Of Remus in the trenches. Listen now —
Rossi died silent near where Caesar died.
HE did not say “My Brutus, is it thou?”
But Italy unquestioned testified
“I killed him! I am Brutus. — I avow.”
At which the whole world’s laugh of scorn replied
“A poor maimed copy of Brutus!”
Too much like,
Indeed, to be so unlike! too unskilled
At Philippi and the honest battle-pike,
To be so skilful where a man is killed
Near Pompey’s statue, and the daggers strike
At unawares i’ the throat. Was thus fulfilled
An omen once of Michel Angelo? —
When Marcus Brutus he conceived complete,
And strove to hurl him out by blow on blow
Upon the marble, at Art’s thunderheat,
Till haply (some pre-shadow rising slow
Of what his Italy would fancy meet
To be called BRUTUS) straight his plastic hand
Fell back before his prophet-soul, and left
A fragment, a maimed Brutus, — but more grand
Than this, so named at Rome, was!
Let thy weft
Present one woof and warp, Mazzini! Stand
With no man hankering for a dagger’s heft,
No, not for Italy! — nor stand apart,
No, not for the Republic! — from those pure
Brave men who hold the level of thy heart
In patriot truth, as lover and as doer,
Albeit they will not follow where thou art
As extreme theorist. Trust and distrust fewer;
And so bind strong and keep unstained the cause
Which (God’s sign granted) war-trumps newly blown
Shall yet annunciate to the world’s applause.
But now, the world is busy; it has grown
A Fair-going world. Imperial England draws
The flowing ends of the earth from Fez, Canton,
Delhi and Stockholm, Athens and Madrid,
The Russias and the vast Americas,
As if a queen drew in her robes amid
Her golden cincture, — isles, peninsulas,
Capes, continents, far inland countries hid
By jasper-sands and hills of chrysopras,
All trailing in their splendours through the door
Of the gorgeous Crystal Palace. Every nation,
To every other nation strange of yore,
Gives face to face the civic salutation,
And holds up in a proud right hand before
That congress the best work which she can fashion
By her best means. “These corals, will you please
To match against your oaks? They grow as fast
Within my wilderness of purple seas.” —
“This diamond stared upon me as I passed
(As a live god’s eye from a marble frieze)
Along a dark of diamonds. Is it classed?” —
“I wove these stuffs so subtly that the gold
Swims to the surface of the silk like cream
And curdles to fair patterns. Ye behold!” —
“These delicatest muslins rather seem
Than be, you think? Nay, touch them and be bold,
Though such veiled Chakhi’s face in Hafiz’ dream.” —
“These carpets — you walk slow on them like kings,
Inaudible like spirits, while your foot
Dips deep in velvet roses and such things.” —
“Even Apollonius might commend this flute:[13]
The music, winding through the stops, upsprings
To make the player very rich: compute!”
“Here’s goblet-glass, to take in with your wine
The very sun its grapes were ripened under:
Drink light and juice together, and each fine.” —
“This model of a steamship moves your wonder?
You should behold it crushing down the brine
Like a blind Jove who feels his way with thunder.” —
“Here’s sculpture! Ah, we live too! why not throw
Our life into our marbles? Art has place
For other artists after Angelo.” —
“I tried to paint out here a natural face;
For nature includes Raffael, as we know,
Not Raffael nature. Will it help my case?” —
“Methinks you will not match this steel of ours!” —
“Nor you this porcelain! One might dream the clay
Retained in it the larvae of the flowers,
They bud so, round the cup, the old Spring-way.” —
“Nor you these carven woods, where birds in bowers
With twisting snakes and climbing cupids, play.”
O Magi of the east and of the west,
Your incense, gold and myrrh are excellent! —
What gifts for Christ, then, bring ye with the rest?
Your hands have worked well: is your courage spent
In handwork only? Have you nothing best,
Which generous souls may perfect and present,
And He shall thank the givers for? no light
Of teaching, liberal nations, for the poor
Who sit in darkness when it is not night?
No cure for wicked children? Christ, — no cure!
No help for women sobbing out of sight
Because men made the laws? no brothel-lure
Burnt out by popular lightnings? Hast thou four
No remedy, my England, for such woes?
No outlet, Austria, for the scourged and bound,
No entrance for the exiled? no repose,
Russia, for knouted Poles worked underground,
And gentle ladies bleached among the snows?
No mercy for the slave, America?
No hope for Rome, free France, chivalric France?
Alas, great nations have great shames, I say.
No pity, O world, no tender utterance
Of benediction, and prayers stretched this way
For poor Italia, baffled by mischance?
O gracious nations, give some ear to me!
You all go to your Fair, and I am one
Who at the roadside of humanity
Beseech your alms, — God’s justice to be done.
