A Child Asleep

‘A Child Asleep‘ by Elizabeth Barrett Browning is a lyrical and contemplative poem that explores the ethereal beauty and spiritual significance of a sleeping child. Through vivid imagery and metaphorical language, Browning conveys the child’s innocence, connection to the divine, and the transformative power of dreams.

The poem examines the child’s elevated state, his ability to attract celestial beings and the profound impact his presence has on the spiritual realm. It invites readers to reflect on the sacredness of childhood and the potential for spiritual transcendence within every child. Below is the full poem:

A Child Asleep
Elizabeth Barrett Browning

How he sleepeth! having drunkenWeary childhood's mandragore,From his pretty eyes have sunkenPleasures, to make room for more---Sleeping near the withered nosegay, which he pulled the day before.

Nosegays! leave them for the waking:Throw them earthward where they grew.Dim are such, beside the breakingAmaranths he looks unto---Folded eyes see brighter colours than the open ever do.

Heaven-flowers, rayed by shadows goldenFrom the paths they sprang beneath,Now perhaps divinely holden,Swing against him in a wreath---We may think so from the quickening of his bloom and of his breath.

Vision unto vision calleth,While the young child dreameth on.Fair, O dreamer, thee befallethWith the glory thou hast won!Darker wert thou in the garden, yestermorn, by summer sun.

We should see the spirits ringingRound thee,---were the clouds away.'Tis the child-heart draws them, singingIn the silent-seeming clay---Singing!---Stars that seem the mutest, go in music all the way.

As the moths around a taper,As the bees around a rose,As the gnats around a vapour,---So the Spirits group and closeRound about a holy childhood, as if drinking its repose.:Shapes of brightness overlean thee,---Flash their diadems of youthOn the ringlets which half screen thee,---While thou smilest, . . . not in soothThy smile . . . but the overfair one, dropt from some aethereal mouth.

Haply it is angels' duty,During slumber, shade by shade:To fine down this childish beautyTo the thing it must be made,Ere the world shall bring it praises, or the tomb shall see it fade.

Softly, softly! make no noises!Now he lieth dead and dumb---Now he hears the angels' voicesFolding silence in the room---Now he muses deep the meaning of the Heaven-words as they come.

Speak not! he is consecrated---Breathe no breath across his eyes.Lifted up and separated,On the hand of God he lies,In a sweetness beyond touching---held in cloistral sanctities.

Could ye bless him---father---mother ?Bless the dimple in his cheek?Dare ye look at one another,And the benediction speak?Would ye not break out in weeping, and confess yourselves too weak?

He is harmless---ye are sinful,---Ye are troubled---he, at ease:From his slumber, virtue winfulFloweth outward with increase---Dare not bless him! but be blessed by his peace---and go in peace.

Summary

In Elizabeth Barrett Browning’s poem ‘A Child Asleep,’ the speaker observes a child who is peacefully asleep after experiencing the joys and weariness of childhood.

The child’s eyes have closed, making room for new pleasures, as evidenced by the withered nosegay he had picked the day before.

The speaker suggests leaving the nosegays for the waking world and discarding them on the earth where they originated, as they pale in comparison to the vibrant and ever-changing colors the child sees with his closed eyes. It is as if heavenly flowers, bathed in golden shadows, hold a divine presence and sway around the child, rejuvenating his spirit and breathing life into his being.

The child’s dreams become a canvas for various visions that call to him, and the speaker admires the child’s fortunate encounter with glorious dreams. The child’s darker and less vibrant existence in the garden of reality is contrasted with the brilliant experiences he enjoys while dreaming.

The speaker imagines the spirits surrounding the child, eagerly drawn to his pure and innocent heart. They encircle him, much like moths around a flame or bees around a rose, their presence magnifying the child’s repose and serenity. These spirits enhance the child’s appearance as if adorning him with youthful diadems that shimmer within his partially concealed ringlets.

It is suggested that angels may have the responsibility of refining the child’s beauty while he sleeps, gradually preparing him for the realities and expectations of the world. This process ensures that he receives the deserved praises in life and avoids fading into obscurity upon his eventual departure from the earthly realm.

As the child lies silent and motionless, the speaker urges everyone to maintain a quiet reverence. The child now hears the voices of angels and contemplates the profound meaning of heavenly words as they reach him. He is consecrated and separated, resting in the hands of God, experiencing a transcendent sweetness that cannot be touched and existing within the sacred sanctuary.

