Elizabeth Barrett Browning

Elizabeth Barrett Browning

An 1871 engraving of an 1859 photograph of Elizabeth Barrett Browning
Born 6 March 1806(1806-03-06)
Kelloe, Durham, England
Died 29 June 1861(1861-06-29) (aged 55)
Florence, Italy
Occupation Poet

Elizabeth Barrett Browning (6 March 1806 – 29 June 1861) was one of the most prominent poets of the Victorian era. Her poetry was widely popular in both England and the United States during her lifetime.[1] A collection of her last poems was published by her husband, Robert Browning, shortly after her death.

Contents

Early life

Elizabeth Barrett Moulton Barrett was born on 6 March 1806, in Coxhoe Hall, between the villages of Coxhoe and Kelloe in County Durham, England. Her parents were Edward Barrett Moulton Barrett and Mary Graham Clarke; Elizabeth was the eldest of their 12 children (eight boys and four girls). All the children lived to adulthood except for one girl, who died at the age of four when Elizabeth was eight. The children in her family all had nicknames: Elizabeth's was "Ba". The Barrett family, some of whom were part Creole, had lived for centuries in Jamaica, where they owned sugar plantations and relied on slave labour. Elizabeth's father chose to raise his family in England while his fortune grew in Jamaica. The Graham Clarke family wealth, also derived in part from slave labour, was also considerable.

Elizabeth was baptized in 1809 at Kelloe Parish Church, though she had already been baptized by a family friend in the first week after she was born. Later that year, after the fifth child, Henrietta, was born, their father bought Hope End, a 500-acre (2.0 km2) estate near the Malvern Hills in Ledbury, Herefordshire. Elizabeth had "a large room to herself, with stained glass in the window, and she loved the garden where she tended white roses in a special arbour by the south wall"[2] Her time at Hope End would inspire her in later life to write Aurora Leigh. She was educated at home and attended lessons with her brother's tutor. This gave her a good education for a girl of that time; she read passages from Paradise Lost and Shakespearean plays, among other works, before the age of ten. During the Hope End period, she was an intensely studious, precocious child.[3] Her intellectual fascination with the classics and metaphysics was balanced by a religious intensity which she later described as "not the deep persuasion of the mild Christian but the wild visions of an enthusiast." [4][5] The Barretts attended services at the nearest Dissenting chapel, and Edward was active in Bible and Missionary societies. Elizabeth was very close to her siblings and had great respect for her father: she claimed that life was no fun without him, and her mother agreed, probably because they did not fully understand what the business really was that kept him when his trips got longer and longer.

Publication

Barrett Browning's first known poem was written at the age of six or eight, "On the Cruelty of Forcement to Man." The manuscript is currently in the Berg Collection of the New York Public Library; the exact date is controversial because the "2" in the date 1812 is written over something else that is scratched out. As a present for her fourteenth birthday her father underwrote the publication of her long Homeric poem entitled The Battle of Marathon (1820). Her first independent publication was "Stanzas Excited by Reflections on the Present State of Greece" in The New Monthly Magazine of May 1821; this was followed in the same publication two months later by "Thoughts Awakened by Contemplating a Piece of the Palm which Grows on the Summit of the Acropolis at Athens."[2]

Her first collection of poems, An Essay on Mind, with Other Poems, was published in 1826.[6] Its publication drew the attention of a blind scholar of the Greek language, Hugh Stuart Boyd, and that of another Greek scholar, Uvedale Price, with whom she maintained a sustained scholarly correspondence. Among other neighbours was Mrs. James Martin from Colwall, with whom she also corresponded throughout her life. Later, at Boyd's suggestion, she translated Aeschylus' Prometheus Bound (published in 1833; retranslated in 1850). During their friendship Barrett studied Greek literature, including Homer, Pindar and Aristophanes.

In 1824, a lawsuit about the estate in Jamaica had been decided in favour of their cousin, precipitating the family's financial decline. At about age 20 Barrett Browning began to battle with a lifelong illness, which the medical science of the time was unable to diagnose. She began to take morphine for the pain and eventually became addicted to the drug. This illness caused her to be frail and weak.[2] Mary Russell Mitford described the young Barrett Browning at this time, as having "a slight, delicate figure, with a shower of dark curls falling on each side of a most expressive face; large, tender eyes, richly fringed by dark eyelashes, and a smile like a sunbeam." Anne Thackeray Ritchie described her as being "very small and brown" with big, exotic eyes and an overgenerous mouth.

