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Plant imagery abounds in Elizabeth Barrett Browning's novel-poem, Aurora Leigh, and critical readings have not thoroughly explored the meaning of and intent behind that imagery. Plant metaphor and images in Aurora Leigh are used to challenge the concept of Victorian women's inherently inferior "nature" and to present an argument for female equality. When traced throughout the work, plant imagery foreshadows Aurora and Marian's ultimate personal independence and familial harmony and helps the reader to understand the poem's controversial ending. Ties to three of Browning's literary influences in the selection of plant images are explored: Emanuel Swedenborg, Mary Wollstonecraft, and Samuel Taylor Coleridge. Each of these three understood and used nature imagery to significant effect in their own writings, and Browning adopted and developed those images in her work.

Plant imagery abounds in Elizabeth Barrett Browning's novel-poem, Aurora Leigh, and critical readings have not thoroughly explored the meaning of and intent behind that imagery. Plant metaphor and images in Aurora Leigh are used to challenge the concept of Victorian women's inherently inferior "nature" and to present an argument for female equality. When traced throughout the work, plant imagery foreshadows Aurora and Marian's ultimate personal independence and familial harmony and helps the reader to understand the poem's controversial ending. Ties to three of Browning's literary influences in the selection of plant images are explored: Emanuel Swedenborg, Mary Wollstonecraft, and Samuel Taylor Coleridge. Each of these three understood and used nature imagery to significant effect in their own writings, and Browning adopted and developed those images in her work.

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This dissertation critically examines why mid-Victorian fiction often dismisses or complicates monetary transactions and monetary charity, even as it negatively portrays differences in social status and wealth. I argue that the novel uses representations of failed charity to reconstruct, however briefly, a non- monetary and non-economic source of value. Further, I examine how the novel uses techniques of both genre and style to predict, form, and critique alternate, non-economic, social models. While tension surrounding the practice of charity arises in the late eighteenth century, the increasing dominance of political economy in public discourse forced Victorian literature to take a strong stance, for reasons of both ethics and genre. This stance is complicated by the eighteenth-century legacy that sees charity as a kind of luxury. If giving to the poor makes us feel good, this logic suggests, surely it isn’t moral. Thus, while much eighteenth- and nineteenth-century literature remains dedicated to the ethics of charity, the practice becomes immensely complex. By discussing the works of Tobias Smollett, Charles Dickens, Elizabeth Barrett Browning, and George Eliot, this project exposes a wide variety of responses to this deep cultural anxiety. These authors are, ultimately, strongly invested in redefining the meaning of benevolence as a valid form of social action by moving that benevolence away from monetary gifts and toward abstractly correct moral feelings, though their individual solutions vary widely. / text