The text of this essay, which first appeared in Queen (8 December 1888), comes from David Price’s Project Gutenberg online version [eBook #30191] of A Critic in Pall Mall. In transcribing the following text I have reformatted it in accordance with the Victorian Web’s HTML style sheet and added links to material on this site. — George P. Landow

England has given to the world one great poetess, Elizabeth Barrett Browning. By her side Mr. Swinburne would place Miss Christina Rossetti, whose New Year hymn he describes as so much the noblest of sacred poems in our language, that there is none which comes near it enough to stand second. ‘It is a hymn,’ he tells us, ‘touched as with the fire, and bathed as in the light of sunbeams, tuned as to chords and cadences of refluent sea-music beyond reach of harp and organ, large echoes of the serene and sonorous tides of heaven.’ Much as I admire Miss Rossetti’s work, her subtle choice of words, her rich imagery, her artistic naïveté, wherein curious notes of strangeness and simplicity are fantastically blended together, I cannot but think that Mr. Swinburne has, with noble and natural loyalty, placed her on too lofty a pedestal. To me, she is simply a very delightful artist in poetry. This is indeed something so rare that when we meet it we cannot fail to love it, but it is not everything. Beyond it and above it are higher and more sunlit heights of song, a larger vision, and an ampler air, a music at once more passionate and more profound, a creative energy that is born of the spirit, a winged rapture that is born of the soul, a force and fervour of mere utterance that has all the wonder of the prophet, and not a little of the consecration of the priest.

Mrs. Browning is unapproachable by any woman who has ever touched lyre or blown through reed since the days of the great Æolian poetess. But Sappho, who to the antique world was a pillar of flame, is to us but a pillar of shadow. Of her poems, burnt with other most precious work by Byzantine Emperor and by Roman Pope, only a few fragments remain. Possibly they lie mouldering in the scented darkness of an Egyptian tomb, clasped in the withered hand of some long-dead lover. Some Greek monk at Athos may even now be poring over an ancient manuscript, whose crabbed characters conceal lyric or ode by her whom the Greeks spoke of as ‘the Poetess’ just as they termed Homer ‘the Poet,’ who was to them the tenth Muse, the flower of the Graces, the child of Erôs, and the pride of Hellas — Sappho, with the sweet voice, the bright, beautiful eyes, the dark hyacinth coloured hair. But, practically, the work of the marvellous singer of Lesbos is entirely lost to us.

We have a few rose-leaves out of her garden, that is all. Literature nowadays survives marble and bronze, but in the old days, in spite of the Roman poet’s noble boast, it was not so. The fragile clay vases of the Greeks still keep for us pictures of Sappho, delicately painted in black and red and white; but of her song we have only the echo of an echo.

Of all the women of history, Mrs. Browning is the only one that we could name in any possible or remote conjunction with Sappho.

Sappho was undoubtedly a far more flawless and perfect artist. She stirred the whole antique world more than Mrs. Browning ever stirred our modern age. Never had Love such a singer. Even in the few lines that remain to us the passion seems to scorch and burn. But, as unjust Time, who has crowned her with the barren laurels of fame, has twined with them the dull poppies of oblivion, let us turn from the mere memory of a poetess to one whose song still remains to us as an imperishable glory to our literature; to her who heard the cry of the children from dark mine and crowded factory, and made England weep over its little ones; who, in the feigned sonnets from the Portuguese, sang of the spiritual mystery of Love, and of the intellectual gifts that Love brings to the soul; who had faith in all that is worthy, and enthusiasm for all that is great, and pity for all that suffers; who wrote the Vision of Poets and Casa Guidi Windows and Aurora Leigh.

As one, to whom I owe my love of poetry no less than my love of country, said of her:

Still on our ears
The clear ‘Excelsior’ from a woman’s lip
Rings out across the Apennines, although
The woman’s brow lies pale and cold in death
With all the mighty marble dead in Florence.
For while great songs can stir the hearts of men,
Spreading their full vibrations through the world
In ever-widening circles till they reach
The Throne of God, and song becomes a prayer,
And prayer brings down the liberating strength
That kindles nations to heroic deeds,
She lives — the great-souled poetess who saw
From Casa Guidi windows Freedom dawn
On Italy, and gave the glory back
In sunrise hymns to all Humanity!

