Elizabeth Barrett Browning

An English poet of the Victorian era, she is renowned for her personal love sonnets and socially engaged verse. Her collection Sonnets from the Portuguese remains a landmark of lyric poetry. Biography ↓More ↓

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Sonnet 23 - Is it indeed so? If I lay here dead

Is it indeed so? If I lay here dead, Wouldst thou miss any life in losing mine? And would the sun for thee more coldly shine Because of grave-damps falling round my head? I marvelled, my Beloved, when I read Thy thought so in the letter. I am thine— But . . . so much to thee? Can I pour thy wine While my hands tremble ? Then my soul, instead Of dreams of death, resumes life's lower range. Then, love me, Love! look on me—breathe on me! As brighter ladies do not count it strange, For love, to give up acres and degree, I yield the grave for thy sake, and exchange My near sweet view of Heaven, for earth with thee!

A Musical Instrument

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.

He tore out a reed, the great god Pan, From the deep cool bed of the river: The limpid water turbidly ran, And the broken lilies a-dying lay, And the dragon-fly had fled away, Ere he brought it out of the river.

High on the shore sat the great god Pan, While turbidly flowed the river; And hacked and hewed as a great god can, With his hard bleak steel at the patient reed, Till there was not a sign of the leaf indeed To prove it fresh from the river.

He cut it short, did the great god Pan, (How tall it stood in the river!) Then drew the pith, like the heart of a man, Steadily from the outside ring, And notched the poor dry empty thing In holes, as he sat by the river.

"This is the way," laughed the great god Pan, (Laughed while he sat by the river) "The only way, since gods began To make sweet music, they could succeed." Then, dropping his mouth to a hole in the reed, He blew in power by the river.

Sweet, sweet, sweet, O Pan! Piercing sweet by the river! Blinding sweet, O great god Pan! The sun on the hill forgot to die, And the lilies revived, and the dragon-fly Came back to dream on the river.

Yet half a beast is the great god Pan, To laugh as he sits by the river, Making a poet out of a man: The true gods sigh for the cost and pain— For the reed which grows nevermore again As a reed with the reeds in the river.

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

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.'

Pain In Pleasure

A THOUGHT ay like a flower upon mine heart, And drew around it other thoughts like bees For multitude and thirst of sweetnesses; Whereat rejoicing, I desired the art Of the Greek whistler, who to wharf and mart Could lure those insect swarms from orange-trees That I might hive with me such thoughts and please My soul so, always. foolish counterpart Of a weak man's vain wishes ! While I spoke, The thought I called a flower grew nettle-rough The thoughts, called bees, stung me to festering: Oh, entertain (cried Reason as she woke) Your best and gladdest thoughts but long enough, And they will all prove sad enough to sting !

On A Portrait Of Wordsworth

WORDSWORTH upon Helvellyn ! Let the cloud Ebb audibly along the mountain-wind, Then break against the rock, and show behind The lowland valleys floating up to crowd The sense with beauty. He with forehead bowed And humble-lidded eyes, as one inclined Before the sovran thought of his own mind, And very meek with inspirations proud, Takes here his rightful place as poet-priest By the high altar, singing prayer and prayer

To the higher Heavens. A noble vision free Our Haydon's hand has flung out from the mist: No portrait this, with Academic air ! This is the poet and his poetry.

Sonnet 33 - Yes, call me by my pet-name! let me hear

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.

Sonnet 16 - And yet, because thou overcomest so

And yet, because thou overcomest so, Because thou art more noble and like a king, Thou canst prevail against my fears and fling Thy purple round me, till my heart shall grow Too close against thine heart henceforth to know How it shook when alone. Why, conquering May prove as lordly and complete a thing In lifting upward, as in crushing low! And as a vanquished soldier yields his sword To one who lifts him from the bloody earth, Even so, Beloved, I at last record, Here ends my strife. If thou invite me forth, I rise above abasement at the word. Make thy love larger to enlarge my worth.

Sonnet 21 - Say over again, and yet once over again

Say over again, and yet once over again, That thou dost love me. Though the word repeated Should seem 'a cuckoo-song,' as thou dost treat it, Remember, never to the hill or plain, Valley and wood, without her cuckoo-strain Comes the fresh Spring in all her green completed. Beloved, I, amid the darkness greeted By a doubtful spirit-voice, in that doubt's pain Cry, 'Speak once more—thou lovest! 'Who can fear Too many stars, though each in heaven shall roll, Too many flowers, though each shall crown the year? Say thou dost love me, love me, love me—toll The silver iterance!—only minding, Dear, To love me also in silence with thy soul.

Biography

An English poet of the Victorian era, she established herself as a major literary voice through both her intimate lyrics and her outspoken social criticism. Her poetry often fuses emotional intensity with formal elegance, addressing themes of love, faith, and justice. The Sonnets from the Portuguese, a sequence of love poems, is among the most celebrated sonnet cycles in English literature. In works like 'The Cry of the Children,' she protested child labor and other social ills, blending personal pathos with public advocacy. Her imagery draws on nature, classical mythology, and Italian influences, reflecting her wide reading and her years in Italy. She was also a prominent literary critic and translator, contributing to the cultural debates of her time. Her marriage to Robert Browning formed a legendary creative partnership, though her own career had begun earlier and remained distinct. Her technical skill, emotional range, and willingness to confront contemporary issues helped pave the way for later women poets. Today she is recognized as one of the most accomplished and influential poets of the nineteenth century.

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