Introduction: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
“Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning first appeared in 1856 as part of her novel-poem Aurora Leigh, a significant literary work that explores the life, struggles, and aspirations of a female poet in Victorian society. Through this work, Browning addresses themes of gender roles, artistic ambition, and social reform, particularly highlighting the challenges faced by women in pursuing intellectual and creative fulfillment. The poem’s distinctive blend of narrative and verse allowed Browning to delve deeply into these social critiques while also offering rich, introspective commentary on the nature of art and literature. Aurora Leigh gained popularity due to its progressive views on women’s independence and education, resonating strongly with readers who valued the burgeoning discourse on women’s rights. The work’s innovative structure and lyrical, introspective quality have solidified it as a cornerstone in Victorian literature and feminist thought.
Text: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
There he glowed on me
With all his face and eyes. ‘No other help?’
Said he–’no more than so?’
‘What help?’ I asked.
‘You’d scorn my help,–as Nature’s self, you say,
Has scorned to put her music in my mouth,
Because a woman’s. Do you now turn round
And ask for what a woman cannot give?’
‘For what she only can, I turn and ask,’
He answered, catching up my hands in his,
And dropping on me from his high-eaved brow
The full weight of his soul,–’I ask for love,
And that, she can; for life in fellowship
Through bitter duties–that, I know she can;
For wifehood . . will she?’
‘Now,’ I said, ‘may God
Be witness ‘twixt us two!’ and with the word,
Meseemed I floated into a sudden light
Above his stature,–’am I proved too weak
To stand alone, yet strong enough to bear
Such leaners on my shoulder? poor to think,
Yet rich enough to sympathise with thought?
Incompetent to sing, as blackbirds can,
Yet competent to love, like HIM?’
I paused:
Perhaps I darkened, as the lighthouse will
That turns upon the sea. ‘It’s always so!
Anything does for a wife.’
‘Aurora, dear,
And dearly honoured’ . . he pressed in at once
With eager utterance,–’you translate me ill.
I do not contradict my thought of you
Which is most reverent, with another thought
Found less so. If your sex is weak for art,
(And I who said so, did but honour you
By using truth in courtship) it is strong
For life and duty. Place your fecund heart
In mine, and let us blossom for the world
That wants love’s colour in the grey of time.
With all my talk I can but set you where
You look down coldly on the arena-heaps
Of headless bodies, shapeless, indistinct!
The Judgment-Angel scarce would find his way
Through such a heap of generalised distress,
To the individual man with lips and eyes–
Much less Aurora. Ah, my sweet, come down,
And, hand in hand, we’ll go where yours shall touch
These victims, one by one! till one by one,
The formless, nameless trunk of every man
Shall seem to wear a head, with hair you know,
And every woman catch your mother’s face
To melt you into passion.’
‘I am a girl,’
I answered slowly; ‘you do well to name
My mother’s face. Though far too early, alas,
God’s hand did interpose ‘twixt it and me,
I know so much of love, as used to shine
In that face and another. Just so much;
No more indeed at all. I have not seen
So much love since, I pray you pardon me,
As answers even to make a marriage with,
In this cold land of England. What you love,
Is not a woman, Romney, but a cause:
You want a helpmate, not a mistress, sir,–
A wife to help your ends . . in her no end!
Your cause is noble, your ends excellent,
But I, being most unworthy of these and that,
Do otherwise conceive of love. Farewell.’
‘Farewell, Aurora, you reject me thus?’
He said.
‘Why, sir, you are married long ago.
You have a wife already whom you love,
Your social theory. Bless you both, I say.
For my part, I am scarcely meek enough
To be the handmaid of a lawful spouse.
Do I look a Hagar, think you?’
‘So, you jest!’
‘Nay so, I speak in earnest,’ I replied.
‘You treat of marriage too much like, at least,
A chief apostle; you would bear with you
A wife . . a sister . . shall we speak it out?
A sister of charity.’
