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Tag: Elizabeth Barrett Browning

Xlll. And wilt thou have me fashion into speech – Elizabeth Barrett Browning

from Sonnets from the Portuguese

Xlll. And wilt thou have me fashion into speech

And wilt thou have me fashion into speech
The love I bear thee, finding words enough,
And hold the torch out, while the winds are rough,
Between our faces, to cast light on each? –
I dropt it at thy feet. I cannot teach
My hand to hold my spirits so far off
From myself – me – that I should bring thee proof
In words, of love hid in me out of reach.
Nay, let the silence of my womanhood
Commend my woman-love to thy belief, –
Seeing that I stand unwon, however wooed,
And rend the garment of my life, in brief,
By a most dauntless, voiceless fortitude,
Lest one touch of this heart convey its grief.

Elizabeth Barrett Browning

_________________________

there are circumlocutions in Romantic poetry
that are often hard to follow, and the work of
sorting these out just as often will lead to
giving the poem a pass, how pertinent can
a poem be, you ask, as you cursorily lay it
to rest

unless a line or two, a phrase, a cadence, an
arresting truth you find, becomes enough to
probe it further, to read again with a magnifying
glass this time, checking the entrails, the parts
of speech, the punctuation, their interactions,
the chemistry

this alone is good for your head

the word “rend” upended me here, who, I
wondered, rent, the text is clear but “however
wooed”
interjects to sow confusion, a comma
after “wooed”, rather than a hyphen, confirms
that she herself is breaking up inside for fear
of speaking out her anguish, a hyphen
would’ve led us to him

still a bit convoluted, but the underlying
sentiment remains incontrovertibly raw
and clear

Elizabeth Barrett Browning is a mess, but
has found a solid anchor in the refuge of
her manifestly masterful, mistressful, if you’d
rather, poems, though I suspect she’ll never
attain belief in her own connubial validity

van Gogh was also so existentially rent

and also Goethe’s Werther, the premier Romantic
hero, who famously foregos his even life for lack
of validating love

Elizabeth Barrett Browning remains to bear it,
live it, for us, iconically

go, I would think, though ever so distraught,
dear and magnificent Elizabeth

Richard

Xll. Indeed this very love which is my boast – Elizabeth Barrett Browning

from Sonnets from the Portuguese

Xll. Indeed this very love which is my boast

Indeed this very love which is my boast,
And which, when rising up from breast to brow,
Doth crown me with a ruby large enow
To draw men’s eyes and prove the inner cost, –
This love even, all my worth, to the uttermost,
I should not love withal, unless that thou
Hadst set me an example, shown me how,
When first thine earnest eyes with mine were crossed,
And love called love. And thus, I cannot speak
Of love even, as a good thing of my own:
Thy soul hath snatched up mine all faint and weak,
And placed it by thee on a golden throne, –
And that I love (O soul, we must be meek!)
Is by thee only, whom I love alone.

Elizabeth Barrett Browning

_______________________

though the sonnet has a history going back to the
13th Century, English poets probably found their
soul spring in Shakespeare, all CLlV of his seminal
blueprints

you’ll notice the order of rhymes, the set number of
lines of verse, 14, are the same, Barrett Browning
hides however her consonant sounds by blurring
the meter as she forces it into the following line by
the dictates of correct grammar and meaning

the result is Romantic urgency, instead of the more
controlled poetry of a ceremonious, therefore less
indulgent, more rigidly formal, monarchic court, and
age

majesty has ceded here to democracy, for better
or for worse

Richard

Xl. And therefore if to love can be desert – Elizabeth Barrett Browning

from Sonnets from the Portuguese

Xl. And therefore if to love can be desert…

And therefore if to love can be desert,
I am not all unworthy. Cheeks as pale
As these you see, and trembling knees that fail
To bear the burden of a heavy heart, –
This weary minstrel-life that once was girt
To climb Aornus, and can scarce avail
To pipe now ‘gainst the valley nightingale
A melancholy music, — why advert
To these things? O Beloved, it is plain
I am not of thy worth nor for thy place!
And yet, because I love thee, I obtain
From that same love this vindicating grace
To live on still in love, and yet in vain, –
To bless thee, yet renounce thee to thy face.

