Editing Lilith (section)

=== In English media ===
[[File:Lady-Lilith.jpg|thumb|''[[Lady Lilith]]'' by [[Dante Gabriel Rossetti]] (1866–1868, 1872–1873)]]
The [[Pre-Raphaelite Brotherhood]], which developed around 1848,<ref name=feminism/> were greatly influenced by Goethe's work on the theme of Lilith. In 1863, [[Dante Gabriel Rossetti]] of the Brotherhood began painting what would later be his first rendition of ''[[Lady Lilith]]'', a painting he expected to be his "best picture hitherto".<ref name=feminism/> [[Symbol]]s appearing in the painting allude to the "femme fatale" reputation of the Romantic Lilith: [[poppy|poppies]] (death and cold) and white [[rose]]s (sterile passion). Accompanying his ''Lady Lilith'' painting from 1866, Rossetti wrote a [[sonnet]] entitled ''Lilith'', which was first published in Swinburne's pamphlet-review (1868), ''Notes on the Royal Academy Exhibition''.

{{poemquote|Of Adam's first wife, Lilith, it is told
(The witch he loved before the gift of Eve,)
That, ere the snake's, 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 of herself contemplative,
Draws men to watch the bright web she can weave,
Till heart and body and life are in its hold.
The rose and poppy are her flower; for where
Is he not found, O Lilith, whom shed scent
And soft-shed kisses and soft sleep shall snare?
Lo! As that youth's eyes burned at thine, so went
Thy spell through him, and left his straight neck bent
And round his heart one strangling golden hair.|''Collected Works'', 216}}

The poem and the picture appeared together alongside Rossetti's painting ''Sibylla Palmifera'' and the sonnet ''Soul's Beauty''. In 1881, the ''Lilith'' sonnet was renamed "''Body's Beauty''" in order to contrast it and ''Soul's Beauty''. The two were placed sequentially in ''The House of Life'' collection (sonnets number 77 and 78).<ref name=feminism/>

Rossetti wrote in 1870:
{{blockquote|Lady [Lilith] ... represents a Modern Lilith combing out her abundant golden hair and gazing on herself in the glass with that self-absorption by whose strange fascination such natures draw others within their own circle.|Rossetti, W. M. ii.850, D. G. Rossetti's emphasis<ref name=feminism/>}}

This is in accordance with Jewish folk tradition, which associates Lilith both with long hair (a symbol of dangerous feminine seductive power in [[Jewish]] culture), and with possessing women by entering them through mirrors.{{sfnp|Schwartz|1988}}

The [[Victorian literature|Victorian]] poet [[Robert Browning]] re-envisioned Lilith in his poem "Adam, Lilith, and Eve". First published in 1883, the poem uses the traditional myths surrounding the triad of Adam, Eve, and Lilith. Browning depicts Lilith and Eve as being friendly and complicitous with each other, as they sit together on either side of Adam. Under the threat of death, Eve admits that she never loved Adam, while Lilith confesses that she always loved him:

{{poemquote|As the worst of the venom left my lips,
I thought, 'If, despite this lie, he strips
The mask from my soul with a kiss — I crawl
His slave, — soul, body, and all!|Browning 1098}}

Browning focused on Lilith's emotional attributes, rather than that of her ancient demon predecessors.<ref>Seidel, Kathryn Lee. [http://weberstudies.weber.edu/archive/archive%20A%20%20Vol.%201-10.3/vol.%2010.2/10.2Seidel.htm The Lilith Figure in Toni Morrison's ''Sula'' and Alice Walker's ''The Color Purple''] {{Webarchive|url=https://web.archive.org/web/20190806031841/http://weberstudies.weber.edu/archive/archive%20A%20%20Vol.%201-10.3/vol.%2010.2/10.2Seidel.htm |date=6 August 2019 }}</ref>

Scottish author [[George MacDonald]] also wrote a fantasy novel entitled ''[[Lilith (novel)|Lilith]]'', first published in 1895. MacDonald employed the character of Lilith in service to a spiritual drama about sin and redemption, in which Lilith finds a hard-won salvation. Many of the traditional characteristics of Lilith mythology are present in the author's depiction: Long dark hair, pale skin, a hatred and fear of children and babies, and an obsession with gazing at herself in a mirror. MacDonald's Lilith also has vampiric qualities: she bites people and sucks their blood for sustenance.

Australian poet and scholar [[Christopher John Brennan]] (1870–1932), included a section titled "Lilith" in his major work "Poems: 1913" (Sydney: G. B. Philip and Son, 1914). The "Lilith" section contains thirteen poems exploring the Lilith myth and is central to the meaning of the collection as a whole.

[[C. L. Moore]]'s 1940 story ''Fruit of Knowledge'' is written from Lilith's point of view. It is a re-telling of the [[Fall of Man]] as a [[love triangle]] between Lilith, Adam and Eve – with Eve's eating the forbidden fruit being in this version the result of misguided manipulations by the jealous Lilith, who had hoped to get her rival discredited and destroyed by God and thus regain Adam's love.

British poet [[John Siddique]]'s 2011 collection ''Full Blood'' has a suite of 11 poems called ''The Tree of Life'', which features Lilith as the divine feminine aspect of God. A number of the poems feature Lilith directly, including the piece ''Unwritten'' which deals with the spiritual problem of the feminine being removed by the scribes from ''The Bible.''

Lilith is also mentioned in ''[[The Lion, the Witch and the Wardrobe]]'', by [[C. S. Lewis]]. The character [[Mr. and Mrs. Beaver|Mr. Beaver]] ascribes the ancestry of the main antagonist, Jadis the [[White Witch]], to Lilith.<ref>''The Lion, the Witch, and Wardrobe'', Collier Books (paperback, Macmillan subsidiary), 1970, pg. 77.</ref>

"Lilith" is a poem by Vladimir Nabokov, written in 1928.  Many have connected it to Lolita, but Nabokov adamantly denies this: "Intelligent readers will abstain from examining this impersonal fantasy for any links with my later fiction."<ref>Vladimir Nabokov "Collected Poems" edited and introduced by Thomas Karshan, Penguin Books, c2012.</ref>