Up-Hill

Question 1

Q&A

Answer 1

The regular ABAB rhyme scheme separates the traveler from the guide. The questions might indicate Rossetti’s own doubt regarding her faith, if the journey represents the path to heaven, and this uncertainty of what lies in store at the end of this journey reflects the unease in the Victorian era regarding religion and the afterlife. Yet, this question and answer format is common in devotional poems, and perhaps encourages the reader to contemplate their own answers to the question - Rossetti may be attempting to appease the uncertainty felt in Victorian society, as science began to overtake faith in religion.

Question 2

Wind

Answer 2

‘Does the road wind up-hill?’

The meter starts with a trochee and shifts into alternating iambic pentameter to create a consistent pace that mimics the narrator’s steady up-hill climb. This indicates the journey to be one unchanging path, perhaps reassuring the reader that it doesn’t have to be difficult, perhaps alluding that religion doesn’t have to be difficult. The journey may be symbolic of the upward progression of the soul, a spiritual interpretation, or may be metaphorical of the path that life take to the end - both journey’s explore the way up, as well as the figurative afterlife. However, the first line suggests that the road does ‘wind’, as if there are many twists and corners in a person’s faith, characteristic of Rossetti, who often appears certain, and then doubts, her religion. Despite this confusion, Rossetti seems to imply that the road can still lead to the same place - the significance of this extensive metaphor lies in the danger of falling off the righteous path, which Rossetti indirectly focuses on by showing how rewarding the right path is.

Question 3

Inn

Answer 3

‘May not the darkness hide it from my face?’
‘You cannot miss that inn.’

The guide emphasizes that the ‘inn’ can’t be missed in the dark, indicating it to be lit up, a symbol of light that represents the rewarding good to be gained: the inn is therefore metaphorical of heaven, especially as the Bible claims heaven to be ‘a house with many rooms’, Rossetti’s strong Christian faith playing into her portrayal of heaven. The darkness surrounding the upward climb, hiding the path and preventing the destination of heaven, signifies the sin and temptation that prevents people from following the path. However Rossetti avoids this confrontation by not focusing on hell directly in this poem, and ends with ‘beds for all that come’ - by implying that everybody has a chance to find heaven, Rossetti encourages them to focus on their belief and the goal, rather than any bad repercussions in Christianity. In this sense, the poem is rather idealistic about her faith, and could suggest a pre-Raphaelite influence, where there is an attempt to revert back to religion in the medieval period, and avoid the more realistic Victorian era.

Question 4

Knock

Answer 4

‘Then I must knock’

This indicates the Christian idea of repentance, through a confession of sin, before entering heaven - the knocking symbolizes asking permission, perhaps barring yourself to God to be judged, and then permitted into heaven depending on your faith, and your sins, of course. Rossetti accepted the doctrine of soul sleep, essentially believing that there is an initial judgment before death, and then the soul is dormant until the final judgement - the idea of a ‘bed’, and so rest and preparation highlights this concept, and yet this doctrine is in contrast to traditional Christian views: perhaps Rossetti’s goal for this devotional poem is so encourage the doctrine, a theory that was considered unusual among Victorian society.