The speaker questions whether the child’s parents dare to bless him and exchange a benediction, knowing that their emotions might overwhelm them. They are flawed and troubled while the child is innocent and at peace. The child’s slumber emanates a virtuous influence that flows outward, and the speaker advises against attempting to bless him. Instead, they should seek their own blessings through the child’s peacefulness and depart in tranquility.

Structure and Form

Elizabeth Barrett Browning’s poem ‘A Child Asleep’ follows a structured and formal pattern, with twelve stanzas, each consisting of five lines. This adherence to a quintain structure creates a sense of rhythm and balance throughout the poem. The poem’s ABABB rhyming scheme further enhances its musicality and coherence.

The structured form of the poem helps to organize the poet’s thoughts and allows for a clear progression of ideas. Each stanza presents a distinct image or observation related to the sleeping child, building upon the previous stanza and contributing to the overall theme of the poem.

The consistent rhyme scheme, where the first and third lines of each stanza rhyme (A), while the second, fourth, and fifth lines rhyme with each other (B), creates a harmonious flow that adds to the lyrical quality of the poem. The regularity of the rhymes contributes to the sense of stability and order within the work.

By utilizing the quintain structure and the ABABB rhyme scheme, Browning establishes a predictable pattern that guides the reader through the poem. This formal structure adds a sense of control and balance to the emotional subject matter, creating a juxtaposition between the serene nature of the sleeping child and the structured form of the poem itself.

Furthermore, the consistent structure and rhyme scheme enhance the poem’s musicality, inviting readers to engage with the speaker.

Themes

In Elizabeth Barrett Browning’s poem ‘A Child Asleep,’ several themes emerge as the poet explores different aspects of the sleeping child’s experience.

One prominent theme is the contrast between the waking world and the dream world. The speaker suggests leaving nosegays for the waking world while emphasizing the child’s ability to see brighter and more vibrant colors with closed eyes: “Folded eyes see brighter colours than the open ever do.” This theme highlights the potential for imagination and the richness of the dream realm.

Another theme is the presence of divine and spiritual elements. The child is depicted as being surrounded by heavenly flowers, held in the embrace of spirits, and possibly hearing the voices of angels. The imagery conveys a sense of transcendence and suggests that there is a deeper spiritual dimension to the child’s sleep and dreams.

The theme of innocence and purity is also evident. The child is described as harmless and at ease, while the adults are portrayed as sinful and troubled. The child’s peacefulness and virtue are emphasized, suggesting a stark contrast between the child’s untainted state and the complexities of adulthood.

Additionally, the theme of transience and mortality emerges. The speaker acknowledges the fleeting nature of the child’s beauty and the necessity of preserving it before it fades: “Ere the world shall bring it praises, or the tomb shall see it fade.” This theme evokes a sense of the fragility of life and the passing of time.

Finally, the theme of parental love and protection is implied. The speaker questions whether the child’s parents dare to bless him, suggesting their overwhelming emotions and vulnerability. This theme touches on the profound bond between parents and their child and the desire to shield and nurture their innocence.

Poetic Techniques and Figurative Language

In ‘A Child Asleep,’ Elizabeth Barrett Browning employs various poetic techniques and figurative language to effectively convey her message.

• Imagery: One technique she utilizes is vivid imagery. For example, she describes the child’s eyes as having “sunken Pleasures” and his dreams as “Vision unto vision.” These images evoke a sense of depth and intensity, emphasizing the richness and complexity of the child’s experiences.
• Personification: Browning also employs personification to bring life to inanimate objects. She describes the withered nosegay as “Sleeping near” the child, suggesting a connection between the child and the fading flowers. Additionally, she personifies the “Heaven-flowers” as swinging in a wreath and the stars as “Singing” in their muteness, infusing these elements with a sense of movement and vitality.
• Figurative language: Similes and metaphors further enhance the poem. Browning compares the spirits surrounding the child to moths around a taper, bees around a rose, and gnats around a vapor, creating vivid and tangible images that depict the ethereal presence of the spirits.
• Metaphors: She also employs metaphors to convey the child’s innocence and purity. The child’s smile is described as “the overfair one, dropt from some aethereal mouth,” suggesting a celestial origin and emphasizing the child’s angelic qualities.
• Alliteration and Assonance: Browning incorporates alliteration, assonance, and rhythmic patterns to enhance the musicality of the poem. For instance, the repetition of the “s” sound in “Shape of brightness overlean thee” and the “m” sound in “moth around a taper” create a harmonious and melodic effect.
• Rhyme scheme: Furthermore, the consistent use of a structured form with an ABABB rhyme scheme contributes to the poem’s overall impact. The regularity and repetition of rhyming words create a rhythmic flow, emphasizing the poem’s lyrical quality.

