Robert Browning, friend to Bloomfield-Moore.
"Of him who will not believe in Soul because his scalpel cannot detect it, Browning wrote:
To know of, think about-
Is all man's sum of faculty effects,
When exercised on earth's least atom.
What was, what is, what may such atoms be?-
Unthinkable, unknowable to man.
Yet, since to think and know fire through and through
Exceeds man, is the warmth of fire unknown?
Its uses - are they so unthinkable?
Pass from such obvious power to powers unseen,
Undreamed of save in their sure consequence:
Take that we spoke of late, which draws to ground
The staff my hand lets fall; it draws at least -
Thus much man thinks and knows, if nothing more.
These lines were written in reference to Keely's discovery of the infinite subdivision of the atom; for not until a much later period was Browning influenced by a New York Journalist to look upon Keely as "a modern Cagliostro." Keely's discovery was the key note of "Ferishtah's Fancies," written by Browning before he met this journalist." [Bloomfield-Moore, A Pioneer in an Unknown Realm]
Childe Roland to the Dark Tower Came See Etheric Force Identified as Dynaspheric Force
Elizabeth Barrett Browning
At 40, bedridden and trapped by her father's tyranny, she wrote "How do I love thee?"—then eloped with the man who inspired it. But if you think Elizabeth Barrett Browning's story is just a romance, you've only heard the greeting card version. Born March 6, 1806, Elizabeth Barrett was extraordinary from the beginning. By age 8, she was reading Homer in original Greek. By 11, she'd written an epic poem. By 14, her father had privately published her work—remarkable for any Victorian girl when most women received almost no education. She seemed destined for greatness. Then, at 15, everything shattered. A spinal injury—possibly from a riding accident, possibly from illness—left Elizabeth in chronic, agonizing pain. For the rest of her life, she would battle partial paralysis, be confined to her room for years, and depend on laudanum to survive each day. Most people would have been crushed. Elizabeth wrote. Despite being bedridden, suffering, and morphine-dependent, she produced poetry that made her one of the most famous writers of the Victorian era. By her late thirties, she was internationally celebrated, considered for Poet Laureate, critically acclaimed. But personally, she was a prisoner. Her father, Edward Barrett Moulton-Barrett, was a tyrant who forbade all twelve of his children to marry. Not just Elizabeth. All of them. Anyone who disobeyed was permanently disowned. At age 39, bedridden and financially dependent, Elizabeth seemed trapped forever in her father's house. Then, in January 1845, a letter arrived: "I love your verses with all my heart, dear Miss Barrett..."Robert Browning—a fellow poet, six years younger, completely captivated by her work. Over the next 20 months, they exchanged 574 letters. They fell in love through words before they properly met. Literary admiration became intellectual partnership became profound devotion. But Elizabeth's father would never allow it. He'd disown her immediately—especially for a younger man with less money and no social position. Elizabeth faced an impossible choice: remain trapped but safe, or risk everything for freedom and love. On September 12, 1846, Elizabeth Barrett, age 40, walked out of her father's house for the last time. She met Robert Browning at a church with only her maid as witness. They married in secret. A week later, they fled to Italy before her family discovered the elopement. Her father never forgave her. He returned every letter she sent, unopened, until his death. He disinherited her completely. She never saw him again. It broke her heart. But she never regretted her choice. In Florence, Italy, Elizabeth transformed. The warm climate improved her health. In 1849, at age 43, she had a son—Robert Wiedemann Barrett Browning, nicknamed "Pen"—a child doctors said she'd never survive carrying. And she wrote some of the most beautiful love poetry in the English language. "Sonnets from the Portuguese" (1850) contained 44 sonnets written during her courtship. The title was deliberately misleading—they weren't translations but intensely personal poems. Robert had called her "my little Portuguese," so she used it as cover. Within that collection is Sonnet 43:"How do I love thee? Let me count the ways..."Those eight words have echoed for over 170 years. Read at weddings worldwide. On greeting cards, in movies, in popular culture. But if Elizabeth Barrett Browning is only remembered for love poetry, we're missing most of her story. Because her pen wasn't just for romance. It was a weapon. "The Cry of the Children" (1843) exposed horrific child labor in British factories—children working 16-hour days in coal mines and mills. The poem was so powerful it contributed to labor reform legislation. "The Runaway Slave at Pilgrim's Point" (1848) was a searing anti-slavery poem told from an enslaved woman's perspective. This was radical—and deeply personal. Elizabeth's own family wealth came from plantation slavery. She wrote against her own economic interests because it was right. "Aurora Leigh" (1856)—an 11,000-line verse novel about a woman artist fighting for independence and recognition—addressed rape, illegitimacy, women's work, and freedom. Topics considered shocking for Victorian literature. It was controversial. It was criticized. And it outsold almost every other poem of its era. Elizabeth Barrett Browning wasn't just writing pretty verses. She was fighting slavery, child labor, women's oppression, and political tyranny through poetry. In an era when women were expected to remain quiet and domestic, she was shouting about injustice. Her marriage to Robert remained a love story for the ages—intellectually matched, mutually supportive, deeply devoted. Their Florence home became a gathering place for writers, artists, and revolutionaries. But her chronic illness never left. On June 29, 1861, at age 55, Elizabeth died in Florence—in Robert's arms, exactly as she would have wanted. Robert never remarried. He was devastated. Her legacy outlived them both. During her lifetime, Elizabeth was possibly more famous than Robert. She influenced Emily Dickinson, who kept her portrait on the wall. After her death, her reputation declined as Victorian sentimentality fell out of fashion. But in the 20th century, feminist scholars recovered her work and recognized what had been overlooked: Elizabeth Barrett Browning was a major poet whose political writing was as important as her love poetry. She lived 55 years. For most of them, she was confined by illness, controlled by a tyrannical father, and limited by Victorian expectations for women. She became one of the greatest poets of her century anyway. She fell in love at 39. Eloped at 40. Had a child at 43. Wrote revolutionary feminist literature in her 50s. All while managing chronic pain and disability. "How do I love thee?" is beautiful. But it's not her only legacy. Her legacy is that she refused to be silenced—by pain, by patriarchy, by poverty, or by prejudice. She wrote love. And she wrote revolution. And both changed the world.
See Also