Pre Raphelitism was originally used for paintings in imitations of the great Italian painters, before the time of Raphael. Taking predecessors of Raphael as models, some German artists organised a group with an aim to replace the reigning academic style by a return to the medieval simplicity and purity. This was the starting of the "Pre Raphaelite Brotherhood" group in England in 1848 with seven young painters namely, D.G.Rossetti, William Rossetti, William Holman Hunt, Thomas Woolner, F.G.Stevens, J. Cettinson and J. E. Millians. Their chief purpose was to restore simplicity, individuality and naturalness in art to make it free, true and graceful : arts of Giottos, Bellum and Fra Angelica serves as their models.

Pre Raphaelite Poetry

Following the ideals of the " Pre Raphaelite Brotherhood" group some poets of the Victorian Age started a literary movement, from where emerges the "Pre Raphaelite Poetry" with the basic endeavour to unify poetry and painting. Leading Pre Raphaelite poets includes D.G.Rossetti, C.G.Rossetti, William Morris, Algernon Swinburne and Coventry Patmore.
Pre Raphelitism is found primarily struck in poetry in its pictorial representation by words. Pre Raphaelite poets are all word painters. D.G.Rossetti's "The Blessed Demozel" typifies this pictorial quality of them. Here, we find the presentation of the damsel with the three lillies in her hand and the seven stars in her hair as,
               " She had three lillies in her hand,
                 And the stars in her hair were seven".
His " The House of Life" is also a fine specimen of this poetic art. Works of other poets of this trend also has much of the pictorial charm of Pre Raphaelite poetry as is evident in William Morris narrative in verse "The Early Paradise". 

Characteristics of Pre Raphaelite poetry

Some aspects of romanticism are also traced in Pre Raphaelite poetry . One such traits is it's love for beauty. In this respect, the Pre Raphaelite poets are the followers of the great poetic creed of Keats. Though they lack Keatsian serenity, yet Keatsian love for beauty is a well traced feature of their compositions. They also appeared as an escapist and this is perceived in their fondness for the middle ages. This interest in medievalism also constitute another romantic aspect of Pre Raphelitism.
Another chief feature of Pre Raphaelite poetry is its melanchony note. A tender note of melanchony characterises their romantic aspiration and adds to their poetic appeal.
Thus, we may conclude that, with the emergence of Pre Raphelitism, poetry is found released from the spiritual debates as well as moral conflicts of the Victorian world and taken to the realm of pure art- therein lies the significance of Pre Raphaelite poetry.
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