Residences and publications

Elizabeth Browning

Hope End, Sidmouth, and London

In 1828, Barrett Browning’s mother died. She is buried at the Parish Church of St Michael and All Angels in Ledbury, next to her daughter Mary. In 1831 Barrett Browning's grandmother, Elizabeth Moulton, died. The family moved three times between 1832 and 1837, first to a white Georgian building in Sidmouth, Devonshire, where they remained for three years. Later they moved on to Gloucester Place in London[7].

Elizabeth Barrett Browning opposed slavery and published two poems highlighting the barbarity of slavers and her support for the abolitionist cause. The poems opposing slavery include "The Runaway Slave at Pilgrim's Point" and "A Curse for a Nation". The date of publication of these poems is in dispute but her position on slavery in the poems is clear and may have led to a rift between Elizabeth and her father. Following the loss of the lawsuit concerning the Jamaican properties, the abolition of slavery in the early 1830s reduced Mr. Barrett's income. These financial losses in the early 1830s forced him to sell Hope End, and although the family were never poor, the place was seized and put up for sale to satisfy creditors. The investment that had given them revenue in Jamaica also ended with the abolition of slavery. Some years after the sale of Hope End the family settled at 50 Wimpole Street.

In London John Kenyon, a distant cousin, introduced her to literary figures including William Wordsworth, Mary Russell Mitford, Samuel Taylor Coleridge, Alfred Lord Tennyson and Thomas Carlyle. Barrett Browning continued to write, contributing "The Romaunt of Margaret", "The Romaunt of the Page", "The Poet's Vow", and other pieces to various periodicals. She corresponded with other writers, including Mary Russell Mitford. She and Mitford became close friends, Mary helping her to further her literary ambition. In 1838 The Seraphim and Other Poems appeared, the first volume of Elizabeth's mature poetry to appear under her own name.

Torquay

In 1838, at her physician's insistence, Barrett Browning moved from London to Torquay, on the Devonshire coast. Her brother Edward, one of her closest relatives, went along with her. Her father disapproved of Edward's going to Torquay but did not hinder his visit. His subsequent drowning in a sailing accident at Torquay in 1840 had a serious effect on her already fragile health; when they found his body after a couple of days, she had no strength for tears or words. The family returned to Wimpole Street.

Return to Wimpole Street

By the time of her return to Wimpole Street, Barrett Browning had become an invalid, spending most of her time in her upstairs room, seeing few people other than her immediate family. One of those she did see was Kenyon, a wealthy friend of the family and patron of the arts. She felt responsible for her brother's death because it was she who wanted him to be there with her. She got comfort from her spaniel named “Flush”, which had been a gift from Mary Mitford[8].

She continued to write poetry, including The Cry of the Children, published in 1842. This poem condemned child labour and helped bring about child labour reforms. At about the same time, she contributed some critical prose pieces to Richard Henry Horne's A New Spirit of the Age. In 1844 she published two volumes of Poems, which included 'A Drama of Exile', 'A Vision of Poets', and 'Lady Geraldine's Courtship'. “Since she was not burdened with any domestic duties expected of her sisters, Elizabeth could now devote herself entirely to the life of the mind, cultivating an enormous correspondence, reading widely”.[9]

Meeting Robert Browning and works of this time

Elizabeth Barrett Browning with her son Pen, 1860

Her 1844 Poems made her one of the most popular writers in the land at the time and inspired Robert Browning to write to her, telling her how much he loved her poems. Kenyon arranged for Robert Browning to meet Elizabeth in May 1845, and so began one of the most famous courtships in literature. Elizabeth had produced a large amount of work and had been writing long before Robert Browning had. However, he had a great influence on her writing, as did she on his: two of Barrett’s most famous pieces were produced after she met Browning, Sonnets from the Portuguese and Aurora Leigh. Robert's Men and Women is a product of that time. Some critics, however, point to him as an undermining influence: "Until her relationship with Robert Browning began in 1845, Barrett’s willingness to engage in public discourse about social issues and about aesthetic issues in poetry, which had been so strong in her youth, gradually diminished, as did her physical health. As an intellectual presence and a physical being, she was becoming a shadow of herself".[10]

