ELIZABETH B. BROWNING

THE CRY OF THE CHILDREN

I

Do ye hear the children weeping, O my brothers,
 Ere the sorrow comes with years?
They are leaning their young heads against their mothers —
  And that cannot stop their tears.
The young lambs are bleating in the meadows;
 The young birds are chirping in the nest;
The young fawns are playing with the shadows;
 The young flowers are blowing toward the west —
But the young, young children, O my brolhers,
  They are weeping bitterly!
They are weeping in the playtime of the others,
  Inthe country of the free.
 

II

Do you question the young children in their sorrow,
  Why their tears are falling so? —
The old man may weep for his to-morrow
  Which is lost in Long Ago —
The old tree is leafless in the forest —
 The old year is ending in the frost —
The old wound, if stricken, is the sorest —
 The old hope is hardest to be lost:
But the young, young children, O my brothers,
  Do you ask them why they stand
Weeping sore before the bosoms of their mothers,
  In our happy Fatherland?
 

III

They look up with their pale and sunken faces,
 And their looks are sad to see,
For the man's grief abhorrent, draws and presses
  Down the cheeks of infancy —
"Your old earth", they say, "is very dreary";
 "Our young feet", they say, "are very weak!
Few paces have we taken, yet are weary —
 Our grave-rest is very far to seek!
Ask the old why they weep, and not the children,
 For the outside earth is cold —
And we young ones stand without, in our bewildering,
  And the graves are for the old!
 
 

IV

"True", say the young children, "it may happen
  That we die before our time!
Little Alice died last year — the grave is shapen
  Likea snowball, in the rime.
We looked into the pit prepared to take her —
 Was no room for any work in the close clay:
From the sleep wherein she lieth none will wake her,
 Crying, ‘Get up, little Alice! it is day’.
If you listen by that grave, in sun and shower,
 With your ear down, little Alice never cries! —
Could we see her face, be sure we should not know her,
 For the smile has time for growing in her eyes —
And merry go her moments, lulled and stilled in
  The shroud, by the kirk-chime!
It is good when it happens", say the children,
  "That we die before our time!"
 

V

Alas, the wretched children! they are seeking
  Death in life; as best to have!
They are binding up their hearts away from breaking,
  With a cerement from the grave.
Go out, children, from the mine and from the city —
 Sing out, children, as the little thrushes do —
Pluck you handfuls of the meadow-cowslips pretty —
 Laugh aloud, to feel your fingers let them through!
But they answer, "Are your cowslips of the meadows
  Like our weeds anear the mine?
Leave us quiet in the dark of the coal-shadows,
  From your pleasures fair and fine!
 

VI

"For oh", say the children, "we are weary,
 And we cannot run or leap —
If we cared for any meadows, it were merely
  To drop down in them and sleep.
Our knees tremble sorely in the stooping —
 We fall upon our faces, trying to go;
And, underneath our heavy eyelids drooping,
 The reddest flower would look as pale as snow.
For, all day, we drag our burden tiring,
  Through the coal-dark, underground —
Or, all day, we drive the wheels of iron
  In the factories, round and round.

VII

"For, all day, the wheels are droning, turning —
  Their wind comes in our faces —
Till our hearts turn — our heads, with pulses burning,
  And the walls turn in their places —
Turns the sky in the high window blank and reeling —
 Turns the long light that droppeth down the wall —
Turn the black flies that crawl along the ceiling —
 All are turning, all the day, and we with all! —
And all day, the iron wheels are droning;
  And sometimes we could pray,
‘O ye wheels’ (breaking out in a mad moaning),
  ‘Stop! be silent for to-day!’"
 

VIII

Ay! be silent! Let them hear each other breathing
  For a moment, mouth to mouth —
Let them touch each other's hands, in a fresh wreathing
  Of their tender human youth!
Let them feel that this cold metallic motion
 Is not all the life God fashions or reveals —
Let them prove their inward souls against the notion
 That they live in you, or under you, O wheels! —
Still, all day, the iron wheels go onward,
  As if Fate in each were stark;
And the children's souls, which God is calling sunward,
  Spin on blindly in the dark.
 

IX

Now tell the poor young children, O my brothers,
  That they look to Him and pray —
So the blessed One, who blesseth all the others,
  Will bless them another day.
They answer, "Who is God that He should hear us,
 While the rushing of the iron wheels is stirred?
When we sob aloud, the human creatures near us
Pass by, hearing not, or answer not a word!
And we hear not (for the wheels in their resounding)
  Strangers speaking at the door;
Is it likely God, with angels singing round Him,
  Hears our weeping any more?

X

"Two words, indeed, of praying we remember;
  And at midnight's hour of harm —
‘Our Father’, looking upward in the chamber,
  We say softly for a charm.
We know no other words, except ‘Our Father’,
 And we think that, in some pause of angels' song,
God may pluck them with the silence sweet to gather,
 And hold both within His right hand which is strong.
‘Our father!’ If he heard us, He would surely
  (For they call Him good and mild)
Answer, smiling down the steep world very purely
  ‘Come and rest with me, my child.’
 
