her past without her. Day's appointed sway
882
01:20:40,100 --> 01:20:44,000
Usurp'd by desolate night. Her pillow'd place
883
01:20:44,100 --> 01:20:47,600
Without her?
Tears, ah, meI For love's good grace,
884
01:20:47,700 --> 01:20:50,900
And cold forgetfulness of night or day.
885
01:20:51,500 --> 01:20:53,400
Janey has left him.
886
01:20:54,600 --> 01:20:57,300
His mind has become clouded with chloral.
887
01:20:58,600 --> 01:21:01,000
He hears and sees the dead.
888
01:21:01,100 --> 01:21:04,900
They wait on him, accusing, condemning,
889
01:21:05,000 --> 01:21:09,500
as he accuses and condemns himself...
endlessly.
890
01:21:11,100 --> 01:21:14,900
The lost days of my life, until today,
891
01:21:15,900 --> 01:21:19,900
What were they,
could I see them on the street
892
01:21:20,000 --> 01:21:23,600
Lie as they fell? Would they be ears of wheat
893
01:21:23,700 --> 01:21:26,500
Sown once for food but trodden into clay?
894
01:21:27,500 --> 01:21:30,400
Or golden coins squandered and still to pay?
895
01:21:31,600 --> 01:21:34,500
Or drops of blood dabbling the guilty feet?
896
01:21:35,800 --> 01:21:38,600
Or such spilt water as in dreams must cheat
897
01:21:38,700 --> 01:21:41,400
The throats of men in Hell, who thirst away?
898
01:21:42,400 --> 01:21:45,500
I do not see them here;: but after death
899
01:21:45,500 --> 01:21:48,200
God knows I know the faces I shall see,
900
01:21:49,000 --> 01:21:51,800
Each one a murdered self,
with a low last breath,
901
01:21:51,900 --> 01:21:54,700
''I am thyself. What has thou done to me?''
902
01:21:54,800 --> 01:21:58,500
And I, and I, thyself, (lo, each one saith,)
903
01:21:59,900 --> 01:22:03,600
''And thou thyself, to all eternityI''
904
01:22:41,400 --> 01:22:46,000
AhI Dear one, we were young so long,
905
01:22:46,000 --> 01:22:49,400
It seemed that youth would never go,
906
01:22:50,400 --> 01:22:52,900
For skies and trees were ever in song
907
01:22:53,000 --> 01:22:55,200
And water in singing flow
908
01:22:55,800 --> 01:22:58,400
In the days we never again shall know.
909
01:22:59,400 --> 01:23:02,100
Alas, so longI
910
01:23:02,200 --> 01:23:05,300
(Lizzy ) AhI Then was it all spring weather?
911
01:23:05,400 --> 01:23:11,900
Nay, but we were young and together.
912
01:23:14,700 --> 01:23:17,400
AhI Dear one, I've been old so long,
913
01:23:17,500 --> 01:23:20,800
It seems that age is loth to part,
914
01:23:20,800 --> 01:23:23,800
Though days and years have never a song,
915
01:23:23,900 --> 01:23:26,100
And oh, have they still the art
916
01:23:26,200 --> 01:23:28,800
That warmed the pulses of heart to heart?
917
01:23:30,400 --> 01:23:32,300
Alas, so longI
918
01:23:32,400 --> 01:23:35,900
(Lizzy ) AhI Then was it all Spring weather?
919
01:23:36,000 --> 01:23:42,400
Nay, but we were young and together.
920
01:23:46,400 --> 01:23:49,100
AhI Dear one, you've been dead so long,
921
01:23:50,000 --> 01:23:52,000
How long until we meet again,
922
01:23:53,200 --> 01:23:55,400
Where hours may never lose their song
923
01:23:55,500 --> 01:23:57,700
Nor flowers forget the rain
924
01:23:57,800 --> 01:24:00,600
In glad noonlight that never shall wane?
925
01:24:01,700 --> 01:24:05,000
Alas, so longI
926
01:24:10,800 --> 01:24:15,400
Ah! Shall it be then Spring weather?
927
01:24:17,300 --> 01:24:22,200
And ah! Shall we be young together?
928
01:24:23,900 --> 01:24:26,200
Too late, old man.
929
01:24:26,300 --> 01:24:28,500
You had your chance.
930
01:24:28,500 --> 01:24:31,400
So, till chloral kills you,
931
01:24:32,200 --> 01:24:34,200
console yourself with your bottle,
932
01:24:35,200 --> 01:24:36,600
and your muse.
933
01:24:36,700 --> 01:24:39,100
Oi! Rossetti!
934
01:24:41,700 --> 01:24:44,600
Don't drink the bleedin' lot yourself!
935
01:24:48,200 --> 01:24:50,200
Hey!
936
01:24:50,300 --> 01:24:52,900
You rotten bastard!
75577
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