Early Life

Elizabeth was the eldest child of Edward Barrett Moulton (later Edward Moulton Barrett). Most of her girlhood was spent at a country house within sight of the Malvern Hills, in Worcestershire, where she was extraordinarily happy. At the age of 15, however, she fell seriously ill, probably as the result of a spinal injury, and her health was permanently affected.

In 1832 the family moved to Sidmouth, Devon, and in 1836 they moved to London, where in 1838 they took up residence at 50 Wimpole Street. In London she contributed to several periodicals, and her first collection, The Seraphim and Other Poems, appeared in 1838. For reasons of health, she spent the next three years in Torquay, Devon. After the death by drowning of her brother, Edward, she developed an almost morbid terror of meeting anyone apart from a small circle of intimates. Her name, however, was well known in literary circles, and in 1844 her second volume of poetry, Poems, by Elizabeth Barrett Barrett, was enthusiastically received.

Love Life

In January 1845 she received from the poet Robert Browning a letter that begins with “I love your verses with all my heart, dear Miss Barrett,” and culminates with “I do, as I say, love these books with all my heart—and I love you too.” In early summer the two met. Their courtship (whose daily progress is recorded in their letters) was kept a close secret from Elizabeth’s despotic father, of whom she stood in some fear. Sonnets from the Portuguese (1850) records her reluctance to marry, but their wedding had taken place on September 12, 1846. Her father knew nothing of it, and Elizabeth continued to live at home for a week.

The Brownings then left for Pisa. (When Barrett died in 1856, Elizabeth was still unforgiven.) While in Pisa she wrote The Runaway Slave at Pilgrim’s Point (Boston, 1848; London, 1849), a protest against slavery in the United States. The couple then settled in Florence, where their only child, Robert Wiedemann Barrett, was born in 1849.

Elizabeth’s Critically Acclaimed Works

Now remembered chiefly for her love poems Sonnets from the Portuguese (1850) and her experiment with the verse novel Aurora Leigh (1856; dated 1857), she was in her own lifetime far better known than her husband. Her Poems (1844) established her as a leading poet of the age. Casa Guidi Windows (1851) is a subtle reflection on her experience of Italian politics, and “A Musical Instrument” (1862) is one of the century’s most memorable expressions of the difficulty of the poet’s role.

In 1851 and in 1855 the couple visited London. During the second visit, Elizabeth Barrett Browning completed her most ambitious work, Aurora Leigh (1857), a long blank-verse poem telling the complicated and melodramatic love story of a young girl and a misguided philanthropist. This work did not impress most critics, though it was a huge popular success.

Her Last Days…

During the last years of her life, Browning developed an interest in spiritualism and the occult, but her energy and attention were chiefly taken up by an obsession with Italian politics, to a degree that alarmed her closest friends. Casa Guidi Windows (1851) had been a deliberate attempt to win sympathy for the Florentines, and she continued to believe in the integrity of Napoleon III. In Poems Before Congress (1860), the poem “A Curse for a Nation” was mistaken for a denunciation of England, whereas it was aimed at U.S. slavery. In the summer of 1861 Browning suffered a severe chill and died.

In the early hours of June 29, 1861, she died in the arms of her husband, Robert, at Casa Guidi, their home in Florence. Although she had been in frail health for a long time, neither she nor her family had any idea the end was so near, but eventually her weak lungs failed and so, quietly and painlessly, her life, and with it a famous love story, came to an end.

Their marriage, in spite of minor disagreements, had been perfect for them both. Elizabeth with her dying breath exclaimed: “My Robert, my heaven, my beloved.”

… the hereafter cry,
When he o’ the lion voice…
Shall stand upon the mountains and the sea,
And swear by earth, by Heaven’s throne, and Him
Who sitteth on the throne, there shall be time
No more, no more!16 Then, veiled Eternity
Shall straight unveil her awful countenance….
Yea, the shrunk earth… shall shudder by
From out her ancient place, and leave – a void.

from: “Earth,” the natural beauty of Earth is destroyed in the Apocalypse.