She lives indeed, and not alone in the heart of Shakespeare’s England, but in the heart of Dante’s Italy also. To Greek literature she owed her scholarly culture, but modern Italy created her human passion for Liberty. When she crossed the Alps she became filled with a new ardour, and from that fine, eloquent mouth, that we can still see in her portraits, broke forth such a noble and majestic outburst of lyrical song as had not been heard from woman’s lips for more than two thousand years. It is pleasant to think that an English poetess was to a certain extent a real factor in bringing about that unity of Italy that was Dante’s dream, and if Florence drove her great singer into exile, she at least welcomed within her walls the later singer that England had sent to her.

If one were asked the chief qualities of Mrs. Browning’s work, one would say, as Mr. Swinburne said of Byron’s, its sincerity and its strength. Faults it, of course, possesses. ‘She would rhyme moon to table,’ used to be said of her in jest; and certainly no more monstrous rhymes are to be found in all literature than some of those we come across in Mrs. Browning’s poems. But her ruggedness was never the result of carelessness. It was deliberate, as her letters to Mr. Horne show very clearly. She refused to sandpaper her muse. She disliked facile smoothness and artificial polish. In her very rejection of art she was an artist. She intended to produce a certain effect by certain means, and she succeeded; and her indifference to complete assonance in rhyme often gives a splendid richness to her verse, and brings into it a pleasurable element of surprise.

In philosophy she was a Platonist, in politics an Opportunist. She attached herself to no particular party. She loved the people when they were king-like, and kings when they showed themselves to be men. Of the real value and motive of poetry she had a most exalted idea. ‘Poetry,’ she says, in the preface of one of her volumes, ‘has been as serious a thing to me as life itself; and life has been a very serious thing. There has been no playing at skittles for me in either. I never mistook pleasure for the final cause of poetry, nor leisure for the hour of the poet. I have done my work so far, not as mere hand and head work apart from the personal being, but as the completest expression of that being to which I could attain.’

It certainly is her completest expression, and through it she realizes her fullest perfection. ‘The poet,’ she says elsewhere, ‘is at once richer and poorer than he used to be; he wears better broadcloth, but speaks no more oracles.’ These words give us the keynote to her view of the poet’s mission. He was to utter Divine oracles, to be at once inspired prophet and holy priest; and as such we may, I think, without exaggeration, conceive her. She was a Sibyl delivering a message to the world, sometimes through stammering lips, and once at least with blinded eyes, yet always with the true fire and fervour of lofty and unshaken faith, always with the great raptures of a spiritual nature, the high ardours of an impassioned soul. As we read her best poems we feel that, though Apollo’s shrine be empty and the bronze tripod overthrown, and the vale of Delphi desolate, still the Pythia is not dead. In our own age she has sung for us, and this land gave her new birth. Indeed, Mrs. Browning is the wisest of the Sibyls, wiser even than that mighty figure whom Michael Angelo has painted on the roof of the Sistine Chapel at Rome, poring over the scroll of mystery, and trying to decipher the secrets of Fate; for she realized that, while knowledge is power, suffering is part of knowledge.

