Aurora Leigh是伊丽莎白·巴雷特·布朗宁（Elizabeth Barrett Browning）最雄心勃勃的作品。当这首诗处于最佳状态时，当乔治·埃利奥特（George Eliot），考文垂·帕特莫（Coventry Patmore）和W. E. Aytoun以及朋友，朋友，朋友，朋友，朋友，朋友，朋友，朋友和朋友，有时，当它处于最糟糕状态时，有时甚至是狂热的道德时，它都非常高的诗意。褐布的通讯员，例如约翰·鲁斯金（John Ruskin）。这首诗在诗句中被正确地称为小说，但要强调该定义的经文很重要：它充满了极端强烈的诗歌和新颖的互动，实际上是关于事物种类之间的关系诗人的兴趣和小说家感兴趣的事情。确实，它在这两种兴趣之间进行了辩论 - 这场辩论有意识地明确地更新了诗人和哲学家之间的辩论。柏拉图。
在奥罗拉·利（Aurora Leigh）中，辩论是在诗歌的叙述者，奥罗拉（Aurora）本人和她的堂兄罗姆尼·利（Romney Leigh）之间进行的，她在查尔斯·傅里耶尔（Charles Fourier）的模式下，作为社会改革者的野心极高。如果他喜欢文学的文学是社会意识和倾向（但很棒）的小说，他想要的文学查尔斯·狄更斯（5.403），他与奥罗拉（Aurora）讨论，然后与一个贫穷而贫穷但道德上令人眼花diound乱的年轻女子进行狄更斯婚姻，她很容易成为狄更斯的角色两个城市的故事。然而，奥罗拉（Aurora）对诗歌的灵魂之美感到渴望，并怀疑了她堂兄对政治经济学的技术官僚主义的提升。
这两种态度以女权主义的方式明确地表现出来。罗姆尼认为诗歌是充满意义的。一个女人的诗歌更是如此，尽管他在世界上对奥罗拉（Aurora）表示敬意（他们的关系以布朗宁（Browning）的微妙和机智处理），但他并没有像她那样尊重她的职业。Since Aurora is in large part an autobiographical figure (though her father dies instead of anathematizing her the way Browning’s own father had), the stirring encomiums to vocation that Browning puts into Aurora’s mouth are her own defenses of poetry, and consciously and powerfully feminist defenses at that.
在故事的结构和所描绘的人际关系的发展中，罗姆尼希望在奥罗拉拒绝他之后结婚的卑鄙的年轻女子，但他不爱他，代表了两者的可能性，实际上是必要的。Romney and Aurora to concede the rightness of each other’s commitments. Marianne, Dickensian in all her sentimental but heartbreaking splendor and goodness, represents a powerful appeal to sustained commitment to the spiritual and immaterial, vivid in her single mother’s love for the child conceived through rape (here, also, Browning put her own experience as a mother into Marianne’s attitude and feeling), a commitment that poetry mediates (far from being the imitation of an imitation, as Plato said, poetry for Aurora allows clearer contact with what is outside the cave of the material world), while also showing the necessity of working to ameliorate the oppressions of the earth that leave its Marianne Erles so vulnerable and many others so tortured into their own modes of pettiness and evil. (Thus, Marianne’s father strikes Romney a vicious blow that ends up blinding him, while simultaneously offering him the Miltonic sight that allows him at last to see Aurora for what she is.)
The fact that we get this all from Aurora’s point of view makes her the opposite of a standard story depicting an anxious, overambitious hero—a Plantagenet Palliser or Phineas Finn, for example, saved through the ministrations of an oppressed but loyal woman who returns at the end to find fulfillment in rescuing him. Rescue him she does, but the poem depicts her changing values, not his, and only summarizes his moral development in the last book retrospectively. The changes Aurora undergoes are of the sort that could commit a poet who began with Wordsworthian balladry (Aurora dismisses the ballads she used to write) to the novelistic perspectives of the contemporary moment, which is why the last books of Aurora Leigh are formally contemporaneous, written in a journalistic mode and not the autobiographical mode of the retrospective account she gives of her life before she comes upon Marianne Erle again. As the poem moves into the present, it takes on the unpoetic social horrors of the present, most particularly rape and abandonment of women. (It should be noted that Browning’s relation to Wordsworth includes an expansion of the very line of subjects for poetry that he had inaugurated.) The novelistic subject matter reflects the strong social and political ambitions in Browning’s work akin to Dickens’s (whom she cites in the poem), but overtly feminist, while its poetic form simultaneously shows its aspiration towards permanence. Romney and Aurora stand for these two modes, and Browning means their powerful and moving reconciliation at the end, therefore, to demonstrate how humanist and feminist demands in the political sphere manifest as well the spiritual aspiration to the enlargement of the human soul and not only the material aspiration to economic and social equality.
如果Aurora Leigh将诗歌作为女性化，以对美丽的关注以及对个人的悲伤的关注，女权主义是一种激进而又不断增长的运动，使奥罗拉（Aurora）和布朗宁（Aurora）和布朗宁（Browning）的女权主义以及他们的诗歌，就像罗姆尼（Romney）的政治经济学一样政治上。这首诗终于宣布了现代和现代关注，但对诗歌所提供的人类心理学和人类苦难的实际经验的见解产生了现代性。女权主义是现代性的特征，真正的进步也意味着成为女权主义者。罗姆尼（Romney）也许不会不同意，但是他一开始就没有看到的是，如果诗歌现在（如罗姆尼（Romney），但最重要的是奥罗拉（Aurora））成为妇女的省，那么女权主义将必须成为新的一部分，并且事物的高级顺序是因为诗歌的性质必须成为新事物的新秩序的一部分。没有诗歌，布朗宁坚持认为，只有失败的社会工程学：诗歌使人想起了一个上帝。相反，由于女权主义是新秩序的一部分，因此奥罗拉（Aurora）在与罗姆尼（Romney）的知识论点中捍卫的诗歌也是如此。因此，可以这样总结Aurora Leigh的政治论据：如果不包含女权主义的关注，就不会有真正的进步，这不仅对妇女，而且对每个人都很重要。这些担忧包括诗歌；如果女性现在要写下当今重要的诗歌（重要的是由于其政治野心），那么，如果没有女权主义诗歌，就不会真正取得真正的进步。
诗歌得以幸存Aurora Leigh因为女性使它生存，所以在诗歌的慷慨大方和伟大的角度，女权主义和政治现代性就会成为诗人。通过将女权主义与诗意的职业相结合，褐变可以增强她们，并为将继承她的伟大女性诗人铺平道路。尽管她既没有一致性，也没有他们的范围，但她还是与其他维多利亚时代的诗人进行了挑战和比较。（的确Aurora Leigh是对阿尔弗雷德（Alfred）的一种答案，坦尼森勋爵（Lord tennyson公主。）Aurora可以达到最高的文化高度，因为她创造的动人和深厚的角色也可以明确。
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