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Cambridge Editions
The Complete Poetical Works
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
628 pages, Hardcover
First published January 1, 1862
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About the author
Elizabeth Barrett Browning
985 books699 followersElizabeth Barrett Browning was one of the most respected poets of the Victorian era.
Born in County Durham, the eldest of 12 children, Browning was educated at home. She wrote poetry from around the age of six and this was compiled by her mother, comprising what is now one of the largest collections extant of juvenilia by any English writer. At 15 Browning became ill, suffering from intense head and spinal pain for the rest of her life, rendering her frail. She took laudanum for the pain, which may have led to a lifelong addiction and contributed to her weak health.
In the 1830s Barrett's cousin John Kenyon introduced her to prominent literary figures of the day such as William Wordsworth, Mary Russell Mitford, Samuel Taylor Coleridge; Alfred, Lord Tennyson, and Thomas Carlyle. Browning's first adult collection The Seraphim and Other Poems was published in 1838. During this time she contracted a disease, possibly tuberculosis, which weakened her further. Living at Wimpole Street, in London, Browning wrote prolifically between 1841 and 1844, producing poetry, translation and prose. She campaigned for the abolition of slavery and her work helped influence reform in child labour legislation. Her prolific output made her a rival to Tennyson as a candidate for poet laureate on the death of Wordsworth.
Browning's volume Poems (1844) brought her great success. During this time she met and corresponded with the writer Robert Browning, who admired her work. The courtship and marriage between the two were carried out in secret, for fear of her father's disapproval. Following the wedding she was disinherited by her father and rejected by her brothers. The couple moved to Italy in 1846, where she would live for the rest of her life. They had one son, Robert Barrett Browning, whom they called Pen. Towards the end of her life, her lung function worsened, and she died in Florence in 1861. A collection of her last poems was published by her husband shortly after her death.
Browning was brought up in a strongly religious household, and much of her work carries a Christian theme. Her work had a major influence on prominent writers of the day, including the American poets Edgar Allan Poe and Emily Dickinson. She is remembered for such poems as "How Do I Love Thee?" (Sonnet 43, 1845) and Aurora Leigh (1856).
Born in County Durham, the eldest of 12 children, Browning was educated at home. She wrote poetry from around the age of six and this was compiled by her mother, comprising what is now one of the largest collections extant of juvenilia by any English writer. At 15 Browning became ill, suffering from intense head and spinal pain for the rest of her life, rendering her frail. She took laudanum for the pain, which may have led to a lifelong addiction and contributed to her weak health.
In the 1830s Barrett's cousin John Kenyon introduced her to prominent literary figures of the day such as William Wordsworth, Mary Russell Mitford, Samuel Taylor Coleridge; Alfred, Lord Tennyson, and Thomas Carlyle. Browning's first adult collection The Seraphim and Other Poems was published in 1838. During this time she contracted a disease, possibly tuberculosis, which weakened her further. Living at Wimpole Street, in London, Browning wrote prolifically between 1841 and 1844, producing poetry, translation and prose. She campaigned for the abolition of slavery and her work helped influence reform in child labour legislation. Her prolific output made her a rival to Tennyson as a candidate for poet laureate on the death of Wordsworth.
Browning's volume Poems (1844) brought her great success. During this time she met and corresponded with the writer Robert Browning, who admired her work. The courtship and marriage between the two were carried out in secret, for fear of her father's disapproval. Following the wedding she was disinherited by her father and rejected by her brothers. The couple moved to Italy in 1846, where she would live for the rest of her life. They had one son, Robert Barrett Browning, whom they called Pen. Towards the end of her life, her lung function worsened, and she died in Florence in 1861. A collection of her last poems was published by her husband shortly after her death.
Browning was brought up in a strongly religious household, and much of her work carries a Christian theme. Her work had a major influence on prominent writers of the day, including the American poets Edgar Allan Poe and Emily Dickinson. She is remembered for such poems as "How Do I Love Thee?" (Sonnet 43, 1845) and Aurora Leigh (1856).
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Displaying 1 - 13 of 13 reviews
October 12, 2016
I think everyone should pick up a collection of poems from this author. They stand the test of time and paint beautiful pictures in the readers minds.
March 7, 2008
I'm really into Aurora Leigh right now. It's my new Pride and Prejudice.
August 12, 2019
I know little about Barrett, her works, or her ideas. So I was surprised by the length of this book – 608 pages of verse in double columns. She did a lot more writing than I was aware of. That’s because I thought she died at a young age – in her twenties or thirties. But she died at the age 55. (Which is my current age as I write this.) That’s not old, but it’s old enough to put together a lengthy oeuvre.
Being who I am, I’m immediately drawn to the verse dramas, which is invariably the worst place to start for 19th century poets. These works usually represent their worst instincts and poetry. But I can’t help myself.
Her husband, I should disclose, I find an unmusical bore, in unoriginal thinker, and an abomination to the English language.
Prometheus Bound *** – Having recently read her husband’s accidentally entertaining translation of The Oresteia, I thought it might be a good time to read Barrett’s translation of this Aeschylean classic. They don’t share much in common, but that’s no surprising considering they were done decades apart.
Barrett did two translations of the play – the first published anonymously in 1833, and a revision published in 1850. After publishing the first, she reportedly had second thoughts about it being a literal translation that didn’t do justice to Aeschylus’ poetry.
This volume includes the 1850 version. Glancing briefly at the opening scene of both versions, I think I like the 1833 better. It’s tighter and rougher than the 1850 version. But I don’t think the 1833 version is in print anywhere. You’d have to read the Google Books version.
