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Books : Literature & Fiction : Authors, A-Z : ( B ) : Browning, Elizabeth Barrett
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This anthology presents over 170 poems by the major poets of the 19th century, including Alfred, Lord Tennyson, Robert Browning, Elizabeth Barrett Browning, Arthur Hugh Clough, Edward FitzGerald, Matthew Arnold, Dante Gabriel Rossetti, Christina Rossetti, Rudyard Kipling, and many others. An introduction and brief biographical notes on the poets are included.
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Elizabeth Barrett Browning was a prolific writer and reviewer in the Victorian period, and in her lifetime, her reputation as a poet was at least as great as that of her husband, poet Robert Browning. Some of her poetry has been noted in recent years for strong feminist themes, but the poems for which Elizabeth Barrett Browning is undoubtedly best know are Sonnets from the Portuguese.
Written for Robert Browning, who had affectionately nicknamed her his "little Portuguese," the sequence is a celebration of marriage, and of one of the most famous romances of the nineteenth century. Recognized for their Victorian tradition and discipline, these are some of the most passionate and memorable love poems in the English language. There are forty-four poems in the collection, including the very beautiful sonnet, "How do I love thee? Let me count the ways."
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Aurora Leigh, now available in the first critically edited and fully annotated edition for almost a century, is the foremost example of the mid-nineteenth century poem of contemporary life. It is an amazing verse novel which provides a panoramic view of the early Victorian age in London. The dominant presence in the work however, is the narrator Aurora Leigh, as she develops her ideas on art, love, God, the "Woman Question", and society.
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First published in 1850 and considered some of the finest love lyrics in the English language, Sonnets from the Portuguese comprise 44 interlocking poems that Elizabeth Barrett Browning composed for her husband, Robert Browning. This wonderful illustrated edition includes 22 additional works as well.
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Aurora Leigh, now available in the first critically edited and fully annotated edition for almost a century, is the foremost example of the mid-nineteenth century poem of contemporary life. It is an amazing verse novel which provides a panoramic view of the early Victorian age in London. The dominant presence in the work however, is the narrator Aurora Leigh, as she develops her ideas on art, love, God, the "Woman Question", and society.
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Robert Browning and Elizabeth Barrett Browning are without parallel in the nineteenth century: celebrated poets, they became equally famous for their marriage. Still popular more than a century after their deaths, their poetry vividly reflects the unique nature of their relationship.
This collection presents the Brownings’ work in the context of their lives: the early years and their initial friendship, their courtship and marriage, the fifteen happy years they spent living in Italy until Elizabeth’s death. Whether in short poems such as Elizabeth’s “Hector in the Garden” and Robert’s “Natural Magic,” or in extracts from longer works such as Aurora Leigh and Pauline, the great themes they shared are all represented: love, marriage, illicit passion, England and Italy, childhood, religion, poetry, and nature. Elizabeth’s famous Sonnets from the Portuguese, based on their love affair, is included in its entirety.
The poems are augmented with a generous selection of the marvelous letters the Brownings wrote to each other.
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"I love your verse with all my heart, dear Miss Barrett . . . and I love you too," Robert Browning wrote in January 1845, thus initiating the most celebrated literary correspondence of the nineteenth century. During their courtship, Elizabeth privately wrote a series of forty-four sonnets to Robert, which she disclosed to no one -- not even to him -- until three years after their marriage. The poems were later collected in a volume entitled Sonnets form the Portuguese. In this elegant new edition, the poems are accompanied by relevant excerpts from Elizabeth and Robert's love letters. With an introduction by biographer Julia Markus, this volume will be a valued resource for the poetry scholar and those wanting wise and lyrical guidance in matters of love.
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Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
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Referring to her olive-skinned complexion Robert Browning called his wife, Elizabeth Barrett Browning, "his little Portuguese." It is from this nickname that the title "Sonnets from the Portuguese" is derived. Sonnets from the Portuguese, a series of love poems from Elizabeth to her husband, is combined here with a collection of 60 of her other poems.
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1892. An English poet of the Romantic Movement, Aurora Leigh is Browning's novel in blank verse. The first-person narrative, which comprises some 11,000 lines, tells of the heroine's childhood and youth in Italy and England, her self-education in her father's hidden library, and her successful pursuit of a literary career. This volume also contains A Drama of Exile; The Seraphim and Prometheus Bound. See other titles by this author available from Kessinger Publishing.