To her influence, almost as much as to the higher education of women, I would be inclined to attribute the really remarkable awakening of woman’s song that characterizes the latter half of our century in England. No country has ever had so many poetesses at once. Indeed, when one remembers that the Greeks had only nine muses, one is sometimes apt to fancy that we have too many. And yet the work done by women in the sphere of poetry is really of a very high standard of excellence. In England we have always been prone to underrate the value of tradition in literature. In our eagerness to find a new voice and a fresh mode of music, we have forgotten how beautiful Echo may be. We look first for individuality and personality, and these are, indeed, the chief characteristics of the masterpieces of our literature, either in prose or verse; but deliberate culture and a study of the best models, if united to an artistic temperament and a nature susceptible of exquisite impressions, may produce much that is admirable, much that is worthy of praise. It would be quite impossible to give a complete catalogue of all the women who since Mrs. Browning’s day have tried lute and lyre. Mrs. Pfeiffer, Mrs. Hamilton King, Mrs. Augusta Webster, Graham Tomson, Miss Mary Robinson, Jean Ingelow, Miss May Kendall, Miss Nesbit, Miss May Probyn, Mrs. Craik, Mrs. Meynell, Miss Chapman, and many others have done really good work in poetry, either in the grave Dorian mode of thoughtful and intellectual verse, or in the light and graceful forms of old French song, or in the romantic manner of antique ballad, or in that ‘moment’s monument,’ as Rossetti called it, the intense and concentrated sonnet. Occasionally one is tempted to wish that the quick, artistic faculty that women undoubtedly possess developed itself somewhat more in prose and somewhat less in verse. Poetry is for our highest moods, when we wish to be with the gods, and in our poetry nothing but the very best should satisfy us; but prose is for our daily bread, and the lack of good prose is one of the chief blots on our culture. French prose, even in the hands of the most ordinary writers, is always readable, but English prose is detestable. We have a few, a very few, masters, such as they are. We have Carlyle, who should not be imitated; and Mr. Pater, who, through the subtle perfection of his form, is inimitable absolutely; and Mr. Froude, who is useful; and Matthew Arnold, who is a model; and Mr. George Meredith, who is a warning; and Mr. Lang, who is the divine amateur; and Mr. Stevenson, who is the humane artist; and Mr. Ruskin, whose rhythm and colour and fine rhetoric and marvellous music of words are entirely unattainable. But the general prose that one reads in magazines and in newspapers is terribly dull and cumbrous, heavy in movement and uncouth or exaggerated in expression. Possibly some day our women of letters will apply themselves more definitely to prose.

Their light touch, and exquisite ear, and delicate sense of balance and proportion would be of no small service to us. I can fancy women bringing a new manner into our literature.

However, we have to deal here with women as poetesses, and it is interesting to note that, though Mrs. Browning’s influence undoubtedly contributed very largely to the development of this new song-movement, if I may so term it, still there seems to have been never a time during the last three hundred years when the women of this kingdom did not cultivate, if not the art, at least the habit, of writing poetry.

Who the first English poetess was I cannot say. I believe it was the Abbess Juliana Berners, who lived in the fifteenth century; but I have no doubt that Mr. Freeman would be able at a moment’s notice to produce some wonderful Saxon or Norman poetess, whose works cannot be read without a glossary, and even with its aid are completely unintelligible. For my own part, I am content with the Abbess Juliana, who wrote enthusiastically about hawking; and after her I would mention Anne Askew, who in prison and on the eve of her fiery martyrdom wrote a ballad that has, at any rate, a pathetic and historical interest. Queen Elizabeth’s ‘most sweet and sententious ditty’ on Mary Stuart is highly praised by Puttenham, a contemporary critic, as an example of ‘Exargasia, or the Gorgeous in Literature,’ which somehow seems a very suitable epithet for such a great Queen’s poems. The term she applies to the unfortunate Queen of Scots, ‘the daughter of debate,’ has, of course, long since passed into literature. The Countess of Pembroke, Sir Philip Sidney’s sister, was much admired as a poetess in her day.

In 1613 the ‘learned, virtuous, and truly noble ladie,’ Elizabeth Carew, published a Tragedie of Marian, the Faire Queene of Jewry, and a few years later the ‘noble ladie Diana Primrose’ wrote A Chain of Pearl, which is a panegyric on the ‘peerless graces’ of Gloriana. Mary Morpeth, the friend and admirer of Drummond of Hawthornden; Lady Mary Wroth, to whom Ben Jonson dedicated The Alchemist; and the Princess Elizabeth, the sister of Charles I., should also be mentioned.

