The Beautiful Prostitute

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Upon the first read of Rossetti’s poem Jenny, the prominent Victorian theme of morality and sexual transgression is addressed. Immediately within the first stanza, Rossetti reveals Jenny to be a prostitute, “fond of a kiss and fond of a guinea,” (“Jenny” 2) undoubtedly scorned by society for being impure by partaking in immoral acts for money. Interestingly however, through the repetition of the word “poor,” and instilling a weary tone in the poem, Rossetti exposes his own sympathy towards Jenny, going against society’s condemnation, believing her to be a “poor flower left torn,” (“Jenny” 14) a delicate woman trying to survive in an unforgiving, and hostile world. In the second stanza, the tone also becomes envious, as Rossetti acknowledges Jenny’s apparent sexual freedom. Rossetti expresses the desire to be free of his mind and of his work to go “dancing” (“Jenny” 32) and do as he wishes sprightly, like Jenny, who still enjoys “captive hours of youth.” (“Jenny” 25) Here a separation seems to have occurred between emotions and thought, as Rossetti compares his mind “so full of books,” (“Jenny” 22) to Jenny’s, which is “a change from [his].” (“Jenny” 21) However, this implies that Jenny may not be considered intellectual due to her lifestyle; another naive stereotype imposed by society, when really it is that nobody truly knows what Jenny is thinking. Not even Rossetti is able to understand Jenny’s inner most thoughts; therefore, he looks to the emotional connection and her aesthetics for inspiration. Rossetti is using this technique to put an emphasis on face value just like the Victorians of his time. Beauty is thoroughly emphasized because it is, for many artists like Raffael or Da Vinci, the inspiration for art (“Jenny” 237). Even for Rossetti, Jenny’s outward appearance inspires him to think openly about life, as she lay on his knee resting. His infatuation with Jenny’s beauty, allows him to view her as pure, and innocent like a virginal flower lily, and not as a prostitute. In this way, art does not discriminate or judge, it merely portrays the ideal beauty. Unfortunately, he knows other proper Victorian women do not see Jenny as equal or decent; therefore, Rossetti repeats the lines, “of the same lump (it has been said)/ For honour and dishonour made, / Two sister vessels. Here is one,” (“Jenny” 182-4) to emphasize Jenny’s feminine equality. He even goes as far to include his own cousin, Nell, whom is inherently beautiful just like Jenny, to further prove his point that they are both women, no matter what the circumstances. Furthermore, Rossetti compares his cousin’s life to Jenny’s to provoke within the reader questions, is the life of a prostitute chosen? If it isn’t, is society to blame? Thus, Rossetti refuses to appease to society’s idea that Jenny is a “fall’n” (“Jenny” 207) woman, who chose to disgrace herself in order to live. Even though Rossetti is torn to acknowledge both views due to his social rank within the community, his strong internal thoughts are conveyed to ensure his deepest sympathies for Jenny’s tragic disposition.