‘Then, must it be
Indeed farewell? And was I so far wrong
In hope and in illusion, when I took
The woman to be nobler than the man,
Yourself the noblest woman,–in the use
And comprehension of what love is,–love,
That generates the likeness of itself
Through all heroic duties? so far wrong
In saying bluntly, venturing truth on love,
‘Come, human creature, love and work with me,’–
Instead of, ‘Lady, thou art wondrous fair,
‘And, where the Graces walk before, the Muse
‘Will follow at the lighting of the eyes,
‘And where the Muse walks, lovers need to creep
‘Turn round and love me, or I die of love.”
With quiet indignation I broke in.
‘You misconceive the question like a man,
Who sees a woman as the complement
Of his sex merely. You forget too much
That every creature, female as the male,
Stands single in responsible act and thought
As also in birth and death. Whoever says
To a loyal woman, ‘Love and work with me,’
Will get fair answers, if the work and love
Being good themselves, are good for her–the best
She was born for. Women of a softer mood,
Surprised by men when scarcely awake to life,
Will sometimes only hear the first word, love,
And catch up with it any kind of work,
Indifferent, so that dear love go with it:
I do not blame such women, though, for love,
They pick much oakum; earth’s fanatics make
Too frequently heaven’s saints. But me, your work
Is not the best for,–nor your love the best,
Nor able to commend the kind of work
For love’s sake merely. Ah, you force me, sir,
To be over-bold in speaking of myself,–
I, too, have my vocation,–work to do,
The heavens and earth have set me, since I changed
My father’s face for theirs,–and though your world
Were twice as wretched as you represent
Most serious work, most necessary work,
As any of the economists’. Reform,
Make trade a Christian possibility,
And individual right no general wrong;
Wipe out earth’s furrows of the Thine and Mine,
And leave one green, for men to play at bowls;
With innings for them all! . . what then, indeed,
If mortals were not greater by the head
Than any of their prosperities? what then,
Unless the artist keep up open roads
Betwixt the seen and unseen,–bursting through
The best of your conventions with his best
The unspeakable, imaginable best
God bids him speak, to prove what lies beyond
Both speech and imagination? A starved man
Exceeds a fat beast: we’ll not barter, sir,
The beautiful for barley.–And, even so,
I hold you will not compass your poor ends
Of barley-feeding and material ease,
Without a poet’s individualism
To work your universal. It takes a soul,
To move a body: it takes a high-souled man,
To move the masses . . even to a cleaner stye:
It takes the ideal, to blow a hair’s breadth off
The dust of the actual.–ah, your Fouriers failed,
Because not poets enough to understand
That life develops from within.–For me,
Perhaps I am not worthy, as you say,
Of work like this! . . perhaps a woman’s soul
Aspires, and not creates! yet we aspire,
And yet I’ll try out your perhapses, sir;
And if I fail . . why, burn me up my straw
Like other false works–I’ll not ask for grace,
Your scorn is better, cousin Romney. I
Who love my art, would never wish it lower
To suit my stature. I may love my art,
You’ll grant that even a woman may love art,
Seeing that to waste true love on anything,
Is womanly, past question.’