"Portuguese" was a pet name her husband used. Sonnets from the Portuguese also refers to the series of sonnets of the 16th-century Portuguese poet Luís de Camões; in all these poems she used rhyme schemes typical of the Portuguese sonnets. The verse-novel Aurora Leigh, her most ambitious and perhaps the most popular of her longer poems, appeared in 1856. It is the story of a woman writer making her way in life, balancing work and love. The writings depicted in this novel are based on similar, personal experiences that Elizabeth suffered through herself. The North American Review praised Elizabeth’s poem in these words: “Mrs. Browning’s poems are, in all respects, the utterance of a woman—of a woman of great learning, rich experience, and powerful genius, uniting to her woman’s nature the strength which is sometimes thought peculiar to a man.”[11]

Courtship and marriage to Robert Browning

The courtship and marriage between Robert Browning and Elizabeth were carried out secretly. Six years his elder and an invalid, she could not believe that the vigorous and worldly Robert Browning really loved her as much as he professed to. After a private marriage at St. Marylebone Parish Church, Browning imitated his hero Shelley by spiriting his beloved off to Italy in August 1846, which became her home almost continuously until her death. Elizabeth's loyal nurse, Wilson, who witnessed the marriage, accompanied the couple to Italy.

Mr. Barrett disinherited Elizabeth, as he did each of his children who married. As Elizabeth had some money of her own, the couple were reasonably comfortable in Italy, and their relationship together was harmonious. The Brownings were well respected in Italy, and even famous. Elizabeth grew stronger and in 1849, at the age of 43, she gave birth to a son, Robert Wiedemann Barrett Browning, whom they called Pen. Their son later married but had no legitimate children, so there are apparently no direct descendants of the two famous poets.

“Several Browning critics have suggested that the poet decided that he was an "objective poet" and then sought out a “subjective poet” in the hope that dialogue with her would enable him to be more successful.”[9]

At her husband's insistence, the second edition of Elizabeth’s Poems included her love sonnets; as a result, her popularity increased (as well as critical regard), and her position was confirmed. In 1850, upon the occasion of the death of William Wordsworth, her name was proposed for Poet Laureate, but the position went to Tennyson.

Decline

Elizabeth Barrett Browning's tomb from Harper's Magazine, 1896

At the death of an old friend, G.B. Hunter, and then of her father, her health faded again, centering around deteriorating lung function. She was moved from Florence to Siena, residing at the Villa Alberti. In 1860 she issued a small volume of political poems titled Poems before Congress. These poems related to political issues for the Italians, “most of which were written to express her sympathy with the Italian cause after the outbreak of fighting in 1859”[6]. She dedicated this book to her husband. Her last work was A Musical Instrument, published posthumously.

In 1860 they returned to Rome, only to find that Elizabeth’s sister Henrietta had died, news which made Elizabeth weak and depressed. She became gradually weaker and died on 29 June 1861. She was buried in the English Cemetery of Florence. “On Monday July 1 the shops in the section of the city around Casa Guidi were closed, while Elizabeth was mourned with unusual demonstrations.”[12] The nature of her illness is still unclear, although medical and literary scholars have speculated that longstanding pulmonary problems, combined with palliative opiates, contributed to her decline.

Spiritual influence

Much of Barrett Browning’s work carries a religious theme. She had read and studied such famous literary works as Milton's Paradise Lost and Dante's Inferno. She says in her writing, "We want the sense of the saturation of Christ's blood upon the souls of our poets, that it may cry through them in answer to the ceaseless wail of the Sphinx of our humanity, expounding agony into renovation. Something of this has been perceived in art when its glory was at the fullest. Something of a yearning after this may be seen among the Greek Christian poets, something which would have been much with a stronger faculty".[13]She believed that "Christ's religion is essentially poetry—poetry glorified.” She explored the religious aspect in many of her poems, especially in her early work, such as the sonnets. She was interested in theological debate, had learned Hebrew and read the Hebrew Bible. [14] The poem Aurora Leigh, for example, features religious imagery and allusion to the apocalypse.

Critical reception

American poet Edgar Allan Poe was inspired by Barrett Browning's poem Lady Geraldine's Courtship and specifically borrowed the poem's meter for his poem The Raven.[15] Poe had reviewed Barrett's work in the January 1845 issue of the Broadway Journal and said that "her poetic inspiration is the highest—we can conceive of nothing more august. Her sense of Art is pure in itself."[16] In return, she praised The Raven and Poe dedicated his 1845 collection The Raven and Other Poems to her, referring to her as "the noblest of her sex".[17]

Her poetry greatly influenced Emily Dickinson, who admired her as a woman of achievement. Her popularity in the United States and Britain was further advanced by her stands against social injustice, including slavery in the United States, injustice toward Italian citizens by foreign rulers, and child labour.

