Sonnets from the Portuguese

Sonnets from the Portugeuse

Elizabeth Barrett Browning

Love is expressed vividly here, being the sole focus of the sonnets. Barrett-Browning accepts how deeply she loves her husband and how much she longs for happiness whilst displaying some religious imagery by expressing how God loves everyone who also loves Him. Therefore, she is worthy of love as a child of God. e was revealed after the poet's death through correspondence letters between her husband and Mrs Wedgewood. In 1864, Browning describes how his wife had suddenly presented him with the sonnets three years after their marriage, giving some details of the publication history of the sonnets, such as the reason for first leaving out Sonnet XVII in its first publication and later including it. It appeared that Barrett-Browning wished not to be identified with the Sonnets immediately, thus purposely chose an ambiguous title  “The Portuguese”. This was meant to lead the reader to view the sonnets as utterances of the person Caterina “was that Caterina who left Camoens the riband“From the Portuguese, they may be: but their life and earnestness must prove Barrett Browning either to be the most perfect of all known translators, or to have quickened with her own spirit the framework of another’s thought, and then modestly declined the honour which was really her own.” Thus indicating that the emotion felt after reading these sonnets was one that evoked a pure vision of love and a new concept at looking upon life. The success of these sonnets is made prevalent through this piece of criticism, highlighting that although it is portrayed in the first person, it depicts a message acceptable and relatable to all. 

This peculiar title appears relatively significant as although there is various speculation about the true meaning of the name; ranging from it being a nickname imposed upon Elizabeth by her husband or the idea that it disguised the personal and romantic nature of the poetry itself, the real identity regarding its name was revealed after the poets death through correspondence letters between her husband and Mrs Wedgewood. In 1864, Browning describes how his wife had suddenly presented him with the sonnets three years after their marriage, giving some details of the publication history of the sonnets, such as the reason for first leaving out Sonnet XVII in its first publication and later including it. It appeared that Barrett-Browning wished not to be identified with the Sonnets immediately, thus purposely chose an ambiguous title  “The Portuguese”. This was meant to lead the reader to view the sonnets as utterances of the person Caterina “was that Caterina who left Camoens the riband from her hair (Curle, 114-115).” Through a feminsitic lens, the lack of clarification regarding the title, in favour of a more ambiguous approach highlights the inner conflicts regarding Elizabeth’s struggle to be an accomplished author whilst trying to keep her female identity at a time when Authorship was a male dominated industry. 

The Sonnets from the Portuguese begin in media-res, perhaps implying that the poet is having a private conversation with herself, or showing that these are her thoughts that we have interrupted (both ideas making the poem appear very personal). The prospect of love is made apparent at the end of the first sonnet, immediately showing the focus of this poem. Although the bright and happy tone that is usually established with this romantic theme is not made evident initially, instead Barrett-Browning appears to show a very dark and gloomy association to the thought of love, making it appear like a concept very few are able to achieve and experience. Yet with the introduction of her husband, and the progression of the Sonnets, the tone slowly changes and the theme of love appears beautiful yet powerful, completely altering Elizabeth's first perspective on life. The distinctive quality of these historical sonnets was noticed at the time of its publication by a writer for ‘Fazer Magazine’  “From the Portuguese they may be: but their life and earnestness must prove Barrett Browning either to be the most perfect of all known translators, or to have quickened with her own spirit the framework of another’s thought, and then modestly declined the honour which was really her own.” Thus indicating that the emotion felt after reading these sonnets was one that evoked a pure vision of love and a new concept at looking upon life. The success of these sonnets is made prevalent through this piece of criticism, highlighting that although it is portrayed in the first person, it depicts a message acceptable and relatable to all. 

For those who would like a brief overview of these sonnets, they are listed below, I hope this is helpful! 

Sonnet 1,

Feelings of woe are expressed immediately as the realization that she won’t live a long and happy life is made apparent. However, by the end of the sonnet, love becomes her constant companion as it overpowers death. 

Sonnet 2 

Love is made to appear difficult to grasp through the morbid imagery, highlighting that Barrett-Browning contemplated never expecting love. 

Sonnets 3 through 9

These sonnets focus on the early chapters of Elizabeth’s relationship with Robert, showing how she’ll never be the same through evoking deeply sensory language. She imagines what it’s like to be alone while watching the vibrant, happy world go by without her. She acknowledges how deeply she has fallen in love with Robert, yet fundamentally wishes for him to find a wife who can have adventures with him.

Sonnets 10-15,

Love is expressed vividly here, being the sole focus of the sonnets. Barrett-Browning accepts how deeply she loves her husband and how much she longs for happiness whilst displaying some religious imagery through expressing how God loves everyone who also loves Him. Therefore, she is worthy of love as a child of God. 

Sonnet 16, 

Elizabeth realises the intensity of her love as Robert is strong enough to shatter her fears and look after her, putting an end to her pain and sorrow.  This is a significant shift in the poets journey from woe to euphoria.

Sonnets 17 through 20

Possibly, one of the most famous sonnets in the English language. Sonnet 43 depicts a love that will endure beyond death, one that can’t ever be properly measured as Barrett-Browning lists countless ways that she adores her husband; purely, with faith and freedom. This love and adoration are expressed through rich sensory language to emphasize how powerful an emotion love is.

Sonnet 21 and 29

The pastoral setting is made evident here through the largely passionate and romantic in nature.

Sonnet 30, 

Browning worries over the fragility of love, and how terrifying it is to surrender oneself so completely and wholly to a feeling (like love).

Sonnet 30 through 37

There is conflict between Browning's confidence and doubt, reflected through the movement within the poem,  until she accepts that her husband loves her, and love wins the day.

Sonnet 38 

Intimate love poem whilst including speech.

Sonnet 38 and 42 

Barrett-Browning is now fully committed to life instead of death as a result of the love her husband brought her, making her perspective on life change, having hopes and dreams now. Thus her focus is upon the present. 

Sonnet 43, 

Possibly, one of the most famous sonnets in the English language. Sonnet 43 depicts a love that will endure beyond death, one that can’t ever be properly measured as Barrett-Browning lists countilles ways that she adores her husband; purely, with faith and freely. This love and adoration is expressed through rich sensory language to emphasis how powerful an emotion love is.

Sonnet 44,

It serves as a conclusion to the story(love triumphing over death.) These poems express her feelings, and she p

resents them as a gift to Robert.