The reader can see in “The Blessed Damozel” the expression of an ancient and well-known theme: the desire of an isolated, separated lover to achieve unity with the beloved. Rossetti has framed this vision as a reverie, a daydream, a wish-fulfilling dream in the mind of a lover. The heart of the poem is the ironic conflict between the earthly bodily desire and the tradition that heaven is a place of disembodied souls, comforted and joyful in the presence of God. This irony is emphasized by the poem’s religious framework.
The earthly, fleshly dimension of the lover in heaven is unconsciously revealed in several places in the poem: Her bosom “warms” the bar of heaven (line 46); she imagines taking her lover’s hand (line 75), lying together in the shadow of the mystic tree (lines 85 to 86), laying her cheek against his (line 116), and, finally, living in heaven “as once on earth” (line 129).
These are all images of touching in the earthly sense. Yet, by the standards of medieval theology—which the whole framework of the poem implies—she ought to be contemplating the joy of God and exhorting her lover to lay aside grief and remember that she now enjoys the real reward of life: eternal life with God.
The Christian imagery, which is largely derived from Dante and other medieval Italian poets, is used decoratively and in this context does not support the sensuous desires of the lover. As much as Rossetti tried to emulate the austere spiritual idealization of Dante, his own sensuousness prevented him from achieving it.
The heavenly lover yearns passionately, intensely, for her earthly companion. In her yearning, she moves from a vision of their reunion, to hope of everlasting unity, and finally to doubt and despair. The void between heaven and earth is immense. What is emphasized is the separateness of the lovers: The wish is not the thing itself; the traditional Christian sops about being in heaven hold no comfort for the bereaved lover, for without the beloved, the heaven becomes a hell.