Annotations: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
| Lines | Annotation |
| There he glowed on me / With all his face and eyes. ‘No other help?’ / Said he–’no more than so?’ / ‘What help?’ I asked. | The scene opens with Romney, the male character, looking earnestly at Aurora, questioning if she has no further help. This interaction sets a tone of urgency, implying Romney’s hope for a partnership, which Aurora meets with guarded skepticism. |
| ‘You’d scorn my help,–as Nature’s self, you say, / Has scorned to put her music in my mouth, / Because a woman’s. / Do you now turn round / And ask for what a woman cannot give?’ | Aurora confronts Romney’s previous dismissal of her talents, pointing out the irony in him now seeking help from her, a woman. This reflects the broader theme of gender limitations imposed by society and Aurora’s awareness of them. |
| ‘For what she only can, I turn and ask,’ / He answered, catching up my hands in his, / And dropping on me from his high-eaved brow / The full weight of his soul,–’I ask for love,’ | Romney admits that he seeks Aurora’s love, acknowledging her unique capacity for connection and support. His intense physical gesture—holding her hands and bowing his head—emphasizes his emotional investment in this request, setting the tone for a serious proposal. |
| And that, she can; for life in fellowship / Through bitter duties–that, I know she can; / For wifehood . . will she?’ / ‘Now,’ I said, ‘may God | Romney elaborates, expressing his desire for a committed partnership in life’s hardships. Aurora invokes divine witness, suggesting the gravity with which she views Romney’s request and possibly her initial hesitation to accept his terms. |
| Be witness ‘twixt us two!’ and with the word, / Meseemed I floated into a sudden light / Above his stature,–’am I proved too weak / To stand alone, yet strong enough to bear | Aurora’s self-reflection is triggered by Romney’s proposal, leading her to question her own strength and independence. She feels elevated, almost spiritually, suggesting an inner conflict between self-reliance and the societal expectations for women. |
| Such leaners on my shoulder? poor to think, / Yet rich enough to sympathise with thought? / Incompetent to sing, as blackbirds can, / Yet competent to love, like HIM?’ | Aurora questions the paradoxes expected of women, as seen through her own abilities. She doubts her worth but acknowledges her capacity for love, thus framing love as a complex interplay of strength and vulnerability. |
| I paused: / Perhaps I darkened, as the lighthouse will / That turns upon the sea. ‘It’s always so! / Anything does for a wife.’ | Aurora’s self-assessment halts, and she becomes disillusioned. She compares herself to a lighthouse, implying that women are often seen as mere supports in relationships. Her statement, “Anything does for a wife,” is a criticism of society’s undervaluation of women. |
| ‘Aurora, dear, / And dearly honoured’ . . he pressed in at once / With eager utterance,–’you translate me ill. / I do not contradict my thought of you | Romney, sensing her growing frustration, tries to explain himself. He insists that Aurora has misinterpreted his intentions, reiterating his high regard for her. His attempt to pacify her hints at the tension between his idealistic views and her independent spirit. |
| Which is most reverent, with another thought / Found less so. If your sex is weak for art, / (And I who said so, did but honour you / By using truth in courtship) it is strong | Romney acknowledges a traditional bias against women in art but justifies it as a sign of respect. He implies that women’s strength lies in life and duty, reflecting the Victorian idea that women excel in domestic and emotional roles rather than intellectual or creative ones. |
| For life and duty. Place your fecund heart / In mine, and let us blossom for the world / That wants love’s colour in the grey of time. / With all my talk I can but set you where | Romney shifts from discussing artistic limitations to proposing a partnership rooted in love and duty, suggesting that their union could bring vibrancy to a bleak world. His poetic appeal underscores his hope to combine her emotional capacity with his ideals for societal betterment. |
| You look down coldly on the arena-heaps / Of headless bodies, shapeless, indistinct! / The Judgment-Angel scarce would find his way / Through such a heap of generalised distress, | Romney describes society’s suffering, suggesting that Aurora’s current detached perspective prevents her from empathizing deeply. His dramatic language about “headless bodies” and “generalized distress” represents his idealism and desire for meaningful social change. |