Detailed Analysis

Stanza One

How he sleepeth! having drunken
Weary childhood’s mandragore,
From his pretty eyes have sunken
Pleasures, to make room for more—
Sleeping near the withered nosegay, which he pulled the day before.

In the poem’s first stanza, Elizabeth Barrett Browning presents a vivid and evocative description of the sleeping child and conveys a message about the fleeting nature of childhood and the continuous cycle of joy and growth.

The opening line, “How he sleepeth! having drunken,” captures the attention and immediacy of the child’s slumber. The exclamation “How” emphasizes the speaker’s awe and admiration for the child’s peaceful state. The phrase “having drunken” suggests that the child has consumed something, metaphorically referring to the weariness of childhood experiences. This sets the tone for exploring the child’s journey.

The mention of “weary childhood’s mandragore” further develops the idea of the child’s exhaustion. Mandragore is a plant known for its hallucinogenic properties, suggesting that the child has experienced the intoxicating effects of a full day of play and exploration. The word “weary” implies that the child has expended energy and is now finding solace in sleep.

The following line, “From his pretty eyes have sunken,” implies that the child’s eyes have become heavy and tired, symbolizing the physical and emotional weariness that comes with the activities of childhood. The word “sunken” suggests a sense of surrender or release as the child lets go of the pleasures and experiences of the day.

The phrase “Pleasures, to make room for more” conveys the message that childhood is characterized by a constant cycle of enjoyment and discovery. As the child sleeps, the pleasures of the day recede, creating space for new experiences and joys to come. This suggests a natural progression and renewal, emphasizing the transient nature of childhood and the constant growth and development that it entails.

The final line, “Sleeping near the withered nosegay, which he pulled the day before,” introduces the image of the withered flowers that the child had picked earlier. The withering of the nosegay symbolizes the passage of time and the fading of past experiences. It serves as a reminder of the impermanence of childhood’s delights, reinforcing the idea that new pleasures and experiences are always on the horizon.

Stanza Two

Nosegays! leave them for the waking:
Throw them earthward where they grew.
Dim are such, beside the breaking
Amaranths he looks unto—
Folded eyes see brighter colours than the open ever do.

In the second stanza, Elizabeth Barrett Browning continues to convey the message of the poem, emphasizing the contrast between the waking world and the child’s dream realm. Through her use of vivid imagery and figurative language, Browning explores the notion that the child’s closed eyes perceive a more vibrant and captivating reality than the open eyes of wakefulness.

The stanza begins with a directive to leave the nosegays, small bouquets of flowers, for the waking world. The speaker urges them to be thrown “earthward where they grew,” implying that these offerings are best suited for the ordinary and mundane aspects of reality. This suggests that the child’s dreams are far more enchanting and captivating than any physical arrangement of flowers.

The word “Dim” is used to describe the nosegays in comparison to the “breaking Amaranths” that the child looks upon in his dreams. This juxtaposition highlights the inferiority of the waking world compared to the child’s dream experiences. Amaranths, known for their long-lasting beauty, represent the extraordinary and otherworldly.

The phrase “Folded eyes see brighter colours than the open ever do” serves as the central message of this stanza. It suggests that the child’s closed eyes, in a state of sleep, perceive a more vivid and vibrant spectrum of colors compared to the limited range of colors perceived in wakefulness. This line encapsulates the theme of the child’s heightened imagination and the idea that dreams offer a richer and more extraordinary reality.

Browning employs figurative language in this stanza to enhance the reader’s understanding of the child’s dream experiences. The use of personification, attributing the ability to see to the child’s folded eyes, emphasizes the child’s active and imaginative dream state. The comparison between the colors seen with closed eyes and those seen when open further heightens the contrast between the two states of perception.

Stanza Three

Heaven-flowers, rayed by shadows golden
From the paths they sprang beneath,
Now perhaps divinely holden,
Swing against him in a wreath—
We may think so from the quickening of his bloom and of his breath.

