I've dreamt in my life dreams that have stayed with me ever after, and changed my ideas: they've gone through and through me, like wine through water, and altered the color of my mind.
Emily Bronte
Wuthering Heights

donderdag 17 september 2009

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/the_tls/article6838353.ece

Until lately biography of literary people has been looked upon as a sort of poor relation to literary criticism, catering for private inquisitiveness rather than intellectual curiosity. More recently, however, the functions of biographer and critic have become very close, and at times indistinguishable. The extent to which the study of a writer’s life can aid the understanding of his works has perhaps been over-estimated in the general concern about psychoanalysis, but its application was never more justified than it is in the case of the Brontë writings.

The outward events of the Brontës’ lives are reflected particularly in the novels of Charlotte and Anne; a deeper search must be made in Emily’s work for signs of her actual experience. But a pronounced factor which links the lives and works of all the Brontës is the atmosphere of storm and agitation—a motif running through the fabric of their experience and thought. The recurrent storm symbol is one of the main points of similarity between the writings of the three sisters, providing as well a connecting element between them and their heredity; the Brontë father’s letters, poems, tales and even his sermons show a preoccupation with the storm image that is echoed in Jane Eyre, Villette, Wuthering Heights and The Tenant of Wildfell Hall. It expresses, in fact, the temperamental climate of the family.

The question of their mental inheritance—the Celtic strain from a Cornish mother and Irish father—is closely examined by Miss [Phyllis] Bentley in her introduction to the new edition of the Brontë works. The Celtic heredity of the Brontës, she suggests, conflicted in their minds with the more solid indigenous nature of Yorkshire, at a time of transition between the agrarian and the industrial systems. The conflict present in the Brontës, which they ultimately resolved in imaginative terms, was perceived earlier by Mr. Herbert Read; but whereas he attributes their “neurosis” to an inferiority complex arising from “the early rupture of the maternal bond of affection and protection” and “the counteraction of a stern, impassive father,” Miss Bentley’s theory offers a more specific clue to the Brontë genius. Miss Bentley is as successful in her understanding of the early nineteenth-century ethos as she is of the West Riding countryside and people:

"The Brontës saw around them, in their own kitchen and Sunday School class, in the village street and on their walks, in the homes of their parishioners, Yorkshire people behaving in a strongly Yorkshire way, speaking strong Yorkshire dialect. The Brontës from early childhood wrote this dialect with admirable accuracy and ease, but their speech retained a faint Irish accent at any rate into their youth, and their writing retained an Irish fluency throughout. This bilinguality is in my opinion a reflection of a process in the Brontë minds which covered the whole range of their experience: a contrast, a conflict, ultimately a fusion, between their Irish heredity and their Yorkshire environment."

Three tales from Charlotte’s prolific juvenile writings have been selected for this edition by Miss Bentley, who indicates in them the anticipation of some of the chief characters in Charlotte’s later novels. The “daydream” compositions of the young Brontës, falling roughly into the categories of the Angrian legend invented by Charlotte and Branwell, and the Gondal myth of Emily and Anne, have become highly absorbing to the Brontë student, giving an insight into the development of their creative talents and revealing the separate processes that distinguish their individual achievements. In making these distinctions Miss Bentley might perhaps have implemented her arguments and defined her terms to advantage . “Gondal,” she writes, "is an imaginary world, but it is not a daydream world in quite the same sense as Angria; it is a fiction, not a Freudian fantasy; . . . Charlotte was ashamed of Angria, teeming as it did with sexual passion which her mentar censor would not admit into her Haworth life . . . But Emily was not ashamed of Gondal, where her usual stern ethic held inexorable sway . . . ".

If Miss Bentley’s intention, as implied by her curious juxtaposition of the words “fiction” and “Freudian,” is to prove the comparative innocence of Gondal as a factor of distinction between the two legendary worlds, she fails to make her point: what she does succeed in showing, unwittingly as it seems, is an essential difference between Charlotte and Emily — the tendency in Charlotte towards convention, and the innocence, the complete absence of humbug, in Emily.

Angria and Gondal are the early products of genius flourishing in isolation, of which not a few examples exist in literature. Just as their childhood, devoid of normal family friendships, moved in a teeming imaginary world, so in later life their novels evolved from a nucleus of loneliness, outside the influence of literary or social relationships. Miss Bentley, in her extremely able assessment of the Brontë novels, illustrates how the combination of isolation with highly developed imaginative powers contributed simultaneously to the fulfilment of the sisters’ early promise, and to the failure of their brother Branwell; her observation, "Certainly the day-dream habit helped to ‘ruin Branwell. The lonely boy with his over-active brain, never sent to school, wasted his energies and retarded his manhood on Angrian creation, and, finding Haworth intolerable after Angria, took to drink and unsuitable companions to assuage the day-dreamer’s ennui,’ leads to the reflection that the fact of their sex played no small determining part in the Bronte’ sisters’ creative functioning. Branwell’s misfortune seems to have been that he was a man; had he been constrained, as were his sisters, by prevailing conventions, had he been compelled to write for want of alternative outlet, his conflicts might have been resolved in terms other than neat brandy.

