An Analysis of Lilith (Body's Beauty)First published in 1868 in Swinburne's review pamphlet, 'Notes on the Exhibition of the Royal Academy', it was written on sonnet titled "Lilith" to accompany the painting "Lady Lilith". The poem and the picture appeared together with Rossetti's painting "Sibylla Palmifera" and the sonnet "The Beauty of the Soul", which was written for it. In 1870, both of these poems were published in the "Picture Sonnets" section of Rossetti's Poems. In 1881, however, "it occurred to Rossetti to contrast the two as representatives of carnal and spiritual beauty," and so he moved them to "The House of Life" (Baum 181). Lilith's sonnet was later renamed "The Beauty of the Body" to highlight the contrast between it and "The Beauty of the Soul", and the two were placed sequentially in the "House of Life" (sonnets number 77 and 78). Since Rossetti originally called the sonnet "Lilith" and only changed the name to highlight the contrast between it and "Soul's Beauty", this study will refer to it by its original name. "Lilith" reads as follows: Of Adam's first wife, Lilith, it is said (the witch he loved before the gift of Eve) that, before the serpent, her sweet tongue could deceive, and her enchanted hair was the first gold . And still she sits, young while the earth is old, and, subtly contemplative, draws men to look upon the bright web she can weave, while heart, body, and life are in her grasp. The rose and the poppy are her flower; for where is not found, O Lilith, the one who spreads perfume, and soft kisses and sweet sleep trap? Here you are! as that young man's eyes burned in your eyes, so your spell passed through him, and left his straight neck bent, and around his heart a strangled golden hair. (Collected Works, 216). Much like “Lady Lilith,” “Lilith” celebrates the pleasures of physicality. As an enchantress, she "lures men to look upon the bright web she can weave," but she does not invite them to be mere voyeurs of her charms (line 7). Instead, he invites them to him and then entangles them in his "web" of physical beauty, ultimately causing their death (line 8). “Subtly contemplative of herself,” a phrase that echoes Pater's famous description of the “Mona Lisa,” highlights Lilith's attitude of “voluptuous self-applause,” an attitude so visually evident in Rossetti's painting (Baum 185).