In the third stanza, Elizabeth Barrett Browning continues to explore the theme of the child’s dream world and introduces the idea of heavenly elements and their influence on the child’s being. Through vivid imagery and poetic language, Browning conveys the notion that the child is surrounded by ethereal beauty and divine presence, which manifests in the child’s physical and spiritual vitality.

The stanza begins with the introduction of “Heaven-flowers,” suggesting that the child’s dreams are populated with celestial flora. These flowers are described as being “rayed by shadows golden,” indicating that they are illuminated by a divine light. The phrase “from the paths they sprang beneath” implies that these flowers originate from heavenly realms, further emphasizing their otherworldly nature.

Browning uses the phrase “Now perhaps divinely holden” to suggest that the child is embraced or held by these heavenly flowers in his dreams. This imagery creates a sense of protection and connection between the child and the ethereal elements surrounding him. The word “divinely” evokes a sense of sacredness and emphasizes the child’s privileged encounter with the celestial realm.

The line “Swing against him in a wreath” portrays the heavenly flowers gently swaying around the child, forming a wreath-like arrangement. This imagery suggests a harmonious union between the child and the divine, underscoring the idea that the child is intimately connected to the celestial world in his dream state.

The final line of the stanza, “We may think so from the quickening of his bloom and of his breath,” suggests that the child’s physical and spiritual vitality is heightened and invigorated by the influence of the heavenly flowers. The child’s “bloom” refers to his physical well-being and radiance, while his “breath” symbolizes his life force. This line implies that the child’s dreams have a transformative and enlivening effect, breathing new life into his being.

Stanza Four

Vision unto vision calleth,
While the young child dreameth on.
Fair, O dreamer, thee befalleth
With the glory thou hast won!
Darker wert thou in the garden, yestermorn, by summer sun.

In the fourth stanza of ‘A Child Asleep,’ Elizabeth Barrett Browning continues to explore the theme of the child’s dreams and the extraordinary experiences that unfold within them. Through poetic language and contrasts, Browning conveys the transformative power of the child’s dreams and the profound impact they have on the child’s existence.

The stanza begins with the line “Vision unto vision calleth,” which suggests that the child’s dreams are a succession of vivid and captivating visions. This line conveys the idea that the child’s imagination is boundless, with each dream leading to another, creating an ongoing sequence of fantastical experiences.

The next line, “While the young child dreameth on,” emphasizes the child’s state of dreaming, highlighting the continuous and immersive nature of the child’s dream world. This line reinforces the theme of the child’s connection to a realm beyond the physical, where the boundaries of reality are expanded.

The phrase “Fair, O dreamer, thee befalleth” acknowledges the child as the recipient of something remarkable or special. It suggests that the child is the beneficiary of the extraordinary and sublime experiences that occur within the dream realm. The word “fair” emphasizes the child’s inherent goodness and innocence, aligning with the overarching theme of the child’s purity.

The exclamation “With the glory thou hast won!” conveys a sense of triumph and accomplishment that the child has achieved within the dream realm. This line suggests that the child’s dreams hold a sense of personal victory or achievement and that the child is deserving of the admiration and awe associated with such accomplishments.

The final line of the stanza, “Darker wert thou in the garden, yestermorn, by summer sun,” creates a striking contrast between the child’s previous state and the present. It suggests that in the physical world, the child’s brightness and radiance were overshadowed, but within the dream realm, the child shines with a newfound brilliance. This line further emphasizes the transformative and liberating power of the child’s dreams.

Stanza Five

We should see the spirits ringing
Round thee,—were the clouds away.
‘Tis the child-heart draws them, singing
In the silent-seeming clay—
Singing!—Stars that seem the mutest, go in music all the way.

In the fifth stanza, Elizabeth Barrett Browning delves into the theme of spirituality and the child’s ability to connect with the ethereal realm through their innocent and joyful nature. Through vivid imagery and figurative language, Browning conveys the idea that the child’s pure heart attracts spiritual beings and that even the seemingly silent stars resonate with the music.

The stanza begins with the line “We should see the spirits ringing,” suggesting that if the clouds were to dissipate, revealing the true essence of the child’s surroundings, one would witness spiritual entities encircling the child. The word “ringing” creates an image of spirits gathering around the child, perhaps in a celebratory or protective manner.

The second line, “‘Tis the child-heart draws them, singing,” introduces the notion that it is the child’s pure heart that attracts these spirits. The child’s innocence, joy, and inherent goodness are implied to be the driving force behind the presence of these ethereal beings. The use of the verb “draws” indicates a magnetic pull or connection between the child’s heart and the spiritual realm.

