Religion and Factory Reform

In the blog, I will summarize Appendix B: Religion and Factory Reform from Elizabeth Barrett Browning (EBB) Selected Poems. I will then analyze The Cry of the Children based on my reading. 

Summery:

This compilation of experts from various journals and other writing can be broken into two separate parts. The first involves EBB's use of religion in her poems, as well as the harsh working conditions of the Victorian Era. First, I would like to focus on the region portion. The various authors of the works highly regard EBB's use of religion in her poetry. Samuel B. Holcomb states in his work Death of Mrs. Browning, "We rejoice to be able to assert, most distinctly, that Mrs. Browning, though no sectarian, is eminently a Christian poetess," as well as calling her "the Shakespeare among her sex," (321-322). Holcomb mentions how, although EBB was very aware of the ideas of modern science and had explored the controversies of her time, it is evident through her poetry that she never wavered from her true faith. Throughout many, if not all, or her works, she recognizes, "a Divine Creator of all things, a Being of perfect love and wisdom, who is to each and all of His numberless creatures really and truly a Heavenly Father and person protector," (322). Several other authors discuss EBB's focus on The Virgin Mary. Although many other artists (including poets and authors not only painters and sculptors) attempt to portray Mary's true essence, one author says none are able to do so besides EBB, whose writing is, "the portraiture of Mary's soul, such as in material lineaments no art could express" (324). The remainder of the section on religion discusses EBB's use of poetry to capture the deepest aspects of Mary.

The next section of Appendix B is called Factory Reform however, it is mainly just several account on the harsh working conditions (particularly for children) during the Victorian Era. During that time, child labor was a problem that was running rampant. Children were desired in factories because they had small hands that could easily fit into small areas of machinery. Although it was very dangerous work, many families could not provide for themselves and children were forced to begin working at early ages. Many of the excerpts in this section were first-hand accounts of what the working conditions were like for children. They describe various young people during work hours and what those young people thought of their work. Although many did not blame the people they worked for, they did often wish for a better life. The excerpts described the children of being dirty, malnourished and with hardly any clothing. It also describes a horrific accident that caused the death of one boy and severe injuries to others. As a part of their jobs, children were forced to work with dangerous heavy equipment and accidents happened often. One specific passage talks about 10 year-old Eliza Field, who has been working in one factory for at least a year. She was a religious girl but, "has never heard of Heaven; nor Jesus Christ," (328). Eliza had gone to school when she was very young but was forced to start working before the age of nine. 

Analysis:

When I frost saw the title of Appendix B, the two subjects seemed very random and I did not understand why they had not separate "religion" and "factory reform" into different appendices. Soon after starting the section in Appendix B on "factory reform" the reasoning behind the odd pairing clicked and I completely understood. EBB's The Cry of the Children is mixture of a religious piece as well as a call for factory reform. EBB uses incredible imagery to bring to life the suffering of the young working children. In the fourth stanza of the poem, the children admit that they could die before their time and recall one girl, named Alice, who had died young. However, they do not see death as something to be afraid of. In fact, they almost welcome it. Like Alice, if they die there will be no one trying to wake them saying, "Get up…it is day," (152). Death is an escape from their suffering and, "it is good when it happens," (152). The children do not mention any word of heaven or God when they talk about death; however, they realize life will be better for them once they do die. To these children, God does not exist and they are on there own. They have suffered so much throughout their young lives and they say, "We look up for God, but tears have made us blind," (155). They do not know God and if they knew Him once, their faith has left them. 

I think EBB made a bold statement with this poem. From reading Appendix B, I have realized that she is gifted in bringing out deep religious messages in her poems. She seems to praise all that is God, including Jesus and Mary. However, with this poem, EBB brings to life the fact that deep, true suffering can break even the strongest faith: the faith of a child. If there is anything I have learned since I started working with children, it's that they have almost unfailing trust. They believe in things adults cannot believe in. A child's faith is the purest and deepest faith. The young people in The Cry of the Children, many of which are no older than 10, have been broken through work and no longer have faith in God. EBB could have easily turned this poem strictly into a religious work by giving the children unfailing faith in their God. It would not have had the same effect though. This poem was meant to be a call for reform. EBB created very real images of the never-ending suffering of children and she really hit that image home when those children are faithless and cynical. Those are qualities only seen in adults and we believe no child should have those qualities. Seeing those suffering children almost standing right in front of us strikes a deep emotion deep inside that sticks with the person who reads the poem. It is that emotion that EBB needed in order to try and make a change.

Work Cited

Stone, Marjorie, and Beverly Taylor. Elizabeth Barrett Browning Selected Poems. Broadview Editions, Print.

Victorian Views on Robert Browning

In this blog, I will summarize and analyze three critical articles on the views of Robert Browning during Victorian time. 