Branwell’s is the portrait that, surprisingly, emerges with the greatest clarity, from Mr and Mrs Hanson’s study of the four Brontës. His case history, of course, possesses an intrinsic psychological interest since Branwell Brontë is one of the more spectacular failures in literary history. The pursuit of this theme, however, is not the authors’ intention; Branwell’s appearance as the most coherent character in their work is accidental, for their publishers announce: “Here, for the first time, all the Brontës are studied in detail in a single volume.” (The claim is not quite accurate: Miss Laura Hinkley has, in her biography, dealt with all four Brontës very attentively.) Mr and Mrs Hanson have, indeed, studied all the Brontës in detail; the striking circumstance, however, is that their subjects compel conviction, in inverse proportion to the amount of detail introduced.

The thousand-odd notes to which passages in this volume refer, seem to defeat their own purpose; instead of helping to elucidate, a complicated family history, they confuse it. The more so since the authors themselves seem at a loss to decide which authorities are reliable. For example, we are told that Emily “looked with mingled contempt and pity upon the struggles which were beginning to convulse the tender but conventional religious conscience of Anne" - a statement for which the authority given is Mrs Elsie Harrison’s Haworth Parsonage. Later, however, we find Emily and Anne working in collaboration “even closer, together than Charlotte and Branwell,” and learn that” unlike the elder couple this collaboration was never broken.” Next, a passage from Emily’s diary offers its own evidence: “And now I must close, sending from far an exhortation, ‘Courage, courage,' to exiled and harassed Anne, wishing she was here “—an expression of feelings difficult to reconcile with the alleged “pity and’ contempt.”

It is unfortunate, too, that the authors have not avoided such small factual inaccuracies as that where Charlotte is seen leaving Brussels for the last time: “. . . in a short while she was on the seas, heading towards England, which she was never again to leave.” She did, in fact, leave England once more, to spend her honeymoon in Ireland. Again, Anne is said to have endured six years as a governess at Thorp Green, whereas her stay there actually lasted four years. The references to Hartley Coleridge as “Coleridge” are also misleading. These small errors, although not over-important, are none the less inauspicious for larger issues.

Possibly because, as we learn from the preface, this book has been some eighteen years in preparation, or perhaps because of some disinclination or inability of the authors to sum up, there is little possibility of identifying a standard of criticism with the biography as a whole. Some chapters show originality and intuitive judgment; others are banal and pedestrian. Even the prose style is inconsistent, moving swiftly and with vigour when some fresh idea is offered, but sagging heavily over the effort to assemble the theories of other biographers. The passages on Gondal and Angria, for instance, are exhilarating; they present those comparisons and distinctions without which the most “impartial” writing is hardly worth reading’. It is refreshing indeed to find such percipient observations as:

"Both the Gondal and Angrian chronicles are, superficially, biood and thunder concerned with savage struggles for love and power; but while the Angrian tales are amoral, even when they are no longer told by children, the Gondal poems, even at their most bloodthirsty, show a clear sense of right and wrong."

Such critical acuteness does not extend to the chapters devoted to analysis of the novels. Emily, we are informed, was primarily an intellectual writer.

"Unlike Charlotte, she shows no sign in her book that she had ever felt sexual passion. And although she deals in scenes of naked passion, fierceness and brutality, and although the supernatural is implied throughout the book, it is all described so calmly and in so matter-of-fact a manner that the story is given a reality and a credibility that it would never have told by another hand and in another way."

The idea of Emily as an intellectual writer is a provocative one, further consideration of which is soon arrested by the attempted justification, first by a comparison with Charlotte and then by reference to the style of Wuthering Heights. To say simply that Emily "shows nosign in her book that she had ever felt sexual passion,” merely to point out that her most passionate scenes were recounted calmly, is not to prove an intellectual attitude; and the reader suspects that the conception of Emily as an intellectual rather than an emotional author arises out of a loose assumption that, sexual passion is the only, or the most profound, human emotion. A reader may also find the definition of Emily’s prose style — “matter-of-fact” — as strange as the subsequent introduction of Jane Austen as a parallel, to Emily. More than seven pages of full quotation from Wuthering Heights adorn, but fail to elucidate, the authors’ argument; while their study of Villette is neither adorned nor elucidated by such inadequate critical verbiage as “It is true, it is moving and it is beautiful.”