So, prosper!
In the name of Italy,
Meantime, her patriot Dead have benison.
They only have done well; and, what they did
Being perfect, it shall triumph. Let them slumber:
No king of Egypt in a pyramid
Is safer from oblivion, though he number
Full seventy cerements for a coverlid.
These Dead be seeds of life, and shall encumber
The sad heart of the land until it loose
The clammy clods and let out the Spring-growth
In beatific green through every bruise.
The tyrant should take heed to what he doth,
Since every victim-carrion turns to use,
And drives a chariot, like a god made wroth,
Against each piled injustice. Ay, the least,
Dead for Italia, not in vain has died;
Though many vainly, ere life’s struggle ceased,
To mad dissimilar ends have swerved aside;
Each grave her nationality has pieced
By its own majestic breadth, and fortified
And pinned it deeper to the soil. Forlorn
Of thanks be, therefore, no one of these graves!
Not Hers, — who, at her husband’s side, in scorn,
Outfaced the whistling shot and hissing waves,
Until she felt her little babe unborn
Recoil, within her, from the violent staves
And bloodhounds of the world, — at which, her life
Dropt inwards from her eyes and followed it
Beyond the hunters. Gari
baldi’s wife
And child died so. And now, the seaweeds fit
Her body, like a proper shroud and coif,
And murmurously the ebbing waters grit
The little pebbles while she lies interred
In the sea-sand. Perhaps, ere dying thus,
She looked up in his face (which never stirred
From its clenched anguish) as to make excuse
For leaving him for his, if so she erred.
He well remembers that she could not choose.
A memorable grave! Another is
At Genoa. There, a king may fitly lie,
Who, bursting that heroic heart of his
At lost Novara, that he could not die
(Though thrice into the cannon’s eyes for this
He plunged his shuddering steed, and felt the sky
Reel back between the fire-shocks), stripped away
The ancestral ermine ere the smoke had cleared,
And, naked to the soul, that none might say
His kingship covered what was base and bleared
With treason, went out straight an exile, yea,
An exiled patriot. Let him be revered.
Yea, verily, Charles Albert has died well;
And if he lived not all so, as one spoke,
The sin pass softly with the passing-bell;
For he was shriven, I think, in cannon-smoke,
And, taking off his crown, made visible
A hero’s forehead. Shaking Austria’s yoke
He shattered his own hand and heart. “So best,”
His last words were upon his lonely bed,
I do not end like popes and dukes at least —
“Thank God for it.” And now that he is dead,
Admitting it is proved and manifest
That he was worthy, with a discrowned head,
To measure heights with patriots, let them stand
Beside the man in his Oporto shroud,
And each vouchsafe to take him by the hand,
And kiss him on the cheek, and say aloud, —
“Thou, too, hast suffered for our native land!
My brother, thou art one of us! be proud.”
Still, graves, when Italy is talked upon.
Still, still, the patriot’s tomb, the stranger’s hate.
Still Niobe! still fainting in the sun,
By whose most dazzling arrows violate
Her beauteous offspring perished! has she won
Nothing but garlands for the graves, from Fate?
Nothing but death-songs? — Yes, be it understood
Life throbs in noble Piedmont! while the feet
Of Rome’s clay image, dabbled soft in blood,
Grow flat with dissolution and, as meet,
Will soon be shovelled off like other mud,
To leave the passage free in church and street.
And I, who first took hope up in this song,
Because a child was singing one ... behold,
The hope and omen were not, haply, wrong!
Poets are soothsayers still, like those of old
Who studied flights of doves; and creatures young
And tender, mighty meanings may unfold.
The sun strikes, through the windows, up the floor;
Stand out in it, my own young Florentine,
Not two years old, and let me see thee more!
It grows along thy amber curls, to shine
Brighter than elsewhere. Now, look straight before,
And fix thy brave blue English eyes on mine,
And from my soul, which fronts the future so,
With unabashed and unabated gaze,
Teach me to hope for, what the angels know
When they smile clear as thou dost. Down God’s ways
With just alighted feet, between the snow
And snowdrops, where a little lamb may graze,
Thou hast no fear, my lamb, about the road,
Albeit in our vain-glory we assume
That, less than we have, thou hast learnt of God.
Stand out, my blue-eyed prophet! — thou, to whom
The earliest world-day light that ever flowed,
Through Casa Guidi Windows chanced to come!
Now shake the glittering nimbus of thy hair,
And be God’s witness that the elemental
New springs of life are gushing everywhere
To cleanse the watercourses, and prevent all
Concrete obstructions which infest the air!
That earth’s alive, and gentle or ungentle
Motions within her, signify but growth! —
The ground swells greenest o’er the labouring moles.