 

XI

"But, no!" say the children, weeping faster,
  "He is speechless as a stone;
And they tell us, of his image is the master
  Who commands us to work on.
"Go to!" say the children — "up in heaven,
 Dark, wheel-like, turning clouds are all we find.
Do not mock us: grief has made us unbelieving:
We look up for God; but tears have made us blind."
Do you hear the children weeping and disprovlng,
 O my brothers, what ye preach?
For God's possible is taught by his world's loving —
 And the children doubt of each.
 

XII

And well may the children weep before you!
 They are weary ere they run;
They have never seen the sunshine, nor the glory
 Which is brighter than the sun.
They know the grief of man, without its wisdom;
 They sink in man's despair, without its calm;
Are slaves, without the liberty in Christdom;
 Are martyrs, by the pang without the palm:
Are worn as if with age, yet unretrievingly
 The harvest of its memories cannot reap;
Are orphans of the earthly love and heavenly —
 Let them weep! let them weep!
 

XIII

They look up with their pale and sunken faces,
 And their look is dread to see.
For they mind you of their angels in high places,
 With eyes turned on Deity.
"How long", they say, "how long, O cruel nation,
 Will you stand, to move the world on a child's heart —
Stifle down with a mailed heel its palpitation,
 And tread onward to your throne amid the mart!
Our blood splashes upward, O gold-heaper,
 And your purple shows your path!
But the child's sob in the silence curses deeper
 Than the strong man in his wrath".

(1843)

THE CRY OF THE CHILDREN: A CENSURE (severe critic)

ELIZABETH BARRETT BROWNING (1806- 1861)

Elizabeth Barrett Browning’s poems were acclaimed in her own lifetime. Her most famous sonnets sequence, where she showed her love affair with Robert Browning, was “Sonnets from the Portuguese” (1850) and also a best-seller was her verse-novel “Aurora Leigh” (1856). But we have to take into account that she was already a poet when she eloped with Robert Browning and that she had written before. To this period belongs the poem being analysed in this paper.

“The Cry of the Children” is a thirteen sonnets composition which was composed and published in 1843. In order to understand this poem we need to know that in this “period of growing pains”(Alexander,M. p.247 ) changes were constantly occuring. Up to 1843, when Elizabeth Barrett Browning wrote it, slavery was abolished throughout the British Empire (1833), two important Factory Acts limited women and children under eighteen to a twelve-hour work day (1836/1843) and the Custody of the Infants Act gave women the right of custoding their chidren under seven as well as being recognised as independent entities under law (Bristow,J. Chronology p.xiv)

The main source of this composition was the report written by R.H.Horne, a friend and collaborator of hers, about the conditions of employment of children in mines and factories that were investigated by a Parliamentary Commission in 1843 (www.wwnorton.com).

In the poem E.Browning shows and criticises the sorrow of the children in those years, how the exploitation was managed in coal mines and factories. She also pointed out the way children had no infancy and why they seeked death as a relief of that world’s pressure. The topic about disbelief in God needs also to be remarked. She also questions the confidence in the future and in the nation as well.

In reference to the first sonnets we could understand the worries of that period only by reading the first and the last verses. Children were expoided while young lambs, birds and fawns were growing freely and accordingly to their age. Their tears and the dissapointing language produce the sounds of the poem. During the Industrial Revolution child labor was cruely practised and children worked during endless hours under deplorable conditions. Thus, we can understand why these young children looked for death although they were so young (even 5) as it is explained in sonnets III-VI.

Children play the most important role in th poem because they speak, have their own voice in it, their innocency is lost, there is no hope for them in life. A way of showing this is the example of “Little Alice” mentioned in IV, who “died last year” and “never cries”, she “would also smile” and have “merry moments”. This is the children’s craving and there’s no way of consoling them although the poet tries to encourage them.

The children are fed up with the coal mines, they are tired and weary (VI). They have no joy of living, it’s always the same: the routine of starting work early in the morning and finishing it late in the evening when there were no sunlight, no playtime, no happiness...A very good example of that experience is the interview to a 23-year old girl who started working when she was five and was interviewed by the Parliamentary Commission in 1843.(www.wwnorton.com).

Regarding VIII- XIII the topic is that pain again but it also deals with God and religion. The poet cheers them up and tells them to pray, to believe in Him, but they don’t believe any more and don’t expect a better life. We can imagine the desperation of that children, adults were also desperated and maybe religion was their only solution. But, “was religious belief useful for the needs of a reasonable person?” (Abrahams,M.H., p.933).

In order to conclude we can summarize this poem as a revolutionary and strong poem that is against the mistreatment of chidren and puts in doubt the belief in society, in nation and in God (Forés,V. Notes from class, 17/01/06).

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