Elizabeth Barrett Browning’s Aurora Leigh is sometimes considered part of the first wave of modern feminism due to the progressive and even radical ways that it explores women’s issues. The narrator, Aurora, is constantly considering what it means to be a woman and how it’s distinct from being a man, particularly when it comes to making art. As the poem shows, Aurora often has to deal with prejudice due to her status as a woman. People like Romney and some critics in the literary world, for example, don’t take Aurora’s poetry seriously because she’s a woman, believing that women in general aren’t capable of making art. While Elizabeth Barrett Browning herself obviously doesn’t endorse this view, she portrays how it was not exclusively a male opinion, with even women like Lady Waldemar believing that women are limited in what they can accomplish and ill-suited to art. In spite of these prejudices and even her own self-doubts, Aurora publishes a successful book, demonstrating how some women were able to succeed in spite of these hurdles—and challenging Romney’s perspectives on women, poetry, and life in so doing.
Even more so than Aurora, the character of Marian suffers from society’s views about a woman’s place. She begins life being mistreated by both her parents, in part because they see her as a weak and worthless girl. Her mother tries to sell her into sex work, which was one of the relatively few options available for a poor woman to make money. Marian eventually ends up at a French brothel where she is raped and has a child. Although Marian is a victim, people look down on her as “impure”—at least until she meets Aurora—illustrating the discrimination that poor women faced in particular. Aurora accepts Marian as she is, inviting Marian and her child to live with her in Italy, and the three of them form a successful family unit without the need for a man. Marian’s life challenges patriarchal ideas about how women need men to survive and how a family is incomplete without a man. Through challenges ranging from Aurora’s struggle to be taken seriously as an artist to Marian’s fight for survival, the poem consistently champions women’s inherent worth, dignity, and ability to determine the course of their own lives.
Feminism and Women’s Roles ThemeTracker
Feminism and Women’s Roles Quotes in Aurora Leigh
She had lived
A sort of cage-bird life, born in a cage,
Accounting that to leap from perch to perch
Was act and joy enough for any bird.
Dear heaven, how silly are the things that live
In thickets, and eat berries!
I, alas,
A wild bird scarcely fledged, was brought to her cage,
And she was there to meet me. Very kind.
Bring the clean water; give out the fresh seed.
‘Better far,
Pursue a frivolous trade by serious means,
Than a sublime art frivolously.’
‘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.’
‘I go hence
To London, to the gathering-place of souls,
To live mine straight out, vocally, in books;
Harmoniously for others, if indeed
A woman’s soul, like man’s, be wide enough
To carry the whole octave (that’s to prove)
Or, if I fail, still, purely for myself.
Pray God be with me, Romney.’
‘So young,’ he gently asked her, ‘you have lost
Your father and your mother?’
‘Both,’ she said,
‘Both lost! my father was burnt up with gin
Or ever I sucked milk, and so is lost.
My mother sold me to a man last month,
And so my mother’s lost, ’tis manifest.
And I, who fled from her for miles and miles,
As if I had caught sight of the fires of hell
Through some wild gap, (she was my mother, sir)
It seems I shall be lost too, presently,
And so we end, all three of us.’
‘Poor child!’
He said,—with such a pity in his voice.
Ay, but every age
Appears to souls who live in it, (ask Carlyle)
Most unheroic. Ours, for instance, ours!
The thinkers scout it, and the poets abound
Who scorn to touch it with a finger-tip:
A pewter age,—mixed metal, silver-washed;
An age of scum, spooned off the richer past;
An age of patches for old gaberdines;
An age of mere transition, meaning nought,
Except that what succeeds must shame it quite,
If God please. That’s wrong thinking, to my mind,
And wrong thoughts make poor poems.
Every age,
Through being beheld too close, is ill-discerned
By those who have not lived past it.
‘And so, that little stone, called Marian Erle,
Picked up and dropped by you and another friend,
Was ground and tortured by the incessant sea
And bruised from what she was,—changed! death’s a change,
And she, I said, was murdered; Marian’s dead.
What can you do with people when they are dead,
But, if you are pious, sing a hymn and go,
Or, if you are tender, heave a sigh and go,
But go by all means,—and permit the grass
To keep its green feud up ’twixt them and you?
Then leave me,—let me rest. I’m dead, I say.
And if, to save the child from death as well,
The mother in me has survived the rest,
Why, that’s God’s miracle you must not tax,—
I’m not less dead for that: I’m nothing more
But just a mother.’
I thought, ‘Now, if I had been a woman, such
As God made women, to save men by love,—
By just my love I might have saved this man,
And made a nobler poem for the world
Than all I have failed in.’ But I failed besides
In this; and now he’s lost! through me alone!
And, by my only fault, his empty house
Sucks in, at this same hour, a wind from hell
To keep his hearth cold, make his casements creak
For ever to the tune of plague and sin—
O Romney, O my Romney, O my friend!
My cousin and friend! my helper, when I would,
My love, that might be! mine!
‘Meantime your book
Is eloquent as if you were not dumb;
And common critics, ordinarily deaf
To such fine meanings, and, like deaf men, loth
To seem deaf, answering chance-wise, yes or no,
‘It must be,’ or ‘it must not,’ (most pronounced
When least convinced) pronounce for once aright:
You’d think they really heard,—and so they do ...
The burr of three or four who really hear
And praise your book aright: Fame’s smallest trump
Is a great ear-trumpet for the deaf as posts,
No other being effective. Fear not, friend;
We think, here, you have written a good book,
And you, a woman! It was in you—yes.’
‘That is consequent:
The poet looks beyond the book he has made,
Or else he had not made it. If a man
Could make a man, he’d henceforth be a god
In feeling what a little thing is man:
It is not my case. And this special book,
I did not make it, to make light of it:
It stands above my knowledge, draws me up;
’Tis high to me.’
‘Oh, it does me good,
It wipes me clean and sweet from devil’s dirt,
That Romney Leigh should think me worthy still
Of being his true and honourable wife!
Henceforth I need not say, on leaving earth,
I had no glory in it. For the rest,
The reason’s ready (master, angel, friend,
Be patient with me) wherefore you and I
Can never, never, never join hands so.
I know you’ll not be angry like a man
(For you are none) when I shall tell the truth,—
Which is, I do not love you, Romney Leigh,
I do not love you. Ah well! catch my hands,
Miss Leigh, and burn into my eyes with yours,—
I swear I do not love him. Did I once?’
My Romney!—Lifting up my hand in his,
As wheeled by Seeing spirits toward the east,
He turned instinctively,—where, faint and fair,
Along the tingling desert of the sky,
Beyond the circle of the conscious hills,
Were laid in jasper-stone as clear as glass
The first foundations of that new, near Day
Which should be builded out of heaven, to God.
He stood a moment with erected brows,
In silence, as a creature might, who gazed:
Stood calm, and fed his blind, majestic eyes
Upon the thought of perfect noon. And when
I saw his soul saw,—‘Jasper first,’ I said,
‘And second, sapphire; third, chalcedony;
The rest in order, ... last, an amethyst.