| To the individual man with lips and eyes– / Much less Aurora. Ah, my sweet, come down, / And, hand in hand, we’ll go where yours shall touch / These victims, one by one! till one by one, | Romney appeals to Aurora to join him in working closely with individuals rather than remaining aloof. He envisions a partnership where they would address each person’s suffering personally, combining his dedication with her compassion for meaningful reform. |
| The formless, nameless trunk of every man / Shall seem to wear a head, with hair you know, / And every woman catch your mother’s face / To melt you into passion.’ | He evokes Aurora’s late mother as a symbol of compassionate love, urging her to channel that personal connection toward society’s suffering. His sentimental appeal suggests that by “seeing” the humanity in others, Aurora could find a deeper purpose aligned with his mission. |
| ‘I am a girl,’ / I answered slowly; ‘you do well to name / My mother’s face. Though far too early, alas, / God’s hand did interpose ‘twixt it and me, | Aurora acknowledges the impact of her mother’s early death on her understanding of love and connection. Her mention of this loss signals both her vulnerability and her distance from the conventional roles Romney expects her to embrace. |
| I know so much of love, as used to shine / In that face and another. Just so much; / No more indeed at all. I have not seen / So much love since, | She reflects on her limited experience with genuine love, influenced by memories of her mother. This admission subtly criticizes Romney’s idea of love, implying that she finds it lacking the depth and purity she once witnessed. |
Literary And Poetic Devices: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
| Literary Device | Examples | Explanation |
| Allusion | “A starved man exceeds a fat beast,” “Your Fouriers failed” | Browning references historical, biblical, or cultural ideas, such as Fourier’s failed utopian socialism. These allusions deepen the text’s philosophical aspects and connect Aurora’s thoughts to broader social and intellectual movements. |
| Anaphora | “For life… For wifehood… For love” | Anaphora, the repetition of a word or phrase at the beginning of successive lines, is used by Romney to emphasize his appeals to Aurora, each clause adding urgency to his desire for companionship and partnership. |
| Apostrophe | “Be witness ‘twixt us two!” | Apostrophe is when a speaker directly addresses someone absent or an abstract idea. Aurora calls upon God as a witness to her inner resolve, reflecting her solemnity and sincerity. |
| Assonance | “I am a girl,” / “a high-souled man, To move the masses” | Assonance, or repetition of vowel sounds, is used in passages where Aurora contemplates her role. The sound enhances her introspection and conveys a musical quality to her philosophical ponderings. |
| Caesura | “For life and duty. Place your fecund heart / In mine,” | Caesura is a pause within a line of poetry, often marked by punctuation. Here, it reflects Romney’s hesitation and seriousness, adding gravity to his call for love and duty. |
| Consonance | “blackbirds can, Yet competent to love” | Consonance, or repetition of consonant sounds, enriches the sound of the text. It appears as Aurora questions her role, underscoring her doubts and internal conflict. |
| Diction | “fellowship,” “leaners,” “sympathise” | Browning’s word choices create a formal, philosophical tone that reflects the characters’ elevated thoughts on love, duty, and social reform, highlighting themes central to the Victorian ethos. |
| Enjambment | “Incompetent to sing, as blackbirds can, / Yet competent to love, like HIM?” | Enjambment occurs when a line flows into the next without a pause, conveying a rush of thoughts. Here, it mirrors Aurora’s stream of consciousness and contemplation on love’s complexities. |
| Epistrophe | “a wife to help your ends . . in her no end!” | Epistrophe is the repetition of words at the ends of successive clauses, emphasizing the idea of a woman’s life as solely a tool for a man’s ends, underscoring Aurora’s critique of Romney’s proposal. |
| Extended Metaphor | “leaners on my shoulder” / “a lighthouse that turns upon the sea” | The metaphor of the lighthouse extends through the text, symbolizing Aurora’s conflicted role as both a guiding figure and an independent entity, highlighting her struggle between societal roles and personal identity. |
| Hyperbole | “The formless, nameless trunk of every man / Shall seem to wear a head” | Hyperbole, or exaggeration, highlights Romney’s romanticized vision of Aurora’s empathy transforming the suffering of the masses, emphasizing his idealism. |
| Imagery | “Judgment-Angel,” “hair you know,” “headless bodies” | Vivid imagery is used to evoke visual scenes, such as the Judgment-Angel searching through indistinct bodies, underscoring Romney’s vision of societal reform and Aurora’s contemplation of individual suffering. |
| Irony | “Anything does for a wife.” | Irony is evident when Aurora cynically comments on society’s low expectations for wives, pointing out the disconnect between her own ambitions and traditional gender roles. |