Although I recommend the 1833 version, the 1850 translation a good read. Barrett uses some archaic words and Victorian flourishes. But I like the use of rhyme in the choruses – it is cleverly subtle. Most modern translations are very prosaic in order to avoid adding anything that’s not in the Greek original. This is definitely poetry – a bit stiff and old fashioned even by 1850 standards, but it sings in spots. (Of course, by 1850 she had met Robert Browning and one would never call his poetry fluid and supple.)
I can’t speak for the accuracy of the translation, but overall it is a good read.
(You can see my specific thoughts on Prometheus Bound here: https://www.goodreads.com/review/show...)
Drama in Exile ** -- I am of course drawn to Barrett’s verse drama – even those considered “closet dramas.” I would, however, advise people to avoid this uber-Victorian debate on the finer points of Christian grace and work and forgiveness. While it seeks spiritual redemption, it loses its artistic soul.
Lucifer is the only character that breathes any life into the work. And he sadly appears rarely. The Earth Spirits made me want to wail, Adam and Eve are flat, and Jesus is of course Jesus. Many find a feminist theme in it, though I think you have to look pretty hard. I guess Barrett makes a case for women as artists.
But what you need to know is that this is a philosophical poetic drama. And the question is whether you enjoy dramatic discussions of the intricacies of Christian belief, because the work lacks dynamic, breathing characters. The topic has no interest for me.
Being who I am, I’m immediately drawn to the verse dramas, which is invariably the worst place to start for 19th century poets. These works usually represent their worst instincts and poetry. But I can’t help myself.
Her husband, I should disclose, I find an unmusical bore, in unoriginal thinker, and an abomination to the English language.
Prometheus Bound *** – Having recently read her husband’s accidentally entertaining translation of The Oresteia, I thought it might be a good time to read Barrett’s translation of this Aeschylean classic. They don’t share much in common, but that’s no surprising considering they were done decades apart.
Barrett did two translations of the play – the first published anonymously in 1833, and a revision published in 1850. After publishing the first, she reportedly had second thoughts about it being a literal translation that didn’t do justice to Aeschylus’ poetry.
This volume includes the 1850 version. Glancing briefly at the opening scene of both versions, I think I like the 1833 better. It’s tighter and rougher than the 1850 version. But I don’t think the 1833 version is in print anywhere. You’d have to read the Google Books version.
Although I recommend the 1833 version, the 1850 translation a good read. Barrett uses some archaic words and Victorian flourishes. But I like the use of rhyme in the choruses – it is cleverly subtle. Most modern translations are very prosaic in order to avoid adding anything that’s not in the Greek original. This is definitely poetry – a bit stiff and old fashioned even by 1850 standards, but it sings in spots. (Of course, by 1850 she had met Robert Browning and one would never call his poetry fluid and supple.)
I can’t speak for the accuracy of the translation, but overall it is a good read.
(You can see my specific thoughts on Prometheus Bound here: https://www.goodreads.com/review/show...)
Drama in Exile ** -- I am of course drawn to Barrett’s verse drama – even those considered “closet dramas.” I would, however, advise people to avoid this uber-Victorian debate on the finer points of Christian grace and work and forgiveness. While it seeks spiritual redemption, it loses its artistic soul.
Lucifer is the only character that breathes any life into the work. And he sadly appears rarely. The Earth Spirits made me want to wail, Adam and Eve are flat, and Jesus is of course Jesus. Many find a feminist theme in it, though I think you have to look pretty hard. I guess Barrett makes a case for women as artists.
But what you need to know is that this is a philosophical poetic drama. And the question is whether you enjoy dramatic discussions of the intricacies of Christian belief, because the work lacks dynamic, breathing characters. The topic has no interest for me.
April 15, 2022
A couple gems, but decidedly not a new favourite.
May 29, 2024
🖍️ I have the 1898 hardcover edition. Good enough poetry for me!
📖 Book version.
＊˚*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊˚*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊
📖 Book version.
＊˚*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊˚*•̩̩͙✩•̩̩͙*˚˚*•̩̩͙✩•̩̩͙*˚＊
August 20, 2014
Her 1851 poem “Casa Guidi Windows” describes in two parts Italy’s growing Risorgimento, unification movement, and it’s intensifying struggle for nationhood against the foreign powers who administered her fate and kept her looking like a jigsaw puzzle on the maps.
The poem made her an instant hero in Italy, but it was poorly received abroad, where commentators felt female poets should stick to love sonnets and eschew politics. Only later, and mainly by female writers, was the poem’s beauty and passion appreciated.
Read the full and illustrated review at Italophile Book Reviews
http://italophilebookreviews.blogspot...
The poem made her an instant hero in Italy, but it was poorly received abroad, where commentators felt female poets should stick to love sonnets and eschew politics. Only later, and mainly by female writers, was the poem’s beauty and passion appreciated.
Read the full and illustrated review at Italophile Book Reviews
http://italophilebookreviews.blogspot...
March 25, 2010
We only read two of EBB's works for my Victorian Poetry seminar: Sonnets From the Portuguese and Aurora Leigh. I was surprised by how much I enjoyed the Sonnets - beautiful, heartbreaking, and very touching. Aurora Leigh was less enjoyable, but still very pretty. I'm happy to report that I like EBB!
April 25, 2008
I laughed so hard I cried. And everything in the book about the grotesque face of celebrity worship has rung more true with each passing year.
May 16, 2009
Some of her works were great and that is why I give it 4 stars, but there are quite a few that left me baffled.
July 11, 2012
Excellent!!
Want to read
July 30, 2014Read this book for free through Project Gutenberg: http://www.gutenberg.org/files/37452/...
January 3, 2022
Purchased at Printers Row for a song. Inscribed with the former owners name and December 23, 1891. I am enjoying it leisurely, a little at a time.
Read
July 11, 2021I did not read this exact version.
Displaying 1 - 13 of 13 reviews