Howe’er the uneasy world is vexed and wroth,
Young children, lifted high on parent souls,
Look round them with a smile upon the mouth,
And take for music every bell that tolls;
(WHO said we should be better if like these?)
But we sit murmuring for the future though
Posterity is smiling on our knees,
Convicting us of folly. Let us go —
We will trust God. The blank interstices
Men take for ruins, He will build into
With pillared marbles rare, or knit across
With generous arches, till the fane’s complete.
This world has no perdition, if some loss.
Such cheer I gather from thy smiling, Sweet!
The self-same cherub-faces which emboss
The Vail, lean inward to the Mercy-seat.
Aurora Leigh
First published in 1856, this epic poem is written in blank verse and is composed of nine books of first person narration. The poem makes use of Barrett Browning’s knowledge of Hebrew and Greek, while also using ideas from modern novels, such as Corinne ou l’Italie by Anne Louise Germaine de Staël and various novels by George Sand. The verse-novel offers a richly detailed representation of the early Victorian age. The social panorama extends from the slums of London, through the literary world, to the upper classes, offering a number of entertaining satiric portraits: an aunt with rigidly conventional notions of female education; Romney Leigh, the Christian socialist; Lord Howe, the amateur radical; Sir Blaise Delorme, the ostentatious Roman Catholic; and the unscrupulous society beauty Lady Waldemar.
However, the dominant presence in the work is the eponymous narrator, who recounts her early years in Italy, her adolescence in the West Country, followed by the vocational choices, creative struggles and emotional entanglements of her first decade of adult life. Embodying Barrett Browning’s own strong beliefs, Aurora Leigh develops her ideas on art, love, God, the Woman Question and society.
‘Aurora Leigh’s Dismissal of Romney’ by Arthur Hughes
CONTENTS
AURORA LEIGH. FIRST BOOK.
AURORA LEIGH. SECOND BOOK.
AURORA LEIGH. THIRD BOOK.
AURORA LEIGH. FOURTH BOOK.
AURORA LEIGH. FIFTH BOOK.
AURORA LEIGH. SIXTH BOOK.
AURORA LEIGH. SEVENTH BOOK.
AURORA LEIGH. EIGHTH BOOK.
AURORA LEIGH. NINTH BOOK
AURORA LEIGH. FIRST BOOK.
OF writing many books there is no end;
And I who have written much in prose and verse
For others’ uses, will write now for mine,–
Will write my story for my better self,
As when you paint your portrait for a friend,
Who keeps it in a drawer and looks at it
Long after he has ceased to love you, just
To hold together what he was and is.
I, writing thus, am still what men call young;
I have not so far left the coasts of life
To travel inland, that I cannot hear
That murmur of the outer Infinite
Which unweaned babies smile at in their sleep
When wondered at for smiling; not so far,
But still I catch my mother at her post
Beside the nursery-door, with finger up,
‘Hush, hush–here’s too much noise!’ while her sweet eyes
Leap forward, taking part against her word
In the child’s riot. Still I sit and feel
My father’s slow hand, when she had left us both,
Stroke out my childish curls across his knee;
And hear Assunta’s daily jest (she knew
He liked it better than a better jest)
Inquire how many golden scudi went
To make such ringlets. O my father’s hand,
Stroke the poor hair down, stroke it heavily,–
Draw, press the child’s head closer to thy knee!
I’m still too young, too young to sit alone.
I write. My mother was a Florentine,
Whose rare blue eyes were shut from seeing me
When scarcely I was four years old; my life,
A poor spark snatched up from a failing lamp
Which went out therefore. She was weak and frail;
She could not bear the joy of giving life–
The mother’s rapture slew her. If her kiss
Had left a longer weight upon my lips,
It might have steadied the uneasy breath,
And reconciled and fraternised my soul
With the new order. As it was, indeed,
I felt a mother-want about the world,
And still went seeking, like a bleating lamb
Left out at night, in shutting up the fold,–
As restless as a nest-deserted bird
Grown chill through something being away, though what
It knows not. I, Aurora Leigh, was born
To make my father sadder, and myself
Not overjoyous, truly. Women know
The way to rear up children, (to be just,)
They know a simple, merry, tender knack
Of tying sashes, fitting baby-shoes,
And stringing pretty words that make no sense,
And kissing full sense into empty words;
Which things are corals to cut life upon,
Although such trifles: children learn by such,
Love’s holy earnest in a pretty play,
And get not over-early solemnised,–
But seeing, as in a rose-bush, Love’s Divine,
Which burns and hurts not,–not a single bloom,–
Become aware and unafraid of Love.
Such good do mothers. Fathers love as well
–Mine did, I know,–but still with heavier brains,
Complete Works of Elizabeth Barrett Browning Page 79