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39 pages 1 hour read

Virginia Woolf

Flush: A Biography

Fiction | Novel | Adult | Published in 1933

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Background

Literary Context: Elizabeth Barrett Browning and Flush

Flush: A Biography is Virginia Woolf’s innovative attempt to write a biography of Elizabeth Barrett Browning from the perspective of her dog, Flush. Elizabeth (1806-1861) was one of the most celebrated English poets of the 19th century. She was born Elizabeth Barrett Moulton-Barrett and was the eldest of 12 children. The Barrett family wealth came from sugar plantations in Jamaica, though this colonial connection was a source of guilt for Elizabeth, especially as she became more attuned to the social injustices of slavery later in life. By the age of eight, she had begun reading William Shakespeare and John Milton. At 10, she wrote her first epic poem. Her father, recognizing her intelligence, provided her with a classical education, which was rare for girls of her time. From an early age, Elizabeth’s health was fragile. At 15, she developed a chronic illness—possibly tuberculosis or a related condition—and she was prescribed laudanum, an opium derivative, for pain management. This medication contributed to her lifelong battle with both physical illness and its psychological effects. Her frailty confined her to a semi-invalid state, resulting in long periods of isolation, and this is a recurring theme in her work.

In 1832, the Barrett family moved to London, and Elizabeth’s work began to receive more attention. However, just as her career began to blossom, tragedy struck. Elizabeth’s beloved brother, Edward, drowned in a sailing accident in 1840, plunging her into deep grief and exacerbating her physical ailments. Her father, an overbearing figure, became even more protective. Elizabeth was confined largely to her room in the Barrett family’s house on Wimpole Street. In 1844, Elizabeth published Poems, a collection that established her as one of the leading poets in England and caught the attention of another rising star in the literary world: Robert Browning. He was captivated by her work and wrote her a letter of admiration, initiating a correspondence that would change both of their lives. Despite Elizabeth’s fears about her health and her father’s disapproval, she and Robert married secretly in 1846. The union was kept hidden from her father, who had forbidden any of his children to marry; when he finally discovered the marriage, he disowned her. Elizabeth never saw her father again. Shortly after their marriage, the Brownings moved to Italy, settling in Florence, where the warm climate improved Elizabeth’s health. They lived happily for the rest of Elizabeth’s life.

Elizabeth’s longest and most ambitious work, Aurora Leigh (1856), is a novel in verse that addresses the role of women in society, the conflict between art and social responsibility, and the necessity of female autonomy. The work is notable for its proto-feminist themes and is often considered one of the first substantial literary works to explore the aspirations of a female artist. Woolf explores these same themes in Flush. Elizabeth was also a passionate advocate for the abolition of slavery, having inherited a sense of guilt over her family’s ties to Jamaican plantations.

Throughout her years of illness, isolation, and upheaval, Elizabeth found comfort in her beloved dog, Flush. A gift from her friend, the writer Mary Russell Mitford, Flush was a golden-haired spaniel. His presence brought her solace during the long hours she spent confined to her room in London. Flush also accompanied her to Italy when she and Robert moved there. Elizabeth wrote about Flush in a series of letters, expressing how much he meant to her. Woolf refers to these letters in Flush.

In 1849, Elizabeth gave birth to a son named Robert Wiedeman Barrett Browning, whom she and Robert affectionately called “Pen.” However, by the late 1850s, Elizabeth’s health began to decline again. She continued to write and engage in political causes until her death on June 29, 1861, at the age of 55, in Florence. She was buried in the English Cemetery in Florence, where her tomb remains a place of pilgrimage for literary enthusiasts.

Sociohistorical Context: Female Victorian Poets

Woolf’s desire to write about the life of Elizabeth Barrett Browning is related to her interests in feminism and women writers. As one of the foremost female poets of her era, Elizabeth faced many challenges with regard to artistic freedom, publication, and recognition. While the Victorian era (1837-1901) saw significant progress in many areas, including industrialization, political reform, and scientific advancements, gender roles remained highly restrictive. One of the primary challenges women faced was the lack of access to education. In Victorian society, formal education was largely reserved for men, with women’s schooling often limited to domestic skills and basic literacy. Elizabeth was classically educated because her father allowed it; still, this was the exception rather than the norm.

Victorian gender roles prescribed that upper-class women should be devoted to domestic life, focused on marriage, motherhood, and moral purity. Writing poetry, particularly on subjects beyond domesticity, was seen as unfeminine and sometimes scandalous. For many women writers, this meant adopting pseudonyms to publish their works. They often felt compelled to conceal their gender to gain literary acceptance, so they took on male pseudonyms. Although some female poets did use their real names, they frequently had to contend with the condescending attitudes of critics, who judged their works through a lens of gendered stereotypes.

In her semi-autobiographical novel in verse, Aurora Leigh (1856), Elizabeth presents the protagonist as a woman striving for artistic and intellectual independence in a world that denies her such freedoms. Similarly, her contemporary Christina Rossetti’s poems often grapple with the constrained roles available to women. Rossetti’s famous poem Goblin Market (1862), while ostensibly a fantasy, is also an allegory of temptation, sisterhood, and the dangers faced by women in a patriarchal society. The publishing world was dominated by men, and women’s writing was often relegated to niche markets or dismissed as sentimental and lacking intellectual rigor. Even when women did achieve publication, they were frequently categorized as “poetesses”—a term that carried connotations of inferiority and frivolity compared to the more prestigious designation of “poets,” who were always men.

Despite these challenges, a number of female Victorian poets achieved significant recognition during their lifetimes and influenced future generations of writers. Elizabeth and Rossetti, for example, are now regarded as central figures in Victorian literature. Elizabeth’s Sonnets From the Portuguese and Rossetti’s Goblin Market remain widely studied and appreciated for their lyricism, emotional depth, and social commentary. The success of these poets laid the groundwork for the emergence of more female literary voices in the late 19th and early 20th centuries, as women continued to push the boundaries of gender and creativity. Their success inspired future generations of female writers, such as Woolf herself. Their perseverance in the face of societal restrictions helped open doors for future female writers and contributed to the gradual shift in societal attitudes toward women’s intellectual and artistic capabilities.

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