Elizabeth Barrett Browning

Elizabeth Barrett Browning

1806–1861 · lived 55 years GB GB

Elizabeth Barrett Browning was a highly regarded English poet of the Victorian era. Known for her passionate love sonnets and her socially conscious verses, she developed a significant literary reputation despite physical ailments and family opposition. Her marriage to fellow poet Robert Browning was a celebrated literary romance.

n. 1806-03-06, Coxhoe Hall · m. 1861-06-29, Florença

54,428 Views

XXIV

XXIV


Let the world's sharpness, like a clasping knife,
Shut in upon itself and do no harm
In this close hand of Love, now soft and warm,
And let us hear no sound of human strife
After the click of the shutting. Life to life--
I lean upon thee, Dear, without alarm,
And feel as safe as guarded by a charm
Against the stab of worldlings, who if rife
Are weak to injure. Very whitely still
The lilies of our lives may reassure
Their blossoms from their roots, accessible
Alone to heavenly dews that drop not fewer,
Growing straight, out of man's reach, on the hill.
God only, who made us rich, can make us poor.
Read full poem
Bio

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.

Poems

122

Tears

Tears


THANK God, bless God, all ye who suffer not
More grief than ye can weep for. That is well--
That is light grieving ! lighter, none befell
Since Adam forfeited the primal lot.
Tears ! what are tears ? The babe weeps in its cot,
The mother singing, at her marriage-bell
The bride weeps, and before the oracle
Of high-faned hills the poet has forgot
Such moisture on his cheeks. Thank God for grace,
Ye who weep only ! If, as some have done,
Ye grope tear-blinded in a desert place

And touch but tombs,--look up I those tears will run
Soon in long rivers down the lifted face,
And leave the vision clear for stars and sun
467

Stanzas on the Death of Lord Byron

Stanzas on the Death of Lord Byron

He was, and is not! Graecia's trembling shore,
Sighing through all her palmy groves, shall tell
That Harold's pilgrimage at last is o'er—
Mute the impassioned tongue, and tuneful shell,
That erst was wont in noblest strains to swell—
Hush'd the proud shouts that rode Aegaea's wave!
For lo! the great Deliv'rer breathes farewell!
Gives to the world his mem'ry and a grave—
Expiring in the land he only lived to save!


Mourn, Hellas, mourn! and o'er thy widow'd brow,
For aye, the cypress wreath of sorrow twine;
And in thy new-form'd beauty, desolate, throw
The fresh-cull'd flowers on his sepulchral shrine.
Yes! let that heart whose fervour was all thine,
In consecrated urn lamented be!
That generous heart where genius thrill'd divine,
Hath spent its last most glorious throb for thee—
Then sank amid the storm that made thy children free!


Britannia's Poet! Graecia's hero, sleeps!
And Freedom, bending o'er the breathless clay,
Lifts up her voice, and in her anguish weeps!
For us, a night hath clouded o'er our day,
And hush'd the lips that breath'd our fairest lay.
Alas! and must the British lyre resound
A requiem, while the spirit wings away
Of him who on its strings such music found,
And taught its startling chords to give so sweet a sound!


The theme grows sadder — but my soul shall find
A language in those tears! No more — no more!
Soon, 'midst the shriekings of the tossing wind,
The 'dark blue depths' he sang of, shall have bore
Our all of Byron to his native shore!
His grave is thick with voices — to the ear
Murm'ring an awful tale of greatness o'er;
But Memory strives with Death, and lingering near,
Shall consecrate the dust of Harold's lonely bier!
547

Sonnets from the Portuguese iv

Sonnets from the Portuguese iv

IF thou must love me, let it be for naught
Except for love's sake only. Do not say,
'I love her for her smile--her look--her way

Of speaking gently,--for a trick of thought

That falls in well with mine, and certes brought
A sense of pleasant ease on such a day'-For
these things in themselves, Beloved, may

Be changed, or change for thee--and love, so wrought,
May be unwrought so. Neither love me for
Thine own dear pity's wiping my cheeks dry:
A creature might forget to weep, who bore
Thy comfort long, and lose thy love thereby!
But love me for love's sake, that evermore
Thou mayst love on, through love's eternity.
545

Sonnets from the Portuguese ii

Sonnets from the Portuguese ii

UNLIKE are we, unlike, O princely Heart!
Unlike our uses and our destinies.
Our ministering two angels look surprise

On one another, as they strike athwart

Their wings in passing. Thou, bethink thee, art
A guest for queens to social pageantries,
With gages from a hundred brighter eyes

