Poems List

A Sea-Side Walk

A Sea-Side Walk

We walked beside the sea,
After a day which perished silently
Of its own glory---like the Princess weird
Who, combating the Genius, scorched and seared,
Uttered with burning breath, 'Ho! victory!'
And sank adown, an heap of ashes pale;


So runs the Arab tale.

The sky above us showed
An universal and unmoving cloud,
On which, the cliffs permitted us to see
Only the outline of their majesty,
As master-minds, when gazed at by the crowd!
And, shining with a gloom, the water grey

Swang in its moon-taught way.

Nor moon nor stars were out.
They did not dare to tread so soon about,
Though trembling, in the footsteps of the sun.
The light was neither night's nor day's, but one
Which, life-like, had a beauty in its doubt;
And Silence's impassioned breathings round

Seemed wandering into sound.

O solemn-beating heart
Of nature! I have knowledge that thou art
Bound unto man's by cords he cannot sever---
And, what time they are slackened by him ever,
So to attest his own supernal part,
Still runneth thy vibration fast and strong,

The slackened cord along.

For though we never spoke
Of the grey water anal the shaded rock,---
Dark wave and stone, unconsciously, were fused
Into the plaintive speaking that we used,
Of absent friends and memories unforsook;
And, had we seen each other's face, we had

Seen haply, each was sad.
646

A Woman's Shortcomings

A Woman's Shortcomings

She has laughed as softly as if she sighed,
She has counted six, and over,
Of a purse well filled, and a heart well tried -
Oh, each a worthy lover!
They "give her time"; for her soul must slip
Where the world has set the grooving;
She will lie to none with her fair red lip:
But love seeks truer loving.


She trembles her fan in a sweetness dumb,
As her thoughts were beyond recalling;
With a glance for one, and a glance for some,
From her eyelids rising and falling;
Speaks common words with a blushful air,
Hears bold words, unreproving;
But her silence says - what she never will swear -
And love seeks better loving.


Go, lady! lean to the night-guitar,
And drop a smile to the bringer;
Then smile as sweetly, when he is far,
At the voice of an in-door singer.
Bask tenderly beneath tender eyes;
Glance lightly, on their removing;
And join new vows to old perjuries -
But dare not call it loving!


Unless you can think, when the song is done,
No other is soft in the rhythm;
Unless you can feel, when left by One,
That all men else go with him;
Unless you can know, when unpraised by his breath,
That your beauty itself wants proving;
Unless you can swear "For life, for death!" -
Oh, fear to call it loving!


Unless you can muse in a crowd all day
On the absent face that fixed you;
Unless you can love, as the angels may,
With the breadth of heaven betwixt you;
Unless you can dream that his faith is fast,
Through behoving and unbehoving;
Unless you can die when the dream is past -
Oh, never call it loving!
503

A Curse For A Nation

A Curse For A Nation

I heard an angel speak last night,

And he said 'Write!
Write a Nation's curse for me,
And send it over the Western Sea.'

I faltered, taking up the word:

'Not so, my lord!
If curses must be, choose another
To send thy curse against my brother.

'For I am bound by gratitude,

By love and blood,
To brothers of mine across the sea,
Who stretch out kindly hands to me.'

'Therefore,' the voice said, 'shalt thou write

My curse to-night.
From the summits of love a curse is driven,
As lightning is from the tops of heaven.'

'Not so,' I answered. 'Evermore

My heart is sore
For my own land's sins: for little feet
Of children bleeding along the street:

'For parked-up honors that gainsay

The right of way:
For almsgiving through a door that is
Not open enough for two friends to kiss:

'For love of freedom which abates

Beyond the Straits:
For patriot virtue starved to vice on
Self-praise, self-interest, and suspicion:

'For an oligarchic parliament,

And bribes well-meant.
What curse to another land assign,
When heavy-souled for the sins of mine?'

'Therefore,' the voice said, 'shalt thou write

My curse to-night.
Because thou hast strength to see and hate
A foul thing done within thy gate.'

'Not so,' I answered once again.

'To curse, choose men.
For I, a woman, have only known
How the heart melts and the tears run down.'

'Therefore,' the voice said, 'shalt thou write
My curse to-night.


Some women weep and curse, I say
(And no one marvels), night and day.

'And thou shalt take their part to-night,

Weep and write.
A curse from the depths of womanhood
Is very salt, and bitter, and good.'

So thus I wrote, and mourned indeed,

What all may read.
And thus, as was enjoined on me,
I send it over the Western Sea.

The Curse

Because ye have broken your own chain

With the strain
Of brave men climbing a Nation's height,
Yet thence bear down with brand and thong

On souls of others, -- for this wrong
This is the curse. Write.

Because yourselves are standing straight

In the state
Of Freedom's foremost acolyte,
Yet keep calm footing all the time

On writhing bond-slaves, -- for this crime
This is the curse. Write.

Because ye prosper in God's name,

With a claim
To honor in the old world's sight,
Yet do the fiend's work perfectly

In strangling martyrs, -- for this lie
This is the curse. Write.

Ye shall watch while kings conspire
Round the people's smouldering fire,

And, warm for your part,
Shall never dare -- O shame!
To utter the thought into flame

Which burns at your heart.
This is the curse. Write.


Ye shall watch while nations strive
With the bloodhounds, die or survive,

Drop faint from their jaws,
Or throttle them backward to death;
And only under your breath

Shall favor the cause.
This is the curse. Write.



