The idea that art was, for a woman practitioner, `cursed` and `destructive` prevailed in the early and mid-nineteenth century but weakened greatly by its end This change was partly due to the rapidly increased number of women both as writers, especially in the form of novel and as readers, the consumers, of these `novel` products. However, women poets albeit their age old traditional act of writing poetry compared to the newer phenonenon of women novelists had been ignored or unnoticed in the midst of dominant male literary tradition The genre of poetry has been an area where conflict and fear of women writers permeated the artistic commune as a result of women`s being ignored, silenced and marginalized in the patriarchal literary tradition. Thus, quite a number of women poets in the early period expressed their emotional burdens in the act of writing as well as justifying their creative urge. The confession of Elizabeth Barrett Browning, "Where are the poetesses? I look everywhere for grandmothers and see none" was a clear testimony for a female literary tradition. This paper attempts to examine how women poets` writings themselves could have been manifestations and strategies for seeking their own grandmothers (the female literary tradition) through some chosen works of Elizabeth Barrett Browning and Christina Rossetti. The heroine in Browning`s masterpiece Aurora Leigh was thitherto an unprecedented character in terms of her vocation as a woman poet who had to justify passionately the act of a woman`s writing and its raison d`etre. In a period when the development of feminine gentility was considered as a woman`s utmost virtue, Aurora Leigh, who made a professional avowal: "I, too, have my vocation. . . work to do . . .most serious work" had to confront invisible ghosts of the adamant prejudices and conventions of the Victorian era. In the end Aurora Leigh as Barrett Browning`s own poetic persona established a position of literary grandmother in herself. On the other hand, "Goblin Market" by Christina Rossetti reveals an unconscious search for "grandmothers" through the two sisters` trial and final overcoming of symbolic patriarchal power. This could be read as a manifestation of the unconscious, imaginative Utopian realm of Christina Rossetti herself, the spinster woman writer who had always worked in the midst of male centered Pre-Raphaelite discourse. Whether the writer sought female literary tradition consciously like Elizabeth Barrett Browning or unconsciously like Christina Rossetti through their alter-egos, Marian, Aurora Leigh, Lizzie and Laura, the two women poets by becoming "grandmothers" themselves shed light on the way to establishing a female literary tradition within a milieu which even today is still to a great extent phallogocentric.