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What is the analysis of Elizabeth Barrett Browning's Sonnet 43?

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Explanation: "Sonnet 43"
Line 1: At this point the reader cannot know whether this is a rhetorical question. The opening line might seem to present an impossibility or an absurdity in its attempt to define an abstract concept, love, by mathematically adding up instances of it.
Lines 2-4: Dealing in lofty and abstract ideas, the speaker provides no image or symbol to make her love concrete or easy to grasp. Since "Sonnet 43" appears second to last in the cycle of sonnets, some critics have justified these abstractions by referencing them to other sonnets in the volume, arguing that the sonnets must be read as an intertwined narrative to be fully understood. Be that as it may, the abstractions occurring at this point establish the largeness of her love, maybe even making it beyond comprehension. Several critics have pointed out that "the depth and breadth and height" echoes Ephesians III 17-19, where Saint Paul prays for comprehension of the length, breadth, depth, and height of Christ's love and the fullness of God. The terms "Depth, breadth, and height" all refer to dimensions, and the speaker specifies the condition of her soul at the time these dimensions are largest: "when feeling out of sight." Taken in context, the phrase probably describes a soul that feels limitless. Other phrases can be decoded to similarly spiritual expressions of love and being, including "For the ends of Being" --- death or at least a bodily death --- and "ideal Grace" --- heaven. Specific religious meanings for concepts like "grace," "soul," and "being" are, however, far from given, since the poem provides a good deal of room individual interpretation.
Lines 5-6: Sun and candle-light are the first concrete images we come across in this poem. The earthly time frame these lines suggest, however, is still limitless and all-encompassing; "by sun and candle-light" refers to both day and night.
Lines 7-8: The speaker's perspective narrows or even "comes down to earth" a little, shifting from its most religious tone to a focus on more apparently secular human interests. She does, however, select a particularly glorified image of humanity to identify with her love, personifying it as men who are both righteous and humble.
Lines 9-10: The perspective contracts further --- and provides the sonnet's "turn." The speaker's very broad and abstract view becomes concretely personal, turning away from the limitlessness of religion or the outside world to the within of her individual past. Specifically, she describes her love such that it changes the quality of grief, making that grief almost welcome in retrospect. The word "passion," however, introduces several levels of meaning; most significantly, it brings back the religious allusions of lines two through four by recalling the passion of Christ The image of a childhood faith, distinct from the speaker's current faith, suggests something especially pure and innocent.
Lines 11-12: It seems that romantic love rescues a lost religious faith, or at least rescues the passion and impulse the speaker used to feel for religious faith. The "lost saints" can be read both literally and figuratively, as the saints of the church, Christian liturgy or ritual, or even people who once guided the speaker --- her own personal saints. The loss can also be related to her two lost brothers who died of untimely illnesses.
Lines 13-14: "Smiles, tears, of all my life" echoes back to "my old griefs" in line 10, and the speaker begins the closure of the poem where she hopes to be able to achieve an even greater love after death. With humility, the speaker acknowledges that this desire might not be within her power to satisfy.
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Which sonnet enumerates the reasons for loving Elizabeth Barrett Browning?

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