In Lilian Whiting's 1899 biography of Elizabeth she describes her as "the most philosophical poet" and depicts her life as "a Gospel of applied Christianity". To Whiting, the term "art for art's sake" did not apply to Barrett Browning's work for the reason that each poem, distinctively purposeful, was borne of a more "honest vision". In this critical analysis, Whiting portrays Barrett Browning as a poet who uses knowledge of Classical literature with an "intuitive gift of spiritual divination".[18] In Elizabeth Barrett Browning, Angela Leighton suggests that the portrayal of Barrett Browning as the "pious iconography of womanhood" has distracted us from her poetic achievements. Leighton cites the 1931 play by Rudolf Besier, The Barretts of Wimpole Street, as evidence that 20th century literary criticism of Barrett Browning's work has suffered more as a result of her popularity than poetic ineptitude.[19] The play was popularized by actress Katharine Cornell, for whom it became a signature role. It was an enormous success, both artistically and commercially, and was revived several times and adapted twice into movies.

Throughout the 20th century, literary criticism of Barrett Browning's poetry remained sparse until her poems were discovered by the women's movement. She once described herself as being inclined to reject several women's rights principles, suggesting in letters to Mary Russell Mitford and her husband that she believed that there was an inferiority of intellect in women.[19] In Aurora Leigh, however, she created a strong and independent woman who embraces both work and love. Leighton writes that because she participates in the literary world, where voice and diction are dominated by perceived masculine superiority, she "is defined only in mysterious opposition to everything that distinguishes the male subject who writes..."[19] A five-volume scholarly edition of her works has recently been published, the first in over a century[20].

Works (collections)

Posthumous publications of Barrett Browning's works

References

  1. ↑ Burr, David Stanford. "Introduction".Sonnets from the Portuguese: a celebration of loveMacmillan (1986)
  2. ↑ 2.0 2.1 2.2 Mander,Rosalie.Mrs Browning: The Story of Elizabeth Barrett.London: Weidenfeld and Nicolson,1980
  3. ↑ Taplin, Gardner B. The Life of Elizabeth BrowningNew Haven: Yale University Press, 1957
  4. ↑ Everett, Glenn,Life of Elizabeth Browning(2002)
  5. ↑ Biography
  6. ↑ 6.0 6.1 Donaldson, Sandra, ed., The Works of Elizabeth Barrett Browning.London: Pickering and Chatto,2010
  7. ↑ Taplin, Gardner, The Life of Elizabeth Barrett Browning, New Haven: Yale University Press, 1957
  8. ↑ The Letters of Elizabeth Barrett Browning to Mary Russell Mitford, Winfield, KS, 1983
  9. ↑ 9.0 9.1 Pollock, Mary Sanders. Elizabeth Barrett and Robert Browning: A Creative Partnership. England: Ashgate Publishing Company, 2003.
  10. ↑ Pollock, Mary Sanders. Elizabeth Barrett and Robert Browning: A Creative Partnership. England: Ashgate Publishing Company, 2003.
  11. ↑ Kaplan, Cora. Aurora Leigh And Other Poems. London: The Women’s Press Lmited, 1978
  12. ↑ Taplin, Gardner B. The Life of Elizabeth Browning New Haven: Yale University Press, 1957
  13. ↑ Biog
  14. ↑ Lewis,Linda.Elizabeth Barrett Browning's Spiritual Progress. Missouri: Missouri University Press. 1997
  15. ↑ Sova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001: 208. ISBN 081604161X
  16. ↑ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992: 160. ISBN 0815410387
  17. ↑ Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809-1849. New York: G. K. Hall & Co., 1987: 591. ISBN 0783814011
  18. ↑ Whiting, Lilian. A study of Elizabeth Barrett Browning. Little, Brown and Company (1899)
  19. ↑ 19.0 19.1 19.2 Leighton, Angela, Elizabeth Barrett Browning. Indiana University Press (1986) pp.8-18
  20. ↑ Donaldson, Sandra, et al., ed., The Works of Elizabeth Barrett Browning.London: Pickering and Chatto,2010

Bibliography

External links