Than tears even can make mine, to play thy part
Of chief musician. What hast thou to do
With looking from the lattice-lights at me--
A poor, tired, wandering singer, singing through
The dark, and leaning up a cypress tree?
The chrism is on thine head--on mine the dew-And
Death must dig the level where these agree.
465

Sonnet XXXVIII: First Time He Kissed Me

Sonnet XXXVIII: First Time He Kissed Me

First time he kissed me, he but only kissed
The finger of this hand wherewith I write;
And ever since, it grew more clean and white,
Slow to world-greetings, quick with its "Oh, list,"
When the angels speak. A ring of amethyst
I could not wear here, plainer to my sight,
Than that first kiss. The second passed in height
The first, and sought the forehead, and half missed,
Half falling on the hair. O beyond meed!
That was the chrism of love, which love's own crown,
With sanctifying sweetness, did precede.
The third upon my lips was folded down
In perfect, purple state; since when, indeed,
I have been proud and said, "My love, my own."
617

Sonnet XXXVII: Pardon, Oh, Pardon

Sonnet XXXVII: Pardon, Oh, Pardon

Pardon, oh, pardon, that my soul should make,
Of all that strong divineness which I know
For thine and thee, an image only so
Formed of the sand, and fit to shift and break.
It is that distant years which did not take
Thy sovranty, recoiling with a blow,
Have forced my swimming brain to undergo
Their doubt and dread, and blindly to forsake
Thy purity of likeness and distort
Thy worthiest love to a worthless counterfeit:
As if a shipwrecked Pagan, safe in port,
His guardian sea-god to commemorate,
Should set a sculptured porpoise, gills a-snort
And vibrant tail, within the temple gate.
431

Sonnet XXXVI: When We Met First

Sonnet XXXVI: When We Met First

When we met first and loved, I did not build
Upon the event with marble. Could it mean
To last, a love set pendulous between
Sorrow and sorrow? Nay, I rather thrilled,
Distrusting every light that seemed to gild
The onward path, and feared to overlean
A finger even. And, though I have grown serene
And strong since then, I think that God has willed
A still renewable fear ... O love, O troth ...
Lest these enclasped hands should never hold,
This mutual kiss drop down between us both
As an unowned thing, once the lips being cold.
And Love, be false! if he, to keep one oath,
Must lose one joy, by his life's star foretold.
419

Sonnet XXXV: If I Leave All for Thee

Sonnet XXXV: If I Leave All for Thee

If I leave all for thee, wilt thou exchange
And be all to me? Shall I never miss
Home-talk and blessings and the common kiss
That comes to each in turn, nor count it strange,
When I look up, to drop on a new range
Of walls and floors, another home than this?
Nay, wilt thou fill that place by me which is
Filled by dead eyes too tender to know change?
That's hardest. If to conquer love, has tried,
To conquer grief, tries more, as all things prove;
For grief indeed is love and grief beside.
Alas, I have grieved so I am hard to love.
Yet love me--wilt thou? Open thine heart wide,
And fold within the wet wings of thy dove.
423

Sonnet XXXIX: Because Thou Hast the Power

Sonnet XXXIX: Because Thou Hast the Power

Because thou hast the power and own'st the grace
To look through and behind this mask of me
(Against which years have beat thus blanchingly
With their rains), and behold my soul's true face,
The dim and weary witness of life's race,
Because thou hast the faith and love to see,
Through that same soul's distracting lethargy,
The patient angel waiting for a place
In the new Heavens,--because nor sin nor woe,
Nor God's infliction, nor death's neighbourhood,
Nor all which others viewing, turn to go,
Nor all of which makes me tired of all, self-viewed,--
Nothing repels thee,...Dearest, teach me so
To pour out gratitude, as thou dost, good!
415

Sonnet XXXIII: Yes, Call Me by My Pet-Name!

Sonnet XXXIII: Yes, Call Me by My Pet-Name!

Yes, call me by my pet-name! let me hear
The name I used to run at, when a child,
From innocent play, and leave the cowslips piled,
To glance up in some face that proved me dear
With the look of its eyes. I miss the clear
Fond voices which, being drawn and reconciled
Into the music of Heaven's undefiled,
Call me no longer. Silence on the bier,
While I call God--call God!--So let thy mouth
Be heir to those who are now exanimate.
Gather the north flowers to complete the south,
And catch the early love up in the late.
Yes, call me by that name,--and I, in truth,
With the same heart, will answer and not wait.
403

Quotes

33

Videos

50

Comments (0)

Share
Log in to post a comment.

No comments yet. Be the first to comment.