Percy Shelley, James Russell Lowell, and the Promethean Aesthetics of EBB's "The Runaway Slave at Pilgrim's Point" Antony H. Harrison (bio) The composition history of "The Runaway Slave at Pilgrim's Point" is well known: in 1845, Elizabeth Barrett Browning was commissioned separately by the American poet James Russell Lowell (with whom she had corresponded since 1842) and Maria Weston Chapman, the editor of The Liberty Bell, to write a poem for that abolitionist annual, normally published around Christmastime since its inception in 1839.1 She completed the poem late in 1846 and sent it to Lowell on December 23. In agreeing to write for The Liberty Bell, Barrett Browning was motivated by her hatred of slavery as an institution, her epistolary friendship with Lowell (who had previously solicited her work), and her admitted love for America and the Americans. As all scholars of her life and poetry are well aware, EBB2 was the descendant of slave owners in Jamaica, whose plantations had been highly profitable for the Moulton Barrett family. From her first knowledge of it, the "curse" of this family history was burdensome to EBB and demanded repeated exorcism in her writings, poems, and letters alike. As she explained to Robert Browning in 1845, "I would give ten towns in Norfolk (if I had them) to own some purer lineage than that of the blood of the slave!—Cursed we are from generation to generation."3 Similarly, in mid-January of 1847, shortly after completing "Runaway Slave," she wrote to her American friend, Cornelius Mathews: "when I write against slavery, it is not as one free from the curse" (BC 14: 100).4 Despite her adamant belief that slavery was abhorrent, EBB generally admired the inhabitants of a nation in which that institution thrived. In a letter to Lowell from January 1843, she wrote: "From the circumstances of a retired [End Page 53] life & ill health it has happened that I never stood face to face with an American, except in my dreams. But I love the Americans & America for the sake of national brotherhood & a common literature & I honor them for the sake of liberty & noble aspiration—& I am grateful to them, .. very grateful, .. [sic] for their kindness to me personally as a poet" (BC 6: 261–262). On sending "Runaway Slave" to Lowell, she repeated the sentiment: "I have written this poem precisely because, as an Englishwoman ought, I love & honour the American people." But she further explained that the great antislavery cause must always be dear to me,—and for the sake, I will say, as much of American honour as of general mercy & right—In the poem I enclose to you I have taken up this double feeling, (with an application of the case to women especially) perhaps you will think too bitterly & passionately for publication in your country. I do not presume to decide—I leave it entirely, of course, to your judgement—I will only say, for my own part, that in writing this poem, I have not forgotten, as an Englishwoman, that we have scarcely done washing our national garments clear of the dust of the very same reproach. (BC 14: 86–87) In her last sentence EBB refers, of course, to the Slavery Abolition Act passed by Parliament in 1833, which outlawed slavery throughout the British Empire and went into effect on August 1 of the following year. Its full impact was not felt for sixteen years, however: only slaves under the age of six were immediately freed, and it was not until August 1, 1840, that all slaves over the age of six at the time of the bill's enactment were finally released from long periods of continuing "apprenticeship." It is particularly worth observing that in this letter EBB lays out two separate rationales for the abolition of slavery ("this double feeling"). "Honour," of course, falls under a category of values specifically associated at this historical moment with the behavioral (and therefore social) ideals of educated middle and upper class Britons and (presumably) Americans, whereas the terms "mercy & right" suggest foundational humanitarian (and therefore inseparable religious and political) ideals. As EBB's parenthesis indicates, she...
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