Elizabeth Barrett Browning

____________________

“desert” here, as in “just deserts”, to get what one
deserves, and not incidentally “Just Desserts”, the
sweets emporia, is an example of the affectations of
Romantic poetry that used to annoy me and turn me
away, so that I quickly lost my curiosity as to its
proponents, Byron, Shelley, Keats, Rimbaud, Verlaine,
Baudelaire, were all too ornate, and abstruse, obscure,
for me to see anything but artifice and decoration,
when I required clarity and direction as a young pup

here and there an idea struck a chord that would not
not reverberate, about Truth and Beauty for instance,
or They also serve who only stand and wait“, and of
course the plangent How do I love thee? Let me
count the ways
“,
which had none of these infringing
pretensions

it took me a while to understand that this was the idiom
of another age, that poetry could transcend its heritage
and become relevant

urgent

vital

Aornus, I ask you, is a mountain in, of all places, India,
which Alexander purportedly conquered way before
our time

to “advert/To” is to refer to

despite these irritations, Elizabeth Barrett Browning
remains unexpectedly direct and even still poignant
in her self-disparagement, her self-abnegation, even
after eleven poems, perhaps because she touches,
beyond the idiosyncracies of self-conscious style,
masochistic maybe even neurosis, an underlying
true chord of love in all its quivering manifestations,
one of our major ever existential concerns

Richard

beat (Mozart Piano Concerto no 13 in C major, K 415)

it should be considered that even without tonalities
here – another word for “notes”, tonal divergences – 
just the rigorously held beat is enough for this riff 
to be called music
 
pretty impressive music at that
  
the reverse hasn’t always been true, is still not
for many, the history of Western music has been
the attempt to change that, to find music in the 
discordant ordinary, trust in an underlying cosmic
flow, melody even in tonalities devoid of any 
immediately recognizable rhythms 
 
hidden rhyme, where the beat of a verse obscures
the usual accent given to the last word of a line,
which usually sings thereby in conjunction with its
sister word at the end of a following one, performs 
in verse a similar function   
 
instances of hidden verse abound in for instance
 
 
     from “Sonnets from the Portuguese
 
            X. Yet, love, mere love, is beautiful …   
 
                        Yet, love, mere love, is beautiful indeed
                        And worthy of acceptation. Fire is bright,

                        Let temple burn, or flax; and equal light
                        Leaps in the flame from cedar-plank or weed:
                        And love is fire. And when I say at need
                        I love thee … mark! … I love thee—in thy sight
                        I stand transfigured, glorified aright,
                        With conscience of the new rays that proceed
                        Out of my face toward thine. There’s nothing low
                        In love, when love the lowest: meanest creatures
                        Who love God, God accepts while loving so.
                        And what I feel, across the inferior features
                        Of what I am, doth flash itself, and show
                        How that great work of Love enhances Nature’s.
 
 
                                                          Elizabeth Barrett Browning 
 
 
listen to Mitsuko Uchida blur the staunch rhythmic
line of Mozart’s 13th Piano Concerto delivering again
thereby absolute transcendence, Mozart himself
would’ve been, I’m sure, ultra wowed  
 
 
Richard  
 
 
 

X. Yet, love, mere love, is beautiful – Elizabeth Barrett Browning

from Sonnets from the Portuguese

X. Yet, love, mere love, is beautiful…

Yet, love, mere love, is beautiful indeed
And worthy of acceptation. Fire is bright,
Let temple burn, or flax; and equal light
Leaps in the flame from cedar-plank or weed:
And love is fire. And when I say at need
I love thee … mark! … I love thee—in thy sight
I stand transfigured, glorified aright,
With conscience of the new rays that proceed
Out of my face toward thine. There’s nothing low
In love, when love the lowest: meanest creatures
Who love God, God accepts while loving so.
And what I feel, across the inferior features
Of what I am, doth flash itself, and show
How that great work of Love enhances Nature’s.