Summery: 

The first article I read was written by George Eliot (Mary Anne Evans) which was taken from her unsigned review in The Westminster Review. Eliot begins the article by saying Robert Browning's "poems have a 'majestic obscurity' which repels not only the ignorant but the idle," (498).  She says that in many cases, poetry is read in an easy, rhythmic manner where the reader can just flow with the poem without much thought on the content. However this is not the case with Robert Browning's poetry. She says when reading Browning's poetry, the reader must "exert himself, but he will exert himself to some purpose. If he finds the meaning difficult to access, it is always worth his efforts," (498). She praises Browning for his originality and the way he writes his deep, intellectual thoughts with artistic beauty. However, Eliot does offer some criticism of Browning mentioning "the worst poems in his new volumes are, in our opinion, his lyrical efforts; for in these, where he engrosses us less by his thought, we are more sensible of his obscurity and his want of melody," (500). Although lyric Browning's strong point, Eliot praises him as a poet and an intellect.

Browning's Alleged Carelessness, written by William Morris, addresses Browning as "high among the poets of all time… it is a bitter thing to [Morris] to see the way in which he has been received by almost everybody," (501). Morris defends Browning against the obscurity that he is accused of by critics. Many critics of the time believed that Browning's poetry was so obscure, it could hardly be understood by any reader. Morris counters this by saying that it is true Browning can be obscure in his writing, but only a perfect poet could write without being obscure. Morris says it is not Browning's obscurity that makes his poems hard to understand but the shallow brains of the reader. If poetry was meant to be light easy literature, than Browning's poems would in fact be too obscure but poetry is not light and easy. Morris defends Browning further by comparing him to the early careers of Tennyson and Ruskin, saying if they were judged only by their early work, as Browning was at the time, they would not be as famous as they are. 

The third article was the only one I read that was not in favor of Browning, as least not as a poet. Alfred Austin, the author of this particular article, does praise Browning for his deep intellectual thinking. He begins his essay by dividing poets and and philosophers into two separate "countries" so to speak. The natives of each country are fluent in their own languages and costumes but are able to cross into each other. To Austin, Browning is a native of the philosophical country, but one who often travels to that of the poets. Although he may go their often, poetry is not his first language, therefor he does not paster it like a true native, or poet, would. In fact, Austin goes as far to say, "Browning is not a poet at all… but a deep thinker" (510). Like Morris, Austin compares Browning to Tennyson but not at all in the same way. Austin says admirers of Tennyson "need be in no fear lest Mr. Tennyson should be displaced by any critic in his sound senses to make way for Mr. Browning. When men desire to behold the flight of an eagle, and cannot get it, they do not usually regard the tramp of an elephant as a substitute," (512).

Analysis:

After reading the articles, I found myself agreeing more with the first two than with the third. Reading Robert Browning's poetry is definitely difficult and it does require me to search every line for meaning but it is not so obscure that it is impossible to understand. When we first started this class, we read the article about the role of the reader in Browning's poetry, and it mentioned how Browning himself said he wants his readers to be engaged fully while reading his writing. I think he accomplishes that is a beautifully artistic way, especially in his dramatic monologues. His speakers always have knowledge that we as the readers to not, and for this reason we have to delve fully into the text to discover what this information is and find meaning otherwise hidden. I can obviously see how this can be seen as obscurity and I can also see how it could easily get out of hand. Browning does not let this happen though. With enough thought, some meaning can be drawn from his words and like Eliot says, the work is always worth it. 

I do not agree with Austin's claim that Browning is not a poet at all. His poetry may be unconventional, especially during the Victorian Age, but that does not make him any less of a poet. Austin's reluctance could stem from his close-mindedness and his inability to accept anything new (but this is only a guess. I don't know anything about Alfred Austin). Browning deep intellectual thoughts, mixed with his poetic abilities give his works an element of suspense and surprise. It allows the reader to come to their own conclusions, rather than just feeding them shallow, however beautiful, words. I have not read much poetry in general so I am not pretending t be an expert. However the little poetry I have read by both Browning and Tennyson suggests to me that, just like very other form of literature, there are many different forms. The spectrum of poetry is just as broad as any other form of literature. So to say Browning is not a poet because his works are not like those of Tennyson is like saying Twilight, for example, is not a good series because it is not the same as Harry Potter. They might be very different and have very (very) different followers, but they are still great series. Stephanie Meyer is just as much an author as J.K. Rowling, though their works may be different; Robert Browning is just as much a poet as Tennyson.

Work Cited

Loucks, James, and Andrew Stauffer. Robert Browning's Poetry: A Norton Critical

         Edition. 2nd. W.W. Norton & Company, Inc., 2007. Print.

The Pragmatics of Silence... Wagner Essay Summery and Analysis

In this blog, I will summarize and analyze Jennifer A. Wagner's essay "The Pragmatics of Silence, and the Figuration of the Reader in Browning's Dramatic Monologues." 

