By Diane Long Hoeveler, Deborah Denenholz Morse (eds.)

ISBN-10: 1118404947

ISBN-13: 9781118404942

ISBN-10: 1118405293

ISBN-13: 9781118405291

ISBN-10: 1118405471

ISBN-13: 9781118405475

ISBN-10: 1118405498

ISBN-13: 9781118405499

ISBN-10: 1118405544

ISBN-13: 9781118405543

"A better half to the Brontës brings the newest literary examine and conception to endure at the existence, paintings, and legacy of the Brontë family"--


A significant other to the Brontes brings the newest literary study and concept to endure at the existence, paintings, and legacy of the Bronte family. Read more...

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Charlotte depicts him as continually inciting quarrels, avoiding work and with a “constant disposition to all kinds of mischief”—acting more like “an evil brownie than a legitimate fairy” (Brontë 1987, 1: 202). Clearly Branwell resented the fairy tale element of her play and resisted Charlotte’s influence as much as she resisted his. His interest in the supernatural derived not from fairy tale but from the Greek myths and legends of his Latin and Greek lessons: in the Young Men’s Play he envisages himself as a Zeus‐like figure riding on the clouds and dispensing bolts of lightning and thunder (Branwell had learned that “Brontë” means “thunder” in Greek).

Charlotte also kept accurate records of her “publications” in a “Catalogue of My Books, with the Period of Their Completion up to August 3rd, 1830” (Brontë 1987, 1: 211–214), a listing of twenty‐two manuscript volumes representing her first two years’ engagement with contemporary print culture. The careful presentation of the booklets speaks of the value of the written word and the importance of its “publication” for an imaginary Glass Town audience and for the competitive young authors. Charlotte’s earliest writing thrived in a context of rivalry and diversity.

She saw quickly into many things that were dark to her before. She learnt life & unlearnt much fiction. The illusions of retirement were laid aside with a smile, & she wondered at her own rawness when she discovered the difference between the world’s reality & her childhood’s romance. (Brontë 2010, 272) Change is implicit in every sentence here: the heroine has “learnt life,” she has discovered the “world’s reality,” she has become more knowing: we can measure her development against what she was like in her earlier chrysalis phase and we find that she is not as innocent as we might expect.

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A companion to the Brontës by Diane Long Hoeveler, Deborah Denenholz Morse (eds.)

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