Ye shall watch while strong men draw
The nets of feudal law

To strangle the weak;
And, counting the sin for a sin,
Your soul shall be sadder within

Than the word ye shall speak.
This is the curse. Write.


When good men are praying erect
That Christ may avenge His elect

And deliver the earth,
The prayer in your ears, said low,
Shall sound like the tramp of a foe

That's driving you forth.
This is the curse. Write.


When wise men give you their praise,
They shall praise in the heat of the phrase,

As if carried too far.
When ye boast your own charters kept true,
Ye shall blush; for the thing which ye do

Derides what ye are.
This is the curse. Write.


When fools cast taunts at your gate,
Your scorn ye shall somewhat abate

As ye look o'er the wall;
For your conscience, tradition, and name
Explode with a deadlier blame

Than the worst of them all.
This is the curse. Write.


Go, wherever ill deeds shall be done,
Go, plant your flag in the sun

Beside the ill-doers!
And recoil from clenching the curse
Of God's witnessing Universe

With a curse of yours.
This is the curse. Write.
498

A Man's Requirements

A Man's Requirements

I

Love me Sweet, with all thou art,
Feeling, thinking, seeing;
Love me in the lightest part,
Love me in full being.


II


Love me with thine open youth
In its frank surrender;
With the vowing of thy mouth,
With its silence tender.


III


Love me with thine azure eyes,
Made for earnest grantings;
Taking colour from the skies,
Can Heaven's truth be wanting?


IV


Love me with their lids, that fall
Snow-like at first meeting;
Love me with thine heart, that all
Neighbours then see beating.


V


Love me with thine hand stretched out
Freely -- open-minded:
Love me with thy loitering foot, --
Hearing one behind it.


VI


Love me with thy voice, that turns
Sudden faint above me;
Love me with thy blush that burns
When I murmur 'Love me!'


VII


Love me with thy thinking soul,
Break it to love-sighing;
Love me with thy thoughts that roll
On through living -- dying.


VIII


Love me in thy gorgeous airs,



When the world has crowned thee;
Love me, kneeling at thy prayers,
With the angels round thee.


IX


Love me pure, as muses do,
Up the woodlands shady:
Love me gaily, fast and true,
As a winsome lady.


X


Through all hopes that keep us brave,
Farther off or nigher,
Love me for the house and grave,
And for something higher.


XI


Thus, if thou wilt prove me, Dear,
Woman's love no fable,
I will love thee -- half a year --
As a man is able.
552

Now he muses deep the meaning of the Heaven-words as they come.

Now he muses deep the meaning of the Heaven-words as they come.

Speak not! he is consecrated--Breathe
no breath across his eyes.
Lifted up and separated,
On the hand of God he lies,
In a sweetness beyond touching---held in cloistral sanctities.

Could ye bless him---father---mother ?
Bless the dimple in his cheek?
Dare ye look at one another,
And the benediction speak?
Would ye not break out in weeping, and confess yourselves too weak?

He is harmless---ye are sinful,--Ye
are troubled---he, at ease:
From his slumber, virtue winful
Floweth outward with increase---
Dare not bless him! but be blessed by his peace---and go in peace.
459

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Identification and basic context

Elizabeth Barrett Browning was an influential English poet of the Victorian era. She is best known for her collection 'Sonnets from the Portuguese' and her long poem 'Aurora Leigh'.

Childhood and education

Born into a wealthy family, Elizabeth received an extensive education, including classical languages, which was unusual for women at the time. She was a precocious reader and writer from a young age, though her health was often delicate.

Literary trajectory

Barrett Browning began publishing poetry in her youth. Her 'Poems' (1844) brought her considerable attention. Her marriage to Robert Browning in 1846 marked a new phase, and they moved to Italy. Her masterpiece, 'Aurora Leigh', a novel in verse, was published in 1857, solidifying her reputation.

Works, style, and literary characteristics

Her major works include 'Sonnets from the Portuguese', 'Aurora Leigh', 'A Drama of Exile', and 'Casa Guidi Windows'. Her poetry often explored themes of love, religion, social justice, and politics. Her style is characterized by intellectual depth, emotional intensity, and a rich, often complex, use of language and imagery. She engaged with contemporary social issues, such as slavery and child labor.

Cultural and historical context

She lived during a period of significant social and political change in Britain, the height of the Victorian era. She was part of a literary circle that included figures like Alfred Tennyson and John Ruskin. Her sympathetic views towards Italian unification (Risorgimento) are evident in some of her works.

Personal life

Her relationship with her father was strained, particularly after he disapproved of her engagement to Robert Browning. Their clandestine marriage and subsequent move to Italy were significant events. Her health issues, including chronic respiratory problems, profoundly impacted her life and possibly her poetry.

Recognition and reception

Barrett Browning was one of the most famous and respected poets of her time, even considered by some as a contender for the Poet Laureateship. Her work was widely read and admired by critics and the public alike.

Influences and legacy

She was influenced by poets like John Milton and William Wordsworth. Her 'Sonnets from the Portuguese' are considered among the greatest love poems in the English language. 'Aurora Leigh' was groundbreaking for its blend of social commentary and poetic narrative, influencing later female writers.

Interpretation and critical analysis

Her work is often studied for its feminist undertones, its engagement with political issues, and its exploration of personal and spiritual themes.

Curiosities and lesser-known aspects

She was addicted to laudanum for much of her adult life, initially prescribed for her health problems.

Death and memory

She died in Florence, Italy, and is buried in the English Cemetery there. Her legacy is cemented as one of the most important poets of the 19th century.