The phrase “In the silent-seeming clay” contrasts the physical nature of the child’s body with the spiritual essence that emanates from within. The child is described as being in a “silent-seeming clay,” suggesting that despite the child’s outward appearance of being still and mundane, there is a hidden vitality and spiritual energy that resides within.

The repetition of “Singing!” in the following line adds emphasis and excitement to the stanza. It implies that not only does the child’s heart draw the spirits, but the child’s very being is filled with a song or melody that resonates with the spiritual world. The child’s joy and innocence manifest as a harmonious and captivating song.

The final line, “Stars that seem the mutest, go in music all the way,” conveys the idea that even the quietest and seemingly unresponsive stars are filled with music. This line suggests that the entire cosmos, including the stars, is engaged in a symphony that resonates with the child’s song. It underscores the interconnectedness of the child’s spirit with the universe.

Stanza Six

As the moths around a taper,
As the bees around a rose,
As the gnats around a vapour,—
So the Spirits group and close
Round about a holy childhood, as if drinking its repose.

In this sixth stanza, Elizabeth Barrett Browning continues to explore the theme of the child’s connection to the spiritual realm. Through vivid and evocative imagery, Browning conveys the idea that just as moths are drawn to light, bees to flowers, and gnats to vapor, spiritual beings are attracted to the purity and serenity of a holy childhood.

The stanza begins with a simile comparing the spirits to moths around a taper, a small candle. Moths are famously drawn to light, and by likening the spirits to moths, Browning suggests their affinity for the divine illumination embodied by the child.

The comparison continues with the image of bees around a rose, symbolizing the spirits’ attraction to beauty and the child’s inner radiance. Bees are known for their attraction to flowers, and this imagery reinforces the idea that the spirits are captivated by the child’s inherent goodness and innocence.

The following line presents gnats around a vapor, suggesting that the spirits are drawn to the child’s purity and the intangible essence that surrounds them. The fleeting and ethereal nature of vapor mirrors the elusive and mysterious presence of the spirits.

The phrase “So the Spirits group and close” portrays the gathering and clustering of the spirits around the child. This conveys a sense of community and connection between the spiritual beings, united in their reverence for the child’s purity.

The final line, “Round about a holy childhood, as if drinking its repose,” expresses the notion that the spirits envelop the child in a protective and reverential manner. By using the verb “drinking,” Browning evokes an image of the spirits absorbing or taking in the child’s serene and tranquil state, finding solace and nourishment in the child’s innocence.

Stanza Seven

Shapes of brightness overlean thee,—
Flash their diadems of youth
On the ringlets which half screen thee,—
While thou smilest, . . . not in sooth
Thy smile . . . but the overfair one, dropt from some aethereal mouth.

This seventh stanza of Elizabeth Barrett Browning’s poem explores the theme of the child’s connection to the divine and the radiant presence that surrounds him. Through vivid imagery and poetic language, Browning conveys the idea that the child is encompassed by luminous beings and that their smile reflects a beauty beyond their physical self.

The stanza begins with the line “Shapes of brightness overlean thee,” creating an image of radiant forms leaning toward the child. This imagery suggests the presence of celestial beings or ethereal entities surrounding the child, enveloping them in a glow of light.

The next line, “Flash their diadems of youth,” introduces the idea that these luminous beings adorn the child with symbols of youth and vitality. The word “diadems” refers to crowns or headpieces worn as a sign of royalty or glory. This image suggests that the child is perceived as a regal figure worthy of the adornments bestowed upon them by these radiant beings.

The line “On the ringlets which half screen thee” describes how the child’s ringlets partially obscure their face. This imagery highlights the child’s innocence and vulnerability, as their features are partially hidden, leaving room for the imaginations of those observing.

The following line, “While thou smilest, . . . not in sooth,” implies that the child’s smile is not solely a reflection of their own joy or contentment. The word “sooth” suggests that the child’s smile holds a deeper significance beyond their own emotional state.

The stanza concludes with the line “Thy smile . . . but the overfair one, dropt from some aethereal mouth.” This line suggests that the child’s smile is not solely their own, but a reflection of a smile bestowed upon them from a celestial or divine source. The phrase “aethereal mouth” further emphasizes the celestial origin of the smile and reinforces the child’s connection to a higher realm.

