Elizabeth Barrett Browning's Aurora Leigh has become a key text for feminist critics concerned with nineteenth-century women writers. For some, Aurora Leigh is a revolutionary poem, a passionate indictment of patriarchy that speaks the resentment of the Victorian woman poet through a language of eroticized female imagery. For others, the poem is less explosive, and Barrett Browning's liberal feminism is seen as compromised by Aurora Leigh's eventual dedication to a life governed by traditionally male directives. In my view, however, Aurora Leigh is neither revolutionary nor compromised: rather, it is a coherent expression of Barrett Browning's conservative sexual politics, and I shall argue that female imagery is employed to show that the “art” of the woman poet performs a “service” for a patriarchal vision of the apocalypse. In Aurora Leigh woman's art is made the servitor of male ideal.