Summery

The introduction to Wagner's essay highlights the role of silence in dramatic monologue and the function of silence is continuously undermined by various factors. Wagner says, "Browning critics have long noted that the typical speaker of a Browning monologue is aggressive, often threatening, nearly always superior, socially and/or intellectually, to the auditor" (576). Because of this fact, the auditor has no choice but to listen and "is often (in) a silence of intimidation" (576). Browning's "My Last Duchess" is the perfect example of this intimidation induced silence of the auditor so much so that the presence of a listener is not even apparent until more than half way through the poem. The auditor is cast into the shadows as if the speaker was speaking to himself. However we know he is there when the speaker comments on an unseen facial expression. In this way the auditor makes himself known and, although he is silent, brings himself into the light and makes himself known. For the reader, on the other hand, silence is optional, therefor undermining the speaker and the intimidating silence the speaker is trying to force on the auditor and the audience. The reader is able to completely engage in the speakers speech and sympathize yet pull herself away in order to judge. Wagner also mentions Browning own meaning behind his dramatic monologues. Through his work, Browning wanted to the active engagement of the reader. She highlights Browning's attempt to emphasize the journey rather than the destination. 

Analysis 

This essay really helped me to understand the thought process behind Robert Browning's writing. Before I read this, I could not connect to his poems in a positive way. I thought they were just morbid and I was a little disturbed. However, after reading this essay, I realized there is a deeper meaning to his poems than I could have ever guessed (there usually is). The end of Wagner's essay really put it into perspective when she mentioned Browning's own quotes about how the reader should not just fallow along the text but be actively involved with it. His dramatic monologues are not just an interaction between the speaker and the auditor but an intwining relationship between the speaker, the auditor and the reader. They are all interconnected and the true meaning of the poem cannot be drawn out without the cooperation of all three. After I read this essay, I went back and read through all the poems we have read so far, and I tried to engage myself the way Browning would have wanted me to in the first place and I was able to understand both the sympathy and the judgment in a way that I could not before. Wagner's parallels between the speaker, auditor and listener made the reading experience much more challenging as well as rewarding. 

Work Cited

Wagner, Jennifer A. “The Pragmatics of Silence, and the Figuration of the Reader in Browning’s Dramatic Monolugues.” Robert Browning’s Poetry. Ed. James F. Loucks and Andrew M. Stauffer. 2^nd Edition. New York: W.W. Norton, 2007. 275-259. Print.

Robert Browning

On May 7, 1812, Robert Browning was born to Robert and Sarah Browning in a small English suburb, Camberwell. Like Elizabeth, Robert was an accomplished youth and spent most of his time reading and  by age 14, he knew Latin, Greek, Italian and French. He attened the University of London but withdrew from the school in order to learn at his own pace. He began his writing career by trying to write his own stage dramas, however, he was unsuccessful. After this, began pick apart existing plays, taking one character and molding him/her into one that often resembled Robert himself. This form of writing became known as dramatic monologue. This new form of writing did not earn him popularity with Victorian critics and it was only with the publishing of a series of pamphlets called Bells and Pomegranates that his career began to be looked at with favor rather than criticism. Robert's major works include Paracelsus, Sordello, The Ring and The Book along with various assortments of published poems. In 1845, Robert Browning began to become familiar with Elizabeth Barrett's works of poetry and resolved to meet her. After a short courtship, Robert and Elizabeth married (against the wishes of her father) and eloped to Italy where Elizabeth gave birth to their son Robert Weidemann Barrett Browning.
Although Robert's works never reached the popularity of his wife's during her lifetime, they quickly began to gain momentum. He continued publishing his writing twenty years after her death and became known as one of the greatest poets of his time (along with Tennyson). Robert Browning died in 1889 and is now buried in in the Poets Corner of Westminster Abby.

Elizabeth Browning

Elizabeth Browning, formally Elizabeth Barrett, was born in Durham on the sixth of March 1806. She was the oldest of 12 children born to her parents Edward Barrett and Mary Graham Clark.  Elizabeth had a hunger for knowledge early in her life and spent most of her time reading epic Greek poems, the Old Testament, and Dante's Inferno along with many other advanced pieces of work. All of these great works she read in their original language. She began writing her own epic poem at the age of 12. Her parents were highly encouraging of their daughter's thirst for knowledge and her father gave her a bound copy of her epic for her fourteenth birthday. She wrote many other poems throughout her young life which inspired Robert Browning to write to her and express his love for her work. They met shorty after and were married in August 1846.
Elizabeth Browning's poems were very popular and her major works included A Child Asleep, A Thought for a Lonely Death-bed, Change upon Change, Aurora Leigh and her earliest epic The Battle of Marathon along with many others. Although Elizabeth had been disinherited by her father (he did not give his permission for the Browning's marriage) she was one of few poets who had actually made money off her poems and she was able to make a living. The Browning had their son Robert Wiedemen Barrett Browning in 1849. Elizabeth fall fell ill to an uunknown sickness and died on June 29, 1861 in her husband's arms. Elizabeth Browning remained a popular poet throughout her life and far beyond her death.