| Juxtaposition | “A starved man exceeds a fat beast” | Juxtaposition places contrasting ideas side by side, emphasizing the difference between inner worth and material wealth, a theme that speaks to the social ideals both characters grapple with. |
| Metaphor | “fecund heart” | The metaphor of a “fecund heart” symbolizes emotional richness and the potential for creating meaningful, compassionate change, which Romney believes could flourish within their partnership. |
| Paradox | “Too weak to stand alone, yet strong enough to bear such leaners” | Aurora’s words express a paradox, contrasting the societal view of women as weak with their actual resilience, challenging Victorian ideals about gender and strength. |
| Personification | “your social theory. Bless you both, I say.” | Personification gives human qualities to “social theory,” highlighting Aurora’s perception of Romney’s passion for reform as rivaling any human relationship, ultimately emphasizing her skepticism. |
| Rhetorical Question | “Do I look a Hagar, think you?” | A rhetorical question posed by Aurora invokes the biblical figure Hagar, highlighting her resistance to being seen as a subordinate or “handmaid” and critiquing Romney’s view of marriage. |
| Simile | “Perhaps I darkened, as the lighthouse will / That turns upon the sea.” | This simile compares Aurora to a lighthouse, capturing her role as a guiding but solitary figure, illuminating her internal conflict between helping others and maintaining her own independence. |
Themes: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
- Gender Roles and Feminine Independence
In “Aurora Leigh,” Browning explores the theme of gender roles and the struggle for feminine independence, challenging the Victorian societal expectations placed on women. Aurora questions the limitations imposed on her as a woman, particularly when Romney suggests she lacks the strength for art. She retorts, “You’d scorn my help,–as Nature’s self, you say, / Has scorned to put her music in my mouth, / Because a woman’s.” This powerful line underscores Aurora’s awareness of societal restrictions on female creativity. Later, she expresses frustration with society’s limited view of women’s roles, stating, “Anything does for a wife,” pointing to the low expectations society has for women, especially within marriage. Through Aurora’s resistance to Romney’s marriage proposal, Browning critiques the notion that a woman’s highest calling is to serve as a supportive spouse rather than pursue her own ambitions. - Love Versus Social Ideals
Browning contrasts romantic love with societal ideals, showing the tension between personal connection and social duty. Romney’s proposal to Aurora is rooted more in his vision of an ideal partnership to fulfill social reform rather than romantic love. Aurora recognizes this, stating, “What you love, / Is not a woman, Romney, but a cause: / You want a helpmate, not a mistress, sir.” She identifies Romney’s view of marriage as a practical union rather than a heartfelt bond, and she sees his love as conditional upon her alignment with his goals. Aurora’s refusal emphasizes her need for genuine love over duty-bound partnership, reflecting Browning’s critique of relationships based on utility rather than mutual affection and respect. - Art and Individualism
Aurora champions art and individualism, viewing them as essential for human progress and inner fulfillment. In a society focused on social reform and utilitarian ideals, she believes art plays an irreplaceable role in connecting the material and spiritual realms. Aurora asserts, “It takes a soul, / To move a body: it takes a high-souled man, / To move the masses,” emphasizing that a true artist or visionary must have a profound individual perspective to inspire society. This notion aligns with Aurora’s belief that art transcends societal boundaries, allowing for self-expression that is independent of societal constraints. Her defense of poetry and personal purpose highlights her conviction that individuality is not only valuable but also essential to contributing meaningfully to society. - Class and Social Reform
The theme of class and social reform is woven into Romney’s desire to uplift society and alleviate human suffering, reflecting the Victorian era’s preoccupation with social responsibility. He appeals to Aurora to help him in his mission, describing a society filled with “headless bodies, shapeless, indistinct” that desperately need aid. This language evokes the masses struggling under the weight of poverty and social inequality. However, Aurora rejects his vision, arguing that genuine reform requires “a poet’s individualism” rather than mere charitable acts. She recognizes the importance of social reform but insists that art and personal fulfillment should not be sacrificed in its name, emphasizing a more nuanced approach to class issues that respects both individual identity and collective needs.