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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.
Bloomsbury Poetry Classics are selections from the work of some of our greatest poets. The series is aimed at the general reader rather than the specialist and carries no critical or explanatory apparatus. This can be found elsewhere. In the series the poems introduce themselves, on an uncluttered page and in a format that is both attractive and convenient. The selections have been made by the distinguished poet, critic, and biographer Ian Hamilton.
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A Riveting and brilliant work of biography. The story of two great English poets, Elizabeth Barrett and Robert Browning, whose work was immediately recognized and adored by their contemporaries, whose courtship ranks with the great love stories of all time -- and in whose marriage romance was not merely sustained but intensified.
We enter their story through the sealed Victorian world of the Barretts of Wimpole Street: Elizabeth, at thirty-nine, a poet of international fame, a child prodigy who had grown to be a middle-aged spinster, a woman for whom romantic love seemed not to be possible, confined by illness, morphine, and the tyranny of her father, scion of rich Jamaican slaveholders, rum and sugar traders.
It is to this fortress that Robert Browning, already an admired young poet and playwright, already a devotee of Elizabeth's, lays siege. ("I love your verses," he had written Elizabeth in his first letter to her, long before they met. "I love your verses with all my heart -- and I love you too.") And miraculously Elizabeth let life in.
Julia Markus chronicles their extraordinary courtship, their marriage in secret (Browning to Elizabeth: "How you have dared and done all this ... for my only sake?"), and their radiant honeymoon in Italy.
Markus shows us how the political events of the times inspired the great dramatic monologues of Robert's middle years and how Italy's stormy reunification inspired Elizabeth's later work.
We come to see Elizabeth as an artist with a fierce and final confidence in poetry and its effect on the poets' lives. We see husband and wife celebrate the birth of their son, Robert Wiedemann "Pen" Barrett Browning (Browning to her sisters: "I sate by [Elizabeth] as much as I was allowed, and I shall never forget what I saw, tho' I cannot speak about it").
We see them among their artist/writer friends: in London with Tennyson, Thackeray, Rossetti, and others; in Rome with William Story, the American lawyer, poet, sculptor; with Harriet Hosmer, the stonecutter, who was one of the models for Aurora Leigh; with Charlotte Cushman, the American actress, who held readings of Elizabeth's novel in verse. We see Elizabeth in Paris meeting her heroine George Sand, whose society of socialists and theatrical types Robert described as "ragged Red."
We come to understand Elizabeth's dependence on the ever-present drug in her life ("I should not be alive except by help of my morphine") and her constant battle with depression. And we see Elizabeth, encouraged by a woman with whom she was infatuated, move from interest to obsession with spiritualism, a cause that became the only source of serious dissension between the Brownings.
We follow the course of their rich marriage, from the beginning when each saw the other as a brilliant poet, a compassionate and strangely similar heart, through the years in which they discovered each other's differences, each remaining a complex and thrilling human being to the other.
To tell their story, Markus for the first time makes use of much of Elizabeth's unpublished correspondence, amid a wealth of other documents. She delves fully into the Brownings' Creole background and shows how it affected their lives and their work (Elizabeth was the first of the Jamaican Barretts to be born in England in many generations).
Brilliantly interweaving the Brownings' own words with her authentic and perceptive narrative, Julia Markus brings these two great poets -- their marriage, their work, their times -- alive as never before.
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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.
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Although she outshines him in most accounts of their relationship, Elizabeth Barret Browning (1806-61) and her writings have often been overshadowed by the story of her romance with Robert Browning. This selection reveals her as an innovator and as someone who anticipated in her approach many aspects of feminism.
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Victorian women poets lived in a time when religion was a vital aspect of their identities. Cynthia Scheinberg examines Anglo-Jewish (Grace Aguilar and Amy Levy) and Christian (Elizabeth Barrett Browning and Christina Rossetti) women poets, and argues that there are important connections between the discourses of nineteenth-century poetry, gender and religious identity. Broadly interdisciplinary, the book's methodology relates to studies in poetics, religious studies, feminist literary criticism, and little-known Anglo-Jewish primary sources.
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