Browse quotations by Elizabeth Barrett Browning with named works, context notes, meanings and recurring themes.
Focused collections bring together quotations from this author around one recurring idea.
“For us, to hope and bear on.”
The short clause gives the bereaved survivors a modest task: continue carrying the loss while keeping some form of hope available.
Source note: “A Child’s Grave at Florence,” stanza XXIX; Project Gutenberg #31015. The surrounding stanza contrasts the family’s earthly grave and silence with the child’s imagined heavenly life.
“Love, strong as Death, shall conquer Death, Through struggle made more glorious.”
The bereavement poem turns enduring love into a religious claim that loss does not exhaust the relationship or its hoped-for future.
Source note: “A Child’s Grave at Florence,” stanza XXIII; Project Gutenberg #31015. This is Christian elegiac conviction, not empirical evidence about death or grief outcomes.
“But winter kills the orange-buds, The gardens in the frost are, And all the heart dissolves in floods, Remembering we have lost her.”
Winter garden imagery gives the family’s bereavement a seasonal landscape, joining visible frost to the emotional force of remembering the child.
Source note: “A Child’s Grave at Florence,” stanza XV; Project Gutenberg #31015. The natural image belongs to an elegy for a specific child rather than a general theory of grief.
“But God gives patience, Love learns strength, And Faith remembers promise, And Hope itself can smile at length On other hopes gone from us.”
The elegy moves from a family’s acute loss toward a specifically Christian vocabulary of patience, strengthened love, remembered promise and slowly returning hope.
Source note: “A Child’s Grave at Florence,” stanza XXII; Project Gutenberg #31015. The poem commemorates a child who died in 1849 and frames consolation through Christian faith.
“For uses, therefore, I must count worth while.”
After describing a slow return from profound loss, Aurora reconnects being alive with possible uses and reasons to continue engaging with the world.
Source note: Aurora Leigh, Book I; Project Gutenberg #56621. The line occurs after the narrator recounts bereavement and a gradual return to ordinary life; it is literary narration, not clinical advice.
“Get work, get work; Be sure ’tis better than what you work to get.”
The verse novel distinguishes the formative value of doing worthwhile work from the external reward a person hopes the work will produce.
Source note: Aurora Leigh, Book III; Project Gutenberg #56621. This is dialogue and argument within a verse novel, not a universal rule that work should override health, rest or other obligations.
“Earth’s crammed with heaven, And every common bush afire with God.”
The famous image makes ordinary nature spiritually charged for the attentive observer, contrasting reverent perception with casually overlooking what is present.
Source note: Aurora Leigh, Book VII; Project Gutenberg #56621. The line is explicitly theistic poetic language and is not presented as a scientific claim about nature.
“whoever may Discern true ends here, shall grow pure enough To love them, brave enough to strive for them, And strong to reach them though the roads be rough”
The political poem links clearer ends with the character needed to pursue them, moving from discernment to courage, effort and persistence on a difficult road.
Source note: Casa Guidi Windows, Part II; Project Gutenberg #31015. Browning is writing specifically about Tuscan and Italian political freedom, so the excerpt is not detached from its Risorgimento context.
“How do I love thee? Let me count the ways.”
The question opens a deliberate accounting of love, suggesting that affection becomes clearer when its different forms, depths, and expressions are named.
Source note: Sonnet 43 from Sonnets from the Portuguese; the poem proceeds by describing multiple dimensions of love.
“For grief indeed is love and grief beside.”
The sonnet treats grief as attachment plus the pain attached to what has been lost, refusing to separate sorrow cleanly from love.
Source note: Sonnets from the Portuguese, Sonnet XXXV; Project Gutenberg #2002. The statement is part of an intimate love sonnet shaped by earlier bereavements.
“And, though I have grown serene And strong since then, I think that God has willed A still renewable fear.”
The speaker recognizes real growth in serenity and strength while admitting that earlier sorrow still leaves a fear that can return.
Source note: Sonnets from the Portuguese, Sonnet XXXVI; Project Gutenberg #2002. The growth is emotional and relational within the poem, not a clinical recovery benchmark.