After the Restoration women applied themselves with still greater ardour to the study of literature and the practice of poetry. Margaret, Duchess of Newcastle, was a true woman of letters, and some of her verses are extremely pretty and graceful. Mrs. Aphra Behn was the first Englishwoman who adopted literature as a regular profession. Mrs. Katharine Philips, according to Mr. Gosse, invented sentimentality. As she was praised by Dryden, and mourned by Cowley, let us hope she may be forgiven. Keats came across her poems at Oxford when he was writing Endymion, and found in one of them ‘a most delicate fancy of the Fletcher kind’; but I fear nobody reads the Matchless Orinda now. Of Lady Winchelsea’s Nocturnal Reverie Wordsworth said that, with the exception of Pope’s Windsor Forest, it was the only poem of the period intervening between Paradise Lost and Thomson’s Seasons that contained a single new image of external nature. Lady Rachel Russell, who may be said to have inaugurated the letter-writing literature of England; Eliza Haywood, who is immortalized by the badness of her work, and has a niche in The Dunciad; and the Marchioness of Wharton, whose poems Waller said he admired, are very remarkable types, the finest of them being, of course, the first named, who was a woman of heroic mould and of a most noble dignity of nature.

Indeed, though the English poetesses up to the time of Mrs. Browning cannot be said to have produced any work of absolute genius, they are certainly interesting figures, fascinating subjects for study. Amongst them we find Lady Mary Wortley Montague, who had all the caprice of Cleopatra, and whose letters are delightful reading; Mrs. Centlivre, who wrote one brilliant comedy; Lady Anne Barnard, whose Auld Robin Gray was described by Sir Walter Scott as ‘worth all the dialogues Corydon and Phillis have together spoken from the days of Theocritus downwards,’ and is certainly a very beautiful and touching poem; Esther Vanhomrigh and Hester Johnson, the Vanessa and the Stella of Dean Swift’s life; Mrs. Thrale, the friend of the great lexicographer; the worthy Mrs. Barbauld; the excellent Miss Hannah More; the industrious Joanna Baillie; the admirable Mrs. Chapone, whose Ode to Solitude always fills me with the wildest passion for society, and who will at least be remembered as the patroness of the establishment at which Becky Sharp was educated; Miss Anna Seward, who was called ‘The Swan of Lichfield’; poor L. E. L. whom Disraeli described in one of his clever letters to his sister as ‘the personification of Brompton — pink satin dress, white satin shoes, red cheeks, snub nose, and her hair à la Sappho’; Mrs. Ratcliffe, who introduced the romantic novel, and has consequently much to answer for; the beautiful Duchess of Devonshire, of whom Gibbon said that she was ‘made for something better than a Duchess’; the two wonderful sisters, Lady Dufferin and Mrs. Norton; Mrs. Tighe, whose Psyche Keats read with pleasure; Constantia Grierson, a marvellous blue-stocking in her time; Mrs. Hemans; pretty, charming ‘Perdita,’ who flirted alternately with poetry and the Prince Regent, played divinely in the Winter’s Tale, was brutally attacked by Gifford, and has left us a pathetic little poem on a Snowdrop; and Emily Brontë, whose poems are instinct with tragic power, and seem often on the verge of being great.

Old fashions in literature are not so pleasant as old fashions in dress. I like the costume of the age of powder better than the poetry of the age of Pope. But if one adopts the historical standpoint — and this is, indeed, the only standpoint from which we can ever form a fair estimate of work that is not absolutely of the highest order — we cannot fail to see that many of the English poetesses who preceded Mrs. Browning were women of no ordinary talent, and that if the majority of them looked upon poetry simply as a department of belles lettres, so in most cases did their contemporaries. Since Mrs. Browning’s day our woods have become full of singing birds, and if I venture to ask them to apply themselves more to prose and less to song, it is not that I like poetical prose, but that I love the prose of poets.


Wilde, Oscar. A Critic in Pall Mall; Being Extracts from Reviews and Miscellanies by Oscar Wilde. Ed. E. V. Lucas. London: Methuen, 1919. Source of text: Project Gutenberg eBook #30191 release date October 6, 2009 transcribed by by David Price.

Last modified 14 February 2019