Throughout Aurora Leigh, Aurora reckons with how to interpret and live out the final words of her father: “Love, my child.” In spite of this advice, one of Aurora’s first actions in the novel is to reject the marriage proposal of her cousin Romney, in part because she is more focused on her art (which Romney doesn’t take seriously) and in part because Romney himself is too distracted with his social work to devote himself to personal love. Particularly when he’s young, Romney earnestly and self-righteously believes he can change the world, and it’s a rude awakening for him when his efforts fail. Romney’s first major failure is when he attempts to marry the lower-class Marian, only for her to leave him at the altar and for poor wedding guests at the wedding to attack him, believing he has tricked Marian. In a way, the mob is right, and Romney has lied to Marian, pretending to love her personally when what he really cares about is his ideals. Romney faces an even bigger failure when he tries to turn the estate he inherited, Leigh Hall, into a place for the poor to sleep and eat. Locals soon rebel and burn down Leigh Hall, as a rumor spreads that Romney is actually managing a prison. Through Romney’s disgrace, Barrett Browning trenchantly critiques the social justice efforts of her day as animated more by abstract ideals than by love.
Still, by the end of the novel, Aurora has changed her mind about Romney, having realized that as important as her artistic work is, she also needs to make room in her life for personal love. Aurora helps Romney to refine his ideals, showing him that sometimes it’s best to prioritize love and that this can ultimately help his work for justice instead of distracting from it. This connects to Aurora’s own efforts to balance her artistic ambitions with personal relationships, as Aurora invites Marian and her child into her life and forms the type of family connection she’s been missing since the death of her parents. Through both characters’ struggle to follow Aurora’s father’s dying advice, Aurora Leigh suggests that love, as expressed between individuals, is more important than either social reform or art and that, indeed, this type of personal love is the necessary basis for both pursuits.
Justice, Art, and Love ThemeTracker
Justice, Art, and Love Quotes in Aurora Leigh
Love, my child, love, love!
‘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.’
‘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.
‘So indeed
He loves you, Marian?’
‘Loves me!’ She looked up
With a child’s wonder when you ask him first
Who made the sun—a puzzled blush, that grew,
Then broke off in a rapid radiant smile
Of sure solution. ‘Loves me! he loves all,—
And me, of course. He had not asked me else
To work with him for ever, and be his wife.’
Let me draw Lord Howe;
A born aristocrat, bred radical,
And educated socialist, who still
Goes floating, on traditions of his kind,
Across the theoretic flood from France,—
Though, like a drenched Noah on a rotten deck,
Scarce safer for his place there. He, at least,
Will never land on Ararat, he knows,
To recommence the world on the old plan:
Indeed, he thinks, said world had better end;
He sympathises rather with the fish
Outside, than with the drowned paired beasts within
Who cannot couple again or multiply:
And that’s the sort of Noah he is, Lord Howe.
He never could be anything complete,
Except a loyal, upright gentleman,
A liberal landlord, graceful diner-out,
And entertainer more than hospitable,
Whom authors dine with and forget the port.
Through the rage and roar
I heard the broken words which Romney flung
Among the turbulent masses, from the ground
He held still, with his masterful pale face—
As huntsmen throw the ration to the pack,
Who, falling on it headlong, dog on dog
In heaps of fury, rend it, swallow it up
With yelling hound-jaws,—his indignant words,
His piteous words, his most pathetic words,
Whereof I caught the meaning here and there
By his gesture ... torn in morsels, yelled across,
And so devoured.
At worst,—if he’s incapable of love,
Which may be—then indeed, for such a man
Incapable of love, she’s good enough;
For she, at worst too, is a woman still
And loves him ... as the sort of woman can.
‘I never blame the lady. Ladies who
Sit high, however willing to look down,
Will scarce see lower than their dainty feet.’
‘For this time I must speak out and confess
That I, so truculent in assumption once,
So absolute in dogma, proud in aim,
And fierce in expectation,—I, who felt
The whole world tugging at my skirts for help,
As if no other man than I, could pull,
Nor woman, but I led her by the hand,
Nor cloth hold, but I had it in my coat,—
Do know myself to-night for what I was
On that June-day, Aurora. Poor bright day,
Which meant the best ... a woman and a rose, ...
And which I smote upon the cheek with words,
Until it turned and rent me! Young you were,
That birthday, poet, but you talked the right:
While I, ... I built up follies like a wall
To intercept the sunshine and your face.
Your face! that’s worse.’
‘Ah, my friend,
You’ll learn to say it in a cheerful voice.
I, too, at first desponded. To be blind,
Turned out of nature, mulcted as a man,
Refused the daily largesse of the sun
To humble creatures! When the fever’s heat
Dropped from me, as the flame did from my house,
And left me ruined like it, stripped of all
The hues and shapes of aspectable life,
A mere bare blind stone in the blaze of day,
A man, upon the outside of the earth,
As dark as ten feet under, in the grave,—
Why that seemed hard.’
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.