Literary Theories and “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
| Literary Theory | Explanation | References from “Aurora Leigh” (Book II excerpt) |
| Feminist Theory | Feminist theory examines the ways literature reinforces or challenges gender roles and addresses women’s social, political, and personal experiences. In Aurora Leigh, Browning critiques Victorian expectations of women. | Aurora resists Romney’s notion that a woman’s primary role is to support a man’s ambitions, declaring, “What you love, / Is not a woman, Romney, but a cause.” |
| Romanticism | Romanticism emphasizes individual emotion, nature, and the value of art as expressions of the self. Browning’s Aurora Leigh embodies these ideals, advocating for the independence and artistic expression of the individual. | Aurora argues for the importance of individuality and art, saying, “It takes a soul, / To move a body,” suggesting the artist’s essential role in human and social growth. |
| Marxist Theory | Marxist theory critiques class structures and explores how economic and social hierarchies affect individuals. Aurora Leigh critiques social reform efforts and questions the impact of class on personal relationships. | Romney’s focus on societal reform highlights the Marxist tension between individual needs and collective progress, as seen in “the formless, nameless trunk of every man.” |
Critical Questions about “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
- How does Browning challenge Victorian gender roles through Aurora’s rejection of Romney’s proposal?
- In “Aurora Leigh”, Browning critiques Victorian norms by having Aurora reject Romney’s proposal, which is rooted in traditional gender expectations. Aurora confronts Romney’s view of women as supportive but secondary to men’s ambitions, asking, “Do you now turn round / And ask for what a woman cannot give?” Her pointed response critiques the societal view that a woman’s primary purpose is to serve as a helpmate rather than as an individual with her own aspirations. Aurora’s rejection of marriage as solely a utilitarian arrangement—”What you love, / Is not a woman, Romney, but a cause”—highlights her desire for a relationship based on equality and mutual respect rather than the subservience expected of women in her time.
- How does Browning use Aurora’s character to discuss the importance of individuality and art in society?
- Through Aurora, Browning elevates the role of the artist as an essential voice for social and spiritual growth. Aurora argues that individuality and art are crucial for true progress, stating, “It takes a soul, / To move a body: it takes a high-souled man, / To move the masses.” By prioritizing her artistic vocation over a life of duty to social reform, Aurora insists that art’s value lies in its power to inspire and transform, not just serve. Her stance reveals Browning’s Romantic ideals, placing individual purpose above collective demands, which underscores the importance of self-expression in a society that often values utility over creativity.
- In what ways does Browning critique social reform movements of her time through Romney’s character?
- Browning uses Romney as a critique of the social reform movements that were prevalent in Victorian England, questioning their effectiveness and approach. Romney views marriage with Aurora as a means to further his social causes, emphasizing duty and reform rather than personal connection. Aurora, however, challenges his approach, suggesting that reform must be inspired by genuine empathy, not cold, detached goals. She tells Romney, “Your work / Is not the best for…nor your love the best,” implying that his work lacks the depth needed for true change. Through Romney, Browning questions whether reform movements that prioritize abstract ideals over individual needs can genuinely address societal problems.
- How does Browning portray love as complex and multifaceted, rather than idealistic, in “Aurora Leigh”?
- In “Aurora Leigh”, love is portrayed as a complex interplay of personal conviction, social roles, and genuine connection. Romney’s romantic approach to Aurora is tinged with his desire for a partner in his social mission, which Aurora finds unappealing and superficial. She accuses him of wanting a “wife to help your ends…in her no end!” This line underscores her belief that true love must be rooted in mutual respect and shared values, rather than a transactional partnership. By highlighting the conflicts between love, duty, and personal independence, Browning suggests that authentic love cannot thrive under societal pressures and must be based on equality and individuality.
Literary Works Similar to “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
- “The Cry of the Children” by Elizabeth Barrett Browning
This poem, like Aurora Leigh, addresses social issues and critiques the plight of the oppressed, focusing on child labor and the lack of empathy in Victorian society. - “Goblin Market” by Christina Rossetti
Rossetti’s poem parallels Aurora Leigh in its exploration of feminine independence and moral struggles, using allegory to depict women’s resilience against societal temptations and constraints. - “The Lady of Shalott” by Alfred, Lord Tennyson
Similar to Aurora Leigh, this poem examines themes of isolation and artistic dedication, portraying a woman confined by societal limitations and yearning for genuine life experience. - “My Last Duchess” by Robert Browning
In this dramatic monologue, Browning, like his wife in Aurora Leigh, explores power dynamics and critiques patriarchal control, highlighting the suppression of female agency within Victorian social structures. - “A Woman’s Last Word” by Robert Browning
This poem delves into the complexities of marital relationships and feminine autonomy, akin to Aurora Leigh‘s examination of love, gender roles, and the tension between personal identity and societal expectations.
