极光leigh.是伊丽莎白巴雷特布朗宁最雄心勃勃的工作。当诗歌是最高的诗歌质量的诗篇，当时它有时是在最糟糕的时候，当代审查员就像乔治艾略特，考文垂·帕特莫尔和W.E.Aytoun等当代评论者一起注意到，以及朋友和朋友像John Ruskin一样的褐色的记者。这首诗是正确称为一部小说的诗句，但重要的是强调该定义的第十一节：它充满了极其强烈的诗歌以及新颖的互动，并且实际上是关于这些类型之间的关系诗人的兴趣和小说家感兴趣的东西。事实上，它阶段这两种利益之间的辩论 - 这是一个有意识地和明确更新诗人和哲学家之间的辩论的辩论柏拉图。
在极光leigh中，辩论在诗歌的叙述者，极光，她的堂兄·罗姆尼·雷之间发生了争论，他在查尔斯傅里叶的模式中作为一个社会改革者具有极高的野心。他希望他喜欢文学的那种文学是社会意识和倾向的（但伟大的）小说查尔斯·狄更斯在两个城市的故事。然而，奥罗拉对诗歌的灵魂解决美女具有愿望，对她堂兄的政治经济学高于其他一切之外的堂兄持怀疑态度。
这两种态度明确地以女权主义术语制成。罗姆尼认为诗歌是柔弱的;一位妇女的诗歌都越是所以，虽然他在世界各地为极光（他们的关系被褐变的微妙和机智处理了他们的关系），但他并不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.
在故事的结构和人际关系的发展中，它描绘的是，罗姆尼愿意在极光之后拒绝他的少女留下少女的少女，但他不爱的人，代表了两者的必要性和必要性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.
如果极光leigh.将诗歌视为女性的关注，因为它强调个人悲伤，女性主义是一种激进和生长的运动，使得极光和褐变的女权主义以及他们的诗歌，就像罗姆尼政治经济一样。这首诗终于宣布了现代和现代关注，但是对于现代性，这是对人类心理学和人类痛苦的实际个人经验的洞察力所上的现代性。女权主义是现代性的一个特征，并且真正的进步意味着是女权主义者。或许，罗姆尼不会不同意，但他在一开始就没有看到的是，如果诗歌现在（作为罗姆尼，但奥罗拉最重要的是，坚持）成为女性省，那么女权主义将必须成为新的和事物的先进顺序，因为其性质的诗将必须成为新的和先进的事情的一部分。没有诗歌，勃朗宁坚持，社会工程只能失败：诗歌让上帝之一提醒。相反，由于女性主义是新秩序的一部分，因此诗歌是奥罗拉与罗姆尼的智力争论捍卫的诗歌。因此，无光泽的政治论点可以如此综合：没有纳入女权主义问题，在不仅对女性而是对每个人来说都很重要，这可能没有真正的进展。那些担忧包括诗歌;如果妇女现在将写下当天的重要诗歌 - 重要的是，并非最不重要的是，因为它的政治野心 - 那么没有女权主义诗歌就没有真正进展，这使得这很重要。
诗歌幸存下来极光leigh.因为女人让它生存，所以在诗歌的慷慨和伟大的心灵结束时与女权主义和政治现代化，以及所有人都是一个诗人。通过将女权主义与诗意的职业相结合，褐变加强了它们，并为成功的伟大女性诗人铺平道路。尽管她既没有他们的一致性也不是他们的范围，但她挑战并与其他任何维多利亚人都挑战。（确实极光leigh.对于阿尔弗雷德勋爵的答案是一种答案，丁尼森勋爵对妇女在他的长诗上的高等教育雄心的抱负怀疑公主。）极光可以达到最高的文化高度，所以她的创造者可以成为她所创造的移动和深刻的人才明确。
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