Elizabeth Barrett Browning was an English poet of the Victorian era, popular in Britain and the United States during her lifetime.
Born in County Durham, the eldest of 12 children, Elizabeth Barrett wrote poetry from the age of eleven. Her mother's collection of her poems forms one of the largest extant collections of juvenilia by any English writer. At 15 she became ill, suffering intense head and spinal pain for the rest of her life. Later in life she also developed lung problems, possibly tuberculosis. She took laudanum for the pain from an early age, which is likely to have contributed to her frail health.
In the 1840s Elizabeth was introduced to literary society through her cousin, John Kenyon. Her first adult collection of poems was published in 1838 and she wrote prolifically between 1841 and 1844, producing poetry, translation and prose. She campaigned for the abolition of slavery and her work helped influence reform in the child labour legislation. Her prolific output made her a rival to Tennyson as a candidate for poet laureate on the death of Wordsworth.
Elizabeth's volume Poems brought her great success, attracting the admiration of the writer Robert Browning. Their correspondence, courtship and marriage were carried out in secret, for fear of her father's disapproval. Following the wedding she was indeed disinherited by her father. The couple moved to Italy in 1846, where she would live for the rest of her life. They had one son, Robert Wiedeman Barrett Browning, whom they called Pen. She died in Florence in 1861. A collection of her last poems was published by her husband shortly after her death.
Elizabeth's work had a major influence on prominent writers of the day, including the American poets Edgar Allan Poe and Emily Dickinson. She is remembered for such poems as "How Do I Love Thee?" and Aurora Leigh .
Wikipedia
“Whoso loves
Believes the impossible.”
Book V.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
Variant: Whoso loves
Believes the impossible.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
Context: And truly, I reiterate,.. nothing's small!
No lily-muffled hum of a summer-bee,
But finds some coupling with the spinning stars;
No pebble at your foot, but proves a sphere;
No chaffinch, but implies the cherubim:
And, — glancing on my own thin, veined wrist, —
In such a little tremour of the blood
The whole strong clamour of a vehement soul
Doth utter itself distinct. Earth's crammed with heaven,
And every common bush afire with God:
But only he who sees, takes off his shoes,
The rest sit round it, and pluck blackberries,
And daub their natural faces unaware
More and more, from the first similitude.
Bk. VII, l. 812-826.
“If thou must love me, let it be for nought
Except for love's sake only.”
No. XIV
Source: Sonnets from the Portuguese (1850)
Context: If thou must love me, let it be for nought
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 may'st love on, through love's eternity.
No. LXIII
Sonnets from the Portuguese (1850)
Context: How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints,—I love thee with the breath,
Smiles, tears, of all my life! —and, if God choose,
I shall but love thee better after death.
“I love thee to the depth and breadth and height my soul can reach.”
No. LXIII
Sonnets from the Portuguese (1850)
Variant: How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach
Context: How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
Context: How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints,—I love thee with the breath,
Smiles, tears, of all my life! —and, if God choose,
I shall but love thee better after death.
Source: The Letters of Robert Browning and Elizabeth Barret Barrett 1845-1846 Vol I
Source: A Little Book Of Love Poems
Rhyme of the Duchess; reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 514.
“How do I love thee? Let me count the ways.”
Source: Selected Poems
“Earth's crammed with heaven…
But only he who sees, takes off his shoes.”
Source: Aurora Leigh
“But love me for love's sake, that evermore
Thou may'st love on, through love's eternity”
No. XIV
Sonnets from the Portuguese (1850)
Context: If thou must love me, let it be for nought
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 may'st love on, through love's eternity.
“To hold together what he was and is.”
Bk. I, l. 1-8.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
Context: Of writing many books there is no end;
And I who have written much in prose and verse
For others' uses, will write now for mine,—
Will write my story for my better self,
As when you paint your portrait for a friend,
Who keeps it in a drawer and looks at it
Long after he has ceased to love you, just
To hold together what he was and is.
“I praise Thee while my days go on;
I love Thee while my days go on”
St. 23 -24.
De Profundis (1862)
Context: p>I praise Thee while my days go on;
I love Thee while my days go on:
Through dark and dearth, through fire and frost,
With emptied arms and treasure lost,
I thank Thee while my days go on.And having in thy life-depth thrown
Being and suffering (which are one),
As a child drops his pebble small
Down some deep well, and hears it fall
Smiling — so I. THY DAYS GO ON.</p
“Unless you can die when the dream is past —
Oh, never call it loving!”
A Woman's Shortcomings http://www.poetryconnection.net/poets/Elizabeth_Barrett_Browning/14908, st. 5 (1850).
Context: 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!
“And truly, I reiterate, . . nothing's small!”
Bk. VII, l. 812-826.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
Context: And truly, I reiterate,.. nothing's small!
No lily-muffled hum of a summer-bee,
But finds some coupling with the spinning stars;
No pebble at your foot, but proves a sphere;
No chaffinch, but implies the cherubim:
And, — glancing on my own thin, veined wrist, —
In such a little tremour of the blood
The whole strong clamour of a vehement soul
Doth utter itself distinct. Earth's crammed with heaven,
And every common bush afire with God:
But only he who sees, takes off his shoes,
The rest sit round it, and pluck blackberries,
And daub their natural faces unaware
More and more, from the first similitude.
