British Poetry
Latest Feature Articles
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Barrett Browning's Sonnet 25
Elizabeth Barrett Browning's speaker revisits her former sorrow to contrast her earlier "heavy heart" with the light heartedness she now enjoys because of her belovèd.
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Barrett Browning's Sonnet 24
The speaker compares the negative attitudes of others to a "clasping knife" that she will simply close up to rid her love of danger and damage.
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Barrett Browning's Sonnet 22
Sonnet 22 finds the speaker growing ever more fanciful as she paints a haven for the loving couple whose union is strengthened by soul force.
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Barrett Browning's Sonnet 21
The speaker is growing accustomed to hearing her lover say, "I love you,"-so much so that she is now commanding him to repeat it again and again.
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Barrett Browning's Sonnet 20
Sonnet 20 from Sonnets from the Portuguese finds the speaker in a pensive mood, dramatizing her awe at the difference a year has made in her life.
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Blake's The Chimney Sweeper
In six quatrains, Blake presents a speaker who dramatizes the pathetic plight of children forced to labor in squalid conditions in London during the 18th century.
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Barrett Browning's Sonnet 19
The two lovers exchange locks of hair, and the speaker makes a ceremony of the exchange as she again emphasizes the royalty of her lover's station and talent.
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Auden's Canzone
Auden's "Canzone" features five duodectains and a final cinquain. The speaker expounds poetically yet philosophically about the vicissitudes of the human condition.
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Barrett Browning's Sonnet 18
The speaker gives a lock of her hair to her belovèd as she dramatizes and philosophizes about the significance of the gift.
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Blake's The Garden of Love
In this nonsensical portrayal, William Blake's symbolism fails to achieve the desired result of castigating a religion for its sage guidance regarding self-control.
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Barrett Browning's Sonnet 17
In sonnet 17, Elizabeth Barrett Browning's always melancholy speaker muses on the poetics of her relationship with her poet/lover.
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Barrett Browning's Sonnet 16
The speaker finally capitulates to the all consuming love that she has tried to deny herself, allowing herself only a speck of doubt.
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Barrett Browning's Sonnet 15
The speaker in Sonnet 15 concentrates on her ambiguous facial expressions that have yet to catch up with her overflowing heart
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Barrett Browning's Sonnet 14
The speaker requests that her belovèd love her only for the sake of love and not for any qualities that she possesses, such as a smile or the way she speaks.
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Barrett Browning's Sonnet 13
The speaker in Sonnet 13 toys with the notion of writing about her new-found feeling of love, but she demurs lest she touch that store of grief that still plagues her.
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Barrett Browning's Sonnet 12
The speaker in sonnet 12 is growing comfortably into her realization that she is loved, but she gives to her suitor all the credit for her ability to love so deeply.
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Barrett Browning's Sonnet 11
The speaker is still walking the path to self-acceptance, still looking for the courage to believe in her own good fortune at finding a love that she wants to deserve.
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Ralegh's The Lie
Through varied forms of the idiom, "give the lie to," the speaker's refrain emphasizes the disingenuity that is being decried throughout the poem.
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Barrett Browning's Sonnet 10
The speaker of sonnet 10 is beginning to reason that despite her flaws, the transformative power of love can change her negative, dismissive attitude.
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Barrett Browning's Sonnet 9
Continuing her lamentations over the gap in societal station between her suitor and herself, the speaker wonders if she has anything to offer the suitor.
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Barrett Browning's Sonnet 8
The speaker continues to deny her good fortune as she reveals her gratitude for the attention of her illustrious suitor; she begins to accept her lot but reluctantly.
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