Stanza Eight

Haply it is angels’ duty,
During slumber, shade by shade:
To fine down this childish beauty
To the thing it must be made,
Ere the world shall bring it praises, or the tomb shall see it fade.

In the eighth stanza, Elizabeth Barrett Browning delves into the theme of the transformative nature of sleep and the role of angels in shaping the child’s beauty. Through metaphorical language and contemplative reflection, Browning conveys the idea that angels, during the child’s slumber, refine and mold the child’s beauty into its destined form before the influences of the world and mortality come into play.

The stanza begins with the suggestion that it is the duty of angels to oversee the child during sleep, implied by the phrase “Haply it is angels’ duty.” This line introduces the idea that angels have a role in the child’s growth and development, specifically during the state of slumber.

The line “During slumber, shade by shade” suggests a gradual and delicate process of refinement. The word “shade” implies a subtle alteration or adjustment, implying that the child’s beauty is gently shaped and honed by the angels over time.

The following line, “To fine down this childish beauty,” signifies that the angels work to refine or refine the child’s beauty, stripping away the raw and unpolished aspects to reveal its true essence. The phrase “this childish beauty” refers to the child’s inherent charm and innocence, which the angels refine and purify.

The phrase “To the thing it must be made” conveys the idea that the child’s beauty is being guided and shaped by the angels to align with its destined purpose or form. This suggests that the child’s beauty is not merely superficial but has a deeper significance and purpose in the world.

The final line, “Ere the world shall bring it praises, or the tomb shall see it fade,” underscores the temporal nature of beauty and the inevitability of mortality. This line implies that the angels’ work on refining the child’s beauty is necessary before the child is exposed to the judgments and expectations of the world. It also alludes to the eventual fading of beauty in the face of mortality.

Stanza Nine

Softly, softly! make no noises!
Now he lieth dead and dumb—
Now he hears the angels’ voices
Folding silence in the room—
Now he muses deep the meaning of the Heaven-words as they come.

In this ninth stanza, the poet explores the theme of the child’s transition from sleep to a state of stillness and contemplation. Through evocative language and imagery, Browning conveys the idea that the child, in this quiet state, is attuned to the presence of angels and contemplates the profound meaning of heavenly words.

The stanza begins with the directive, “Softly, softly! make no noises!” This line sets a hushed and reverent tone, emphasizing the need for quiet and gentleness. It suggests that the child’s transition from sleep to stillness is a delicate and sacred moment.

The line “Now he lieth dead and dumb” portrays the child as lying motionless and silent, evoking a sense of stillness and tranquility. The use of the words “dead” and “dumb” serves as a metaphorical depiction of the child’s complete surrender to a state of quietude.

The following line, “Now he hears the angels’ voices,” suggests that in this still state, the child is attuned to the presence of celestial beings. It implies that the child’s heightened perception allows them to perceive the ethereal realm and the voices of angels that might otherwise go unnoticed.

The phrase “Folding silence in the room” conjures an image of the angels enveloping the child and the surrounding space with a profound silence. This imagery emphasizes the sense of tranquility and reverence in the room, further highlighting the sacred nature of the child’s stillness.

The final line, “Now he muses deep the meaning of the Heaven-words as they come,” suggests that the child contemplates the profound significance of the heavenly words that reach their consciousness in this state of quietude and spiritual awareness. It conveys the idea that the child’s contemplation goes beyond mere perception, delving into a deep understanding and reflection upon the divine messages they receive.

Stanza Ten

Speak not! he is consecrated—
Breathe no breath across his eyes.
Lifted up and separated,
On the hand of God he lies,
In a sweetness beyond touching—held in cloistral sanctities.

The tenth stanza of Elizabeth Barrett Browning’s poem explores the theme of the child’s sacredness and divine connection. Through commanding language and vivid imagery, Browning conveys the idea that the child is consecrated and held in a realm beyond physical touch, existing in a state of sanctity.

The stanza begins with the directive, “Speak not! he is consecrated.” This line emphasizes the sacredness and reverence that surrounds the child. It instructs the reader or those present to refrain from speaking, highlighting the need for silence and respect in the presence of the child’s elevated state.

The following line, “Breathe no breath across his eyes,” furthers the sense of sanctity and delicacy. It suggests that any disturbance or interruption, even in the form of a breath, would be inappropriate and could disrupt the child’s sacred state.