Elizabeth Barrett Browning

___________________

we are witness to the “transfigur[ation] that occurs at
the conferment of love, the sacred trust one receives of
infinite empathy for another, others, in order to glimpse
maybe something of the mystical dimensions of our
universe, the place within it of miracles, should one
chance to go there

and it is, well, transformational, a quantum leap of the
very soul

note structurally the rush of emotion that blurs a
usually dominant rhyme, the stop for breath in the
very middle of a verse instead of its usual place at
the end of the line, to suggest the lost parameters,
the breached social norms, of her emotion

note the urgency of her sentiment – “I love thee …
mark! … I love thee”
– despite being “the lowest”,
and being unworthy under normal conditions of
even being heard

yet she is aware, cognizant, that this grace she
has received changes the world – “How that great
work of Love enhances Nature’s.”
– her “new rays”
burn ever bright, a constant flame keeping vigil at
her lover’s altar, and sheds light thereby, hope and,
it appears, undying inspiration, on all of us

wow, man

note also, incidentally, how, this time, there is not
a word about him, even a descriptive trait, except
as a necessary, though maybe incidental, catalyst,
a primal engine

we’ll see

Richard

lX. Can it be right to give what I can give? – Elizabeth Barrett Browning

from Sonnets from the Portuguese

lX. Can it be right to give what I can give?…

Can it be right to give what I can give?
To let thee sit beneath the fall of tears
As salt as mine, and hear the sighing years
Re-sighing on my lips renunciative
Through those infrequent smiles which fail to live
For all thy adjurations? O my fears,
That this can scarce be right! We are not peers,
So to be lovers; and I own, and grieve,
That givers of such gifts as mine are, must
Be counted with the ungenerous. Out, alas!
I will not soil thy purple with my dust,
Nor breathe my poison on thy Venice-glass,
Nor give thee any love — which were unjust.
Belovèd, I love only thee! let it pass.

Elizabeth Barrett Browning

________________________

though it might seem unworthy, this is my condition,
she says, I have only my misery to offer, and my
intemperate, ineradicable, love, my very destiny,
should it be of any consequence, best were for you,
therefore, to move on

at which her abnegation brought me to a shiver, and,
marvelously, to, in my very body, compassion

there is something awesome, even sacred, in this
unbound sincerity

Richard

Vlll. What can I give thee back, O liberal – Elizabeth Barrett Browning

from Sonnets from the Portuguese

Vlll. What can I give thee back, O liberal…

What can I give thee back, O liberal
And princely giver, who hast brought the gold
And purple of thine heart, unstained, untold,
And laid them on the outside of the wall
For such as I to take or leave withal,
In unexpected largesse? am I cold,
Ungrateful, that for these most mainfold
High gifts, I render nothing back at all?
Not so; not cold, — but very poor instead.
Ask God who knows. For frequent tears have run
The colours from my life, and left so dead
And pale a stuff, it were not fitly done
To give the same as pillow to thy head.
Go farther! let it serve to trample on.

Elizabeth Barrett Browning

______________________

at this point I have to say, get a hold of yourself, girlfriend,
there is some worth in you even if you are wretched, look
at just your poetry, which from this pespective shines
radiant light upon your dependent lover, who would not
live so bright were you not his sponsor in the cultural
imagination, your moon has made his sunshine infinitely
more lustrous

but that is from this perspective, a love so subservient is
no longer an appropriate model in a world where women
are taking their rightful place, even still

but perhaps this is, pertinently, an aspect of love, male
or female, this obliterating surrender

Richard

Vll. The face of all the world is changed, I think – Elizabeth Barrett Browning

from Sonnets from the Portuguese

Vll. The face of all the world is changed, I think…

The face of all the world is changed, I think,
Since first I heard the footsteps of thy soul
Move still, oh, still, beside me, as they stole
Betwixt me and the dreadful outer brink
Of obvious death, where I, who thought to sink,
Was caught up into love, and taught the whole
Of life in a new rhythm. The cup of dole
God gave for baptism, I am fain to drink,
And praise its sweetness, Sweet, with thee anear.
The names of country, heaven, are changed away
For where thou art or shall be, there or here;
And this . . . this lute and song . . . loved yesterday,
(The singing angels know) are only dear
Because thy name moves right in what they say.

