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

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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.
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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

Sonnet 38 - First time he kissed me, he but only kissed

Sonnet 38 - First time he kissed me, he but only kissed

XXXVIII

First time he kissed me, he but only kissed
The fingers 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.'
405

Sonnet 34 - With the same heart, I said, I'll answer thee

Sonnet 34 - With the same heart, I said, I'll answer thee

XXXIV

With the same heart, I said, I'll answer thee
As those, when thou shalt call me by my name-
Lo, the vain promise! is the same, the same,
Perplexed and ruffled by life's strategy?
When called before, I told how hastily
I dropped my flowers or brake off from a game,
To run and answer with the smile that came
At play last moment, and went on with me
Through my obedience. When I answer now,
I drop a grave thought, break from solitude;
Yet still my heart goes to thee-ponder how-
Not as to a single good, but all my good!
Lay thy hand on it, best one, and allow
That no child's foot could run fast as this blood.
414

Sonnet 36 - When we met first and loved, I did not build

Sonnet 36 - When we met first and loved, I did not build

XXXVI

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.
424

Sonnet 30 - I see thine image through my tears to-night

Sonnet 30 - I see thine image through my tears to-night

XXX

I see thine image through my tears to-night,
And yet to-day I saw thee smiling. How
Refer the cause?-Beloved, is it thou
Or I, who makes me sad? The acolyte
Amid the chanted joy and thankful rite
May so fall flat, with pale insensate brow,
On the altar-stair. I hear thy voice and vow,
Perplexed, uncertain, since thou art out of sight,
As he, in his swooning ears, the choir's Amen.
Beloved, dost thou love? or did I see all
The glory as I dreamed, and fainted when
Too vehement light dilated my ideal,
For my soul's eyes? Will that light come again,
As now these tears come-falling hot and real?
422

Sonnet 32 - The first time that the sun rose on thine oath

Sonnet 32 - The first time that the sun rose on thine oath

XXXII

The first time that the sun rose on thine oath
To love me, I looked forward to the moon
To slacken all those bonds which seemed too soon
And quickly tied to make a lasting troth.
Quick-loving hearts, I thought, may quickly loathe;
And, looking on myself, I seemed not one
For such man's love!-more like an out-of-tune
Worn viol, a good singer would be wroth
To spoil his song with, and which, snatched in haste,
Is laid down at the first ill-sounding note.
I did not wrong myself so, but I placed
A wrong on thee. For perfect strains may float
'Neath master-hands, from instruments defaced,-
And great souls, at one stroke, may do and doat.
423

Sonnet 28 - My letters! all dead paper, mute and white!

Sonnet 28 - My letters! all dead paper, mute and white!

XXVIII

My letters! all dead paper, mute and white!
And yet they seem alive and quivering
Against my tremulous hands which loose the string
And let them drop down on my knee to-night.
This said,-he wished to have me in his sight
Once, as a friend: this fixed a day in spring
To come and touch my hand . . . a simple thing,
Yet I wept for it!-this, . . . the paper's light . . .
Said, Dear, I love thee; and I sank and quailed
As if God's future thundered on my past.
This said, I am thine-and so its ink has paled
With Iying at my heart that beat too fast.
And this . . . O Love, thy words have ill availed
If, what this said, I dared repeat at last!
451

Sonnet 26 - I lived with visions for my company

Sonnet 26 - I lived with visions for my company

XXVI

I lived with visions for my company
Instead of men and women, years ago,
And found them gentle mates, nor thought to know
A sweeter music than they played to me.
But soon their trailing purple was not free
Of this world's dust, their lutes did silent grow,
And I myself grew faint and blind below
Their vanishing eyes. Then THOU didst come-to be,
Beloved, what they seemed. Their shining fronts,
Their songs, their splendors (better, yet the same,
As river-water hallowed into fonts),
Met in thee, and from out thee overcame
My soul with satisfaction of all wants:
Because God's gifts put man's best dreams to shame.
420

Sonnet 24 - Let the world's sharpness, like a clasping knife

Sonnet 24 - Let the world's sharpness, like a clasping knife

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.
402

Sonnet 22 - When our two souls stand up erect and strong

Sonnet 22 - When our two souls stand up erect and strong

XXII

When our two souls stand up erect and strong,
Face to face, silent, drawing nigh and nigher,
Until the lengthening wings break into fire
At either curved point,-what bitter wrong
Can the earth do to us, that we should not long
Be here contented? Think. In mounting higher,
The angels would press on us and aspire
To drop some golden orb of perfect song
Into our deep, dear silence. Let us stay
Rather on earth, Beloved,-where the unfit
Contrarious moods of men recoil away
And isolate pure spirits, and permit
A place to stand and love in for a day,
With darkness and the death-hour rounding it.
441

Sonnet 20 - Beloved, my Beloved, when I think

Sonnet 20 - Beloved, my Beloved, when I think

XX

Beloved, my Beloved, when I think
That thou wast in the world a year ago,
What time I sat alone here in the snow
And saw no footprint, heard the silence sink
No moment at thy voice, but, link by link,
Went counting all my chains as if that so
They never could fall off at any blow
Struck by thy possible hand,-why, thus I drink
Of life's great cup of wonder ! Wonderful,
Never to feel thee thrill the day or night
With personal act or speech,-nor ever cull
Some prescience of thee with the blossoms white
Thou sawest growing! Atheists are as dull,
Who cannot guess God's presence out of sight.
368

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