The phrase “Lifted up and separated” portrays the child as being elevated and distinct from the earthly realm. This line suggests a separation from the ordinary and mundane, indicating the child’s connection to a higher plane or spiritual realm.

The line “On the hand of God he lies” emphasizes the child’s connection to the divine. It conveys the idea that the child is cradled in the hand of God, symbolizing protection, care, and a profound spiritual connection.

The final line, “In a sweetness beyond touching—held in cloistral sanctities,” conveys the notion that the child exists in a state of purity and spiritual sanctity that transcends physical touch. The phrase “sweetness beyond touching” suggests an indescribable and sublime quality that cannot be fully grasped or experienced in a physical sense. The mention of “cloistral sanctities” evokes a sense of seclusion and holiness, further emphasizing the child’s sacred state.

Stanza Eleven

Could ye bless him—father—mother ?
Bless the dimple in his cheek?
Dare ye look at one another,
And the benediction speak?
Would ye not break out in weeping, and confess yourselves too weak?

In the eleventh stanza of ‘A Child Asleep,’ Elizabeth Barrett Browning explores the theme of parental love and the overwhelming emotions that come with witnessing the child’s sacred state. Through introspective questioning and emotive language, Browning conveys the idea that the profound nature of the child’s consecration may render the parents speechless, evoking a sense of vulnerability and awe.

The stanza begins with a series of rhetorical questions addressed to the parents: “Could ye bless him—father—mother? Bless the dimple in his cheek?” These questions reflect the parents’ deep desire to bless and express their love for the child. The mention of the child’s dimple in his cheek suggests an endearing and innocent physical feature that elicits affection.

The following line, “Dare ye look at one another, and the benediction speak?” implies that the parents may hesitate or feel overwhelmed by the intensity of their emotions. The word “dare” suggests the magnitude of their feelings, as if it requires courage to even acknowledge and verbalize their profound love and blessings for the child. The idea of looking at one another implies a shared understanding and connection between the parents at this moment.

The final line of the stanza, “Would ye not break out in weeping, and confess yourselves too weak?” conveys the powerful impact the child’s consecrated state has on the parents. It suggests that the overwhelming love and awe they feel for the child might bring them to tears. The phrase “confess yourselves too weak” implies that the depth of their emotions may make them feel vulnerable and humbled by the child’s sacredness.

Stanza Twelve

He is harmless—ye are sinful,—
Ye are troubled—he, at ease:
From his slumber, virtue winful
Floweth outward with increase—
Dare not bless him! but be blessed by his peace—and go in peace.

In the final stanza of this poem, Elizabeth Barrett Browning explores the stark contrast between the child’s innocent and virtuous nature and the sinful and troubled state of the adults. Through contrasting language and a call to action, Browning conveys the idea that the child’s peaceful state is a source of blessing and offers an invitation for the adults to find solace and peace within themselves.

The stanza begins with a direct comparison between the child and the adults: “He is harmless—ye are sinful.” This line highlights the child’s innocence and purity in contrast to the imperfect and flawed nature of the adults. It emphasizes the contrast between the child’s virtuous state and the sinful state of the world.

The line “Ye are troubled—he, at ease” further underscores the contrast. It suggests that while adults carry burdens and troubles, the child remains at peace and unaffected by the complexities and worries of the world. This juxtaposition serves to highlight the child’s serene and untainted nature.

The phrase “From his slumber, virtue winful floweth outward with increase” suggests that the child’s virtuous qualities and goodness emanate and multiply as they awaken from sleep. This line implies that the child’s innate virtue is not diminished or tainted by the world but rather flourishes and expands.

The following line, “Dare not bless him! but be blessed by his peace—and go in peace,” offers a call to action for the adults. It suggests that instead of bestowing blessings upon the child, the adults should seek blessings through the child’s peaceful presence. It invites them to embrace the child’s serenity as a source of comfort and solace in their own lives.

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If you enjoyed this poem by Elizabeth Barrett Browning, you might also like to explore her following other poems:

• ‘Paraphrase on Anacreon: Ode to the Swallow’ – is a translation of a Greek lyric poem in which the speaker explains that love constantly (and annoyingly) inhabits their heart.
• ‘A Dead Rose’ – mourns the short-lived nature of beauty with vivid imagery and poignant emotions.
• ‘If thou must love me’ (Sonnet 14) – is a poem that declares the speaker’s intentions for how she is to be loved.