Representative Quotations of “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
| Quotation | Context | Theoretical Perspective |
| “What you love, / Is not a woman, Romney, but a cause.” | Aurora critiques Romney’s romanticized view of marriage as a partnership for social reform rather than genuine love. | Feminist Theory – Critiques male idealization of women as tools for societal aims. |
| “Do you now turn round / And ask for what a woman cannot give?” | Aurora challenges Romney’s expectation that she fulfill roles society deems women unsuited for, questioning his inconsistency. | Gender Studies – Addresses the irony in societal gender limitations. |
| “I, too, have my vocation,–work to do, / The heavens and earth have set me.” | Aurora asserts her purpose beyond marriage, emphasizing her calling as a poet. | Romanticism – Elevates individual purpose and artistic expression. |
| “It takes a soul, / To move a body: it takes a high-souled man, / To move the masses.” | Aurora reflects on the transformative power of art and individuality over social reform alone. | Romantic Theory – Highlights the artist’s role as a catalyst for change. |
| “Anything does for a wife.” | Aurora cynically comments on society’s low expectations for women in marriage. | Feminist Critique – Challenges societal undervaluing of women’s roles. |
| “Place your fecund heart / In mine, and let us blossom for the world.” | Romney appeals to Aurora to join him in reform, seeing their union as a productive, almost utilitarian partnership. | Marxist Theory – Reflects the utilitarian view of relationships for social goals. |
| “The Judgment-Angel scarce would find his way / Through such a heap of generalised distress” | Romney’s words highlight the widespread suffering he seeks to address through reform. | Social Theory – Examines the challenge of reform amid widespread social suffering. |
| “I may love my art, / You’ll grant that even a woman may love art.” | Aurora asserts her dedication to poetry, challenging the gendered notion that women lack creative passion. | Feminist Theory – Asserts women’s right to pursue art and individuality. |
| “Your work / Is not the best for…nor your love the best.” | Aurora rejects Romney’s proposal, perceiving it as lacking depth in love and unsuited to her personal ideals. | Romanticism – Advocates for authentic, individual connection in relationships. |
| “I who love my art, would never wish it lower / To suit my stature.” | Aurora values her art as an expression of personal integrity, refusing to diminish it for social approval. | Existentialism – Emphasizes self-identity and commitment to one’s purpose. |
Suggested Readings: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
- Riede, David, et al. “Guide to the Year’s Work.” Victorian Poetry, vol. 43, no. 3, 2005, pp. 333–98. JSTOR, http://www.jstor.org/stable/40002789. Accessed 28 Oct. 2024.
- Zonana, Joyce. “The Embodied Muse: Elizabeth Barrett Browning’s Aurora Leigh and Feminist Poetics.” Tulsa Studies in Women’s Literature, vol. 8, no. 2, 1989, pp. 241–62. JSTOR, https://doi.org/10.2307/463737. Accessed 28 Oct. 2024.
- Rosenblum, Dolores. “Face to Face: Elizabeth Barrett Browning’s ‘Aurora Leigh’ and Nineteenth-Century Poetry.” Victorian Studies, vol. 26, no. 3, 1983, pp. 321–38. JSTOR, http://www.jstor.org/stable/3827516. Accessed 28 Oct. 2024.
- Steinmetz, Virginia V. “Images of ‘Mother-Want’ in Elizabeth Barrett Browning’s ‘Aurora Leigh.'” Victorian Poetry, vol. 21, no. 4, 1983, pp. 351–67. JSTOR, http://www.jstor.org/stable/40002102. Accessed 28 Oct. 2024.