Ministry of higher and secondary specialized education of the republic of uzbekistan state university of world languages english language faculty №1 Course paper Theme: Robert Browning and Elisabeth Browning their life and work

2.2. Elisabeth Browning works .
Published in 1857, Aurora Leigh is an Elizabeth Barrett Browning blank verse novel. The approximately 11,000-line first-person account describes the heroine's early years in Italy and England, her self-education in her father's secret library, and her successful pursuit of a writing career. Initially refusing Romney Leigh's marriage proposal, Aurora eventually gives up her independence and marries her devoted admirer, whose idealistic outlook has subsequently also been softened by experience. The author makes insightful remarks on the value of poetry, each person's duty to society, and how women are victimized as a result of Aurora's work, Romney's social views, and a dramatic subplot involving forced prostitution. Despite being a huge commercial success, critics did not think highly of Aurora Leigh. Elizabeth Barrett Browning wrote a collection of love sonnets called Sonnets from the Portuguese in 1850. These sonnets, which make up one of the most well-known collections of English love poems, are partly responsible for the poet's renown. A year after their covert elopement to Italy, Elizabeth Barrett Browning sent her poet husband Robert Browning this collection of 44 sonnets in 1847. The poems describe their early relationship when the ill author was hesitant to wed, her submission to his love in spite of her father's opposition, and their ultimate contentment as a couple. The well-known stanza "How do I love thee? " appears in the 43rd sonnet. Here are some examples. Using her husband's nickname for her, "the Portuguese," and a previous piece of hers he adored, "Catarina to Camoens," which depicted a Portuguese woman's passion for the great national poet of Portugal, Lus de Cames, the volume's title subtly disguised the sonnets' intimate character. Poetry is literature that uses words chosen and arranged for their meaning, sound, and rhythm to elicit a focused imaginative awareness of experience or a particular emotional response. Poetry is a large subject that is as old as history and possibly even older. Poetry is present anywhere there is religion, and according to certain definitions, it may even be the original and fundamental form of languages. The purpose of this article is to simply define certain characteristics of poetry and poetic thought, which are understood to be somewhat distinct mental processes, in the most generic terms possible. Naturally, not all customs, regional variations, or personal preferences can—or should—be included, but the page provides examples of poetry ranging from nursery rhyme to epic. The difficulty or impossibility of defining poetry, man's familiarity with it despite this, the distinctions between poetry and prose, the idea of form in poetry, poetry as a method of thought, and what little can be said in prose about the spirit of poetry are all discussed in this article. Poetry is the alternative form of language use. It may have been the only form of language at some hypothetical early stage, or it may have just been language tout court, with prose serving as its derivative and younger adversary. Poetry, in particular, has been said to have first emerged in the form of magical spells chanted to ensure a successful harvest. Poetry and language are both currently believed to have been an element of ritual in early agricultural cultures. Whatever the veracity of this claim, it obscures a crucial distinction: by the time poems become a distinct class of objects that can be identified as such, their potential to grow yams is no longer highly valued, and any magic they might be thought to be capable of has retreated to work on the human spirit rather than the physical world. Formally, poetry can be distinguished from prose production by its increased reliance on at least one additional parameter, the line. It appears obvious that individuals take their cue from this altered appearance and read poetry aloud in a voice that is significantly different from their usual voice. This may be because, as Ben Jonson once stated, poetry "speaks slightly above a mortal mouth." If people are exposed to poems printed as prose as a test of this description, it usually turns out that they will read the result as prose just because it looks that way; that is, they will no longer be guided in their reading by the balance and shift of the line in relation to the breath as well as the syntax. Although it is a very brief definition, it may not be completely uninformative. Perhaps this sums up all that needs to be said in terms of a definition: Poetry is what it is because of the way it sounds, looks, and behaves; and vice versa. People seek definitions in order to address borderline cases, which definitions, by their very nature, are unable to handle. In other words, if someone asks for a definition of poetry, it is almost certain that he has seen at least one of the objects called poems that are considered to embody poetry. Instead, he is already reasonably certain of what poetry in general is, and the reason for asking for a definition is either that his certainty has been questioned by someone else or that he wants to address a potential or apparent exception to it. On the subject, reasonable things have been said. T.S. Eliot, a poet, claimed that part of the difficulty stems from the lack of a comparable technical term to separate the mechanical component of prose and make the relationship symmetrical, despite the existence of the term verse to go with the term poetry. Prose is like walking, poetry is like dancing, according to the French poet Paul Valéry. That distinction does highlight the tendency of poetry to incremental repetition, variation, and the treatment of numerous matters and different themes in a single recurrent form such as a couplet or stanza. In fact, the original two terms, prosus and versus, meant, respectively, "going straight forth" and "returning." When in doubt, translate; whatever comes through is prose, the remaining is poetry. This is a clever statement by the American poet Robert Frost who claimed that poetry is what got left behind in translation. The King James Version of the Bible, which is not only a translation but also, as to its appearance in print, identifiable neither with verse nor with prose in English but rather with a cadence owing something to both, contains some of the greatest poetry in the world. And yet, even to such a strict definition, the obvious exception is a startling and formidable one. By using the straightforward test mentioned above, it's possible to formulate the question in a better approach. People will exhibit a strong propensity to label anything they can as prose when given with a series of sections taken randomly from poems and stories but all printed as prose. Surprisingly, this will hold true even if the poem rhymes, and it frequently holds true even if they were familiar with the poem in its original typographical layout. The explanation appears to be embarrassingly simple: readers recognize poetry by the way it appears on the page, and they respond to the convention by reading it aloud in a voice tone that is very different from how they read prose (which, indeed, they scarcely read aloud at all). It should be noted that individuals also make this distinction when speaking quietly; even then, they offer poetry a different level of attention than they do prose, notably in terms of tone and speed. It may be both a comfort and an illumination to demonstrate some plain and huge contrasts between prose and poetry by comparison rather than fretting further about terminology. The following texts discuss aging from the perspectives of a poet and a prose writer. The reader should take a minute to analyze the distinctions that are demonstrated before arguing that a simple comparison cannot possibly include all the different ranges of poetry and prose that are being compared. The sentences are strangely analogous, making them comparable even in a formal sense because they both contain various products from a catalog with the overarching theme of aging. Tone, tempo, and the focus of attention are the key variations. One should read the prose passage with an interest in learning, noting the parallel constructions without being affected by them in tone or pace, while reading the poetry with a sense of considerable gravity and solemnity. If the prose passage is interested in the neutral, material, measurable properties of the process, while the poetry is interested in what the process will signify to someone going through it, that is not accidental but rather essential. To put it as succinctly as possible, the two ways that the word "to fall" is used in prose and poetry are very different from one another. It should be noted that the comparison revealed several significant distinctions that are exclusive to the modern era. The dividing line will be shown to appear at a different location in each time, at least in English poetry. The diction of prose in Elizabethan times was much closer to that of poetry than it would later become, and in the 18th century, authors wrote in couplets about topics that would later automatically and compulsorily belong to prose, such as horticulture, botany, and even dentistry, with no apparent strangeness to them.. However, there have been significant changes in the relationship between poetry and prose, and advances in science and society have had a significant impact on the variety of ways that people can describe and view the world. This is not the place to enter into a discussion of such a rich chapter in the history of ideas.