In an 1845 letter to Robert Browning, Elizabeth Barrett Browning writes of observing Dr. Elliotson’s phrenomagnetism, a branch of mesmerism involving the stimulation of phrenological organs.1 She admits there is something “ghastly and repelling” to her in the thought of “Dr. Elliotson’s great boney fin gers seeming to ‘touch the stops’ of a whole soul’s harmonies.”2 Here, EBB employs a musical instrument metaphor— Dr. Elliotson playing on his mesmeric subject—to express her anx i eties concerning mesmerism’s ability to limit a person’s autonomy and control. Eleven years later, EBB makes use of almost identical imagery in Aurora Leigh to convey her eponymous poet’s concerns about her poetic autonomy and agency. In the first book of her versenovel, Aurora mourns the comings and goings of her literary inspiration, as well as her art’s dependence on the “best poets”3 of preceding generations:

中文翻译：

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修正呼吸：伊丽莎白·巴雷特·布朗宁 (Elizabeth Barrett Browning) 的极光·利 (Aurora Leigh) 中的催眠术、唯心主义和诗意声音的共同呼吸

在 1845 年给罗伯特·布朗宁的一封信中，伊丽莎白·巴雷特·布朗宁写道观察到埃利奥特森博士的颅相磁性，这是涉及刺激颅相器官的催眠术的一个分支。埃利奥特森那粗大的手指似乎‘触动了整个灵魂的和声’。”2 在这里，EBB 使用了一个乐器比喻——埃利奥特森博士在他的催眠主题上演奏——来表达她对催眠术限制一个人的能力的焦虑。人的自主性和控制力。十一年后，EBB 在 Aurora Leigh 中使用几乎相同的意象来表达她的同名诗人对她的诗歌自主性和能动性的担忧。在她的诗歌小说的第一本书中，奥罗拉哀悼她文学灵感的来来往往，