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Elizabeth Barrett Browning, E.B.B. (1806-1861)
“The Runaway Slave at Pilgrim’s Point” (1848)
Background
Elizabeth Barrett Browning’s passionate, occasionally melodramatic poem “The Runaway Slave at Pilgrim’s Point,” mainly written in Pisa during the autumn of 1846, was published two years later in a Boston anti-slavery compilation, The Liberty Bell. She was proud of its “ferocious” theme: an enslaved woman, of African descent, describes how she was separated from the man she loved, raped by her master and driven to kill her newborn child – “too white, too white for me!”
Slavery was a political issue that affected Barrett Browning strongly. In a letter to her friend Anna Jameson she declared, “You think a woman has no business with … the question of slavery? Then she had better use a pen no more!”
Compare the final published version of the poem to these excerpts from E.B.B.’s manuscript. (Note that you can view both her actual manuscript pages and a transcript of the pages.) What is significant in the revisions E.B.B. made? What moments stand out? Why?
From the white man’s house, and the black man’s hut,
I carried the little body on;
The forest’s arms did round us shut,
And silence through the trees did run:
They asked no question as I went,
They stood too high for astonishment,
They could see God sit on his throne.
XXVI.
My little body, kerchiefed fast,
I bore it on through the forest, on;
And when I felt it was tired at last,
I scooped a hole beneath the moon:
Through the forest-tops the angels far,
With a white sharp finger from every star,
Did point and mock at what was done.
XXVII.
Yet when it was all done aught,—
Earth, ‘twixt me and my baby, strewed,—
All, changed to black earth,—nothing white,—
A dark child in the dark!—ensued
Some comfort, and my heart grew young;
I sate down smiling there and sung
The song I learnt in my maidenhood.
XXVIII.
And thus we two were reconciled,
The white child and black mother, thus;
For as I sang it soft and wild,
The same song, more melodious,
Rose from the grave whereon I sate
It was the dead child singing that,
To join the souls of both of us.
XXIX.
I look on the sea and the sky.
Where the pilgrims’ ships first anchored lay
The free sun rideth gloriously,
But the pilgrim-ghosts have slid away
Through the earliest streaks of the morn:
My face is black, but it glares with a scorn
Which they dare not meet by day.
XXX.
Ha!—in their stead, their hunter sons!
Ha, ha! they are on me—they hunt in a ring!
Keep off! I brave you all at once,
I throw off your eyes like snakes that sting!
You have killed the black eagle at nest, I think:
Did you ever stand still in your triumph, and shrink
From the stroke of her wounded wing?
XXXI.
(Man, drop that stone you dared to lift!—)
I wish you who stand there five abreast.
Each, for his own wife’s joy and gift,
A little corpse as safely at rest
As mine in the mangoes! Yes, but she
May keep live babies on her knee,
And sing the song she likes the best.
XXXII.
I am not mad: I am black.
I see you staring in my face—
I know you staring, shrinking back,
Ye are born of the Washington-race,
And this land is the free America,
And this mark on my wrist—(I prove what I say)
Ropes tied me up here to the flogging-place.
XXXIII.
You think I shrieked then? Not a sound!
I hung, as a gourd hangs in the sun;
I only cursed them all around
As softly as I might have done
My very own child: from these sands
Up to the mountains, lift your hands,
O slaves, and end what I begun!
XXXIV.
Whips, curses; these must answer those!
For in this Union you have set
Two kinds of men in adverse rows,
Each loathing each; and all forget
The seven wounds in Christ’s body fair,
While He sees gaping everywhere
Our countless wounds that pay no debt.
XXXV.
Our wounds are different. Your white men
Are, after all, not gods indeed,
Nor able to make Christs again
Do good with bleeding. We who bleed
(Stand off!) we help not in our loss!
We are too heavy for our cross,
And fall and crush you and your seed.
XXXVI.
I fall, I swoon! I look at the sky.
The clouds are breaking on my brain
I am floated along, as if I should die
Of liberty’s exquisite pain.
In the name of the white child waiting for me
In the death-dark where we may kiss and agree,
White men, I leave you all curse-free
In my broken heart’s disdain!
definition
"A monologue is a lengthy speech by a single person. In a play, when a character utters a monologue that expresses his or her private thoughts, it is called a soliloquy. Dramatic monologue, however, does not designate a component in a play, but a type of lyric poem that was perfected by Robert Browning. In its fullest form, as represented in Browning’s “My Last Duchess,” “The Bishop Orders His Tomb,” “Andrea del Sarto,” and many other poems, the dramatic monologue has the following features: (1) A single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment: the Duke is negotiating with an emissary for a second wife; the Bishop lies dying; Andrea once more attempts wistfully to believe his wife’s lies. (2) This person addresses and interacts with one or more other people; but we know of the auditors’presence, and what they say and do, only from clues in the discourse of the single speaker. (3) The main principle controlling the poet’s choice and formulation of what the lyric speaker says is to reveal to the reader, in a way that enhances its interest, the speaker’s temperament and character."
Abrams, M.H.; Harpham, Geoffrey. A Glossary of Literary Terms (Page 94). Cengage Textbook. 10th edition. Kindle Edition.
In the most common use of the term, a lyric is any fairly short poem, uttered by a single speaker, who expresses a state of mind or a process of perception, thought, and feeling. Many lyric speakers are represented as musing in solitude. In dramatic lyrics, however, the lyric speaker is represented as addressing another person in a specific situation; instances are John
Abrams, M.H.; Harpham, Geoffrey. A Glossary of Literary Terms (Page 201). Cengage Textbook. 10th edition. Kindle Edition.