Elizabeth Barrett Browning

______________________

there are only two statements here, “The face of all the world
is changed”
and “The cup of dole / God gave for baptism, I am
fain to drink”,
in either case et cetera

the metre is iambic pentameter, the beat is of course
Shakespeare’s, famous for his own immortal sonnets, and
probably an inspiration for Barrett Browning, who uses as
well his archaic, even in the nineteenth century then, “thou”,
“thee”, “thine”

think about it

the metre is concealed by the flow of the sentence, which
can only be effectively blurred by inordinate, dare I say,
blinding, passion, which Elizabeth has of course in spades,
declaring utimately with these historic sonnets the inner
workings of love for the very ages

but to our consternation, and utmost admiration, this flow
of unfettered sentiment rhymes, and even technically
deserves to be considered a poem, an even masterpiece

Richard

Vl. Go from me. Yet I feel that I shall stand – Elizabeth Barrett Browning

from Sonnets from the Portuguese

Vl. Go from me. Yet I feel that I shall stand…

Go from me. Yet I feel that I shall stand
Henceforward in thy shadow. Nevermore
Alone upon the threshold of my door
Of individual life, I shall command
The uses of my soul, nor lift my hand
Serenely in the sunshine as before,
Without the sense of that which I forebore—
Thy touch upon the palm. The widest land
Doom takes to part us, leaves thy heart in mine
With pulses that beat double. What I do
And what I dream include thee, as the wine
Must taste of its own grapes. And when I sue
God for myself, He hears that name of thine,
And sees within my eyes the tears of two.

Elizabeth Barrett Browning

_____________________

are you ready for Miss Thing, you have left an indelible
impression upon my soul, she says, inscribed in my very
anatomy, which even the Great Discerner will descry at
the very Day of Reckoning

though today’s girls would take offence at such overt
subservience, I think Elizabeth‘s abnegation speaks
to the ineradicable longing for surrender, physical,
emotional, spiritual, latent ever in all of us, men as
well as women


Richard

V. I lift my heavy heart up solemnly – Elizabeth Barrett Browning

from Sonnets from the Portuguese

V. I lift my heavy heart up solemnly…

I lift my heavy heart up solemnly,
As once Electra her sepulchral urn,
And, looking in thine eyes, I overturn
The ashes at thy feet. Behold and see
What a great heap of grief lay hid in me,
And how the red wild sparkles dimly burn
Through the ashen greyness. If thy foot in scorn
Could tread them out to darkness utterly,
It might be well perhaps. But if instead
Thou wait beside me for the wind to blow
The grey dust up, . . . those laurels on thine head,
O my Belovèd, will not shield thee so,
That none of all the fires shall scorch and shred
The hair beneath. Stand farther off then! go.

Elizabeth Barrett Browning

___________________

Elizabeth has realized that Robert might stay, but,
she says, should you, this is all I have to offer,
“ashes
at thy feet… a great heap of grief”,
where, however,
“wild sparkles dimly burn / Through the ashen greyness”

she is not, she insists, not alive, she is even “scorch[ing]“,
she confirms, beneath the apparent drudge, enough to set
Robert on dire fire should he not “tread them out”, they
would consume even him, “those laurels on thine head, /
O my Belovèd, will not shield thee”
otherwise

be off, she warns, “Stand farther off then! go.”, an admonition
she must herself also heed, she surely intuits, should she be
called upon to indeed catch incendiary flame

“But if instead / Thou wait beside me for the wind to blow/
The grey dust up…”

there is an evolution here in the procees of love which
will surely bear investigation as the sonnets unfold, an
emotional unfurling, I would think, of the stages of
recognized and appreciated devotion, Robert, as it
turned out, stuck around, a love story brought to
inspirational fruition for the very ages

Richard