“I cannot speak
In happy tones”
Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 514.
Context: I cannot speak
In happy tones; the tear drops on my cheek
Show I am sad;
But I can speak
Of grace to suffer with submission meek,
Until made glad.
I cannot feel
That all is well, when dark'ning clouds conceal
The shining sun;
But then I know
God lives and loves; and say, since it is so,
"Thy will be done."
“Life, struck sharp on death,
Makes awful lightning.”
Bk. I, l. 210-214.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
Context: Life, struck sharp on death,
Makes awful lightning. His last word was, 'Love–'
'Love, my child, love, love!'–(then he had done with grief)
'Love, my child.' Ere I answered he was gone,
And none was left to love in all the world.
“Instruct thine eyes to keep their colours true,
And tell thy soul, their roots are left in mine.”
No. LXIV
Sonnets from the Portuguese (1850)
Context: Here's ivy! — take them, as I used to do
Thy flowers, and keep them where they shall not pine.
Instruct thine eyes to keep their colours true,
And tell thy soul, their roots are left in mine.
Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 514.
Context: I cannot speak
In happy tones; the tear drops on my cheek
Show I am sad;
But I can speak
Of grace to suffer with submission meek,
Until made glad.
I cannot feel
That all is well, when dark'ning clouds conceal
The shining sun;
But then I know
God lives and loves; and say, since it is so,
"Thy will be done."
“What was he doing, the great god Pan,
Down in the reeds by the river?”
A Musical Instrument http://www.webterrace.com/browning/A%20Musical%20Instrument.htm, st. 1 (1860).
Context: What was he doing, the great god Pan,
Down in the reeds by the river?
Spreading ruin and scattering ban,
Splashing and paddling with hoofs of a goat,
And breaking the golden lilies afloat
With the dragon-fly on the river.
St. 22.
De Profundis (1862)
Context: Whatever's lost, it first was won;
We will not struggle nor impugn.
Perhaps the cup was broken here,
That Heaven's new wine might show more clear.
I praise Thee while my days go on.
A Woman's Shortcomings http://www.poetryconnection.net/poets/Elizabeth_Barrett_Browning/14908, st. 5 (1850).
Context: 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!
Bk. VII, l. 801-808.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
Context: Man, the two-fold creature, apprehends
The two-fold manner, in and outwardly,
And nothing in the world comes single to him.
A mere itself, — cup, column, or candlestick,
All patterns of what shall be in the Mount;
The whole temporal show related royally,
And build up to eterne significance
Through the open arms of God.
Bk. VII, l. 801-808.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
Context: Man, the two-fold creature, apprehends
The two-fold manner, in and outwardly,
And nothing in the world comes single to him.
A mere itself, — cup, column, or candlestick,
All patterns of what shall be in the Mount;
The whole temporal show related royally,
And build up to eterne significance
Through the open arms of God.
St. 23 -24.
De Profundis (1862)
Context: p>I praise Thee while my days go on;
I love Thee while my days go on:
Through dark and dearth, through fire and frost,
With emptied arms and treasure lost,
I thank Thee while my days go on.And having in thy life-depth thrown
Being and suffering (which are one),
As a child drops his pebble small
Down some deep well, and hears it fall
Smiling — so I. THY DAYS GO ON.</p
“Because God's gifts put man's best dreams to shame.”
No. XXVI
Sonnets from the Portuguese (1850)
“What I do, and what I dream include thee, as the wine must taste of its own grapes.”
Source: Sonnets from the Portuguese and Other Poems
“My patience has dreadful chilblains from standing so long on a monument.”
Source: Letters of Elizabeth Barrett Browning to Mary Russell Mitford, 1836-1854
No. IV
Sonnets from the Portuguese (1850)
“Go from me. Yet I feel that I shall stand
Henceforward in thy shadow.”
No. VI
Sonnets from the Portuguese (1850)
“Since when was genius found respectable?”
Bk. VI, l. 275.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
“By thunders of white silence.”
Hiram Powers's Greek Slave; reported in Bartlett's Familiar Quotations, 10th ed. (1919).
St. 20-21.
De Profundis (1862)
Bk. II, l. 785-790.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
“Oh, the little birds sang east, and the little birds sang west.”
Toll Slowly; reported in Bartlett's Familiar Quotations, 10th ed. (1919).
The Dead Pan; reported in Bartlett's Familiar Quotations, 10th ed. (1919)..
No. XXII
Sonnets from the Portuguese (1850)
“But so fair,
She takes the breath of men away
Who gaze upon her unaware.”
Bianca Among the Nightingales http://www.poemhunter.com/p/m/poem.asp?poet=3035&poem=127031, st. 12 (1862).
“Guess now who holds thee?"—"Death," I said. But there
The silver answer rang—"Not Death, but Love.”
No. I
Sonnets from the Portuguese (1850)
Lady Geraldine's Courtship http://classiclit.about.com/library/bl-etexts/ebbrowning/bl-ebbrown-togeorge1.htm, st. 41 (1844).
“Every wish
Is like a prayer—with God.”
Book II.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
Little Mattie, Stanza ii; reported in Bartlett's Familiar Quotations, 10th ed. (1919).
Book V.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)
The Cry of the Children http://www.webterrace.com/browning/The%20Cry%20Of%20The%20Children.htm, st. 1 (1844).