One of the most important aspects of Brontë biography is the correlation of each member of the family to the others. Around Charlotte, the most ambitious and practical, speculations concerning the other members seem, always to congregate. To say that Charlotte was practical; is not to suggest that she was a realist; her approach to, human relationships was profoundly idealistic and consequently foredoomed. Her marriage was probably the only major realistic action of her life, for she entered it without illusion. Charlotte’s reluctance to accept the fallible in human nature had an effect, both on herself and on her relations with her brother and sisters, which many sentimental biographers have chosen to ignore. Mr and Mrs Hanson are not guilty of this fault, recognizing in Charlotte’s lack of sympathy with Branwell’s misfortunes the precipitation of his downfall, and noting her failure to understand the monolithic “otherness” of Emily.

But Charlotte’s attitude to her youngest sister Anne is one which neither Mr and Mrs Hanson nor Miss Bentley have fully investigated, nor do they give an adequate interpretation of Anne’s character. In this they are not alone. Charlotte’s curiously concealed deprecation of Anne’s personality and talent, in letters and prefaces written before and after the latter’s death, has built up a conception of a “pious, gentle” creature with a tendency to morbidity, that has coloured almost all subsequent critical opinion of Anne Brontë, though this conception is hardly commensurate with the facts of her life and work.

Although both Mr and Mrs Hanson’s biography and Miss Bentley’s introduction have done justice to Anne’s audacious novel Wildfell Hall, the same cannot be said of their, approach to her poetry, their respective verdicts being merely an echo of Charlotte’s preface to a selection of her youngest sister’s verse. “I find,” Charlotte wrote, “mournful evidence that religious feeling had been to her but too much like what it was to Cowper.” It is to be regretted that Miss Bentley has chosen to include this preface in her edition, and that her selection of Anne’s poems does not improve, upon Charlotte’s. Among Anne’s poetical works can be found many fine, imaginative and well-constructed lyrics which in no way give “mournful evidence” of the religious morbidity alleged to be the principal defect of her poetry. And though Anne’s ability is overshadowed by the superior talents of her sisters, the character and spirit which moved her to answer her critics with the words,

"I am at a loss to conceive how a man should permit himself to write anything that would be really disgraceful to a woman, or why a woman should be censured for writing anything that would be proper and becoming for a man."

should not be regarded as inferior to theirs.

Since Charlotte was the most prolific correspondent of her family, it is from her letters and pronouncements that most data on the Brontës must be taken; it is through her eyes, for the most part, that we observe their movements. The greatest task of the Brontë biographer and critic is to find, so far as possible, the facts and feelings behind Charlotte’s complex subjectivity. Happily, neither Mr and Mrs Hanson nor Miss Bentley indulge in the alternative extreme of baseless conjecture, which has too often cluttered Brontë biography in the past.





(

maandag 14 september 2009

Parsonage

Think Brontemania and you’re likely to think of a windswept parsonage standing against bleak moorland, overlooking the cobbled streets of Haworth. The Brontes’ former home has been a museum for more than 80 years, and attracts thousands of visitors from around the world.
Numbers have been boosted by the ITV adaptation of Emily Bronte’s classic Wuthering Heights, shown last week. Costumes from the drama, including dresses worn by actress Charlotte Riley as Cathy and a long black coat worn by Tom Hardy as Heathcliff, are on display at the museum until the end of the year.
But the Bronte trail doesn’t just lead to Haworth. The literary family left a mark across the district, from Thornton, where the sisters’ birthplace stands in Market Street, to Apperley Bridge, where Charlotte taught, to the Spen Valley, which provided much of the inspiration for her novel, Shirley.
In the TV adaptation of Wuthering Heights, also starring Andrew Lincoln and Sarah Lancashire, both East Riddlesden Hall and Oakwell Hall had a starring role as the Earnshaw family’s moorland home.
Exterior shots of East Riddlesden’s imposing facade were featured, and filming at Oakwell Hall took place in the kitchen, with its huge stone fireplace, parlour, wood-panelled dining-room, used as Mr Earnshaw’s study, the painted chamber and a servant’s room upstairs. Artefacts from the TV drama currently on display at Oakwell Hall include a signed script, a portrait of Cathy, a headboard carved with the names Cathy and Heathcliff, and the deeds to Wuthering Heights which Heathcliff made a drunken Hindley sign.
There was already a Bronte connection to Oakwell Hall long before the Wuthering Heights film crew rolled up. Charlotte Bronte visited the house in the 19th century and it was the inspiration for Fieldhead in Shirley.
Built in 1583, the manor house is set out as it would have been in the 1690s, when it was home to the Batt family. A mix of original and reproduction furnishings provide an insight into late 17th century life. Outside, dotted around a pretty courtyard, is a visitor centre, shop, cafe and ‘Discover Oakwell’ gallery.
The house is set in 110 acres of country park, with delightful walks, nature trails, a period garden and a wildlife area.
Over at Gomersal, an 1830s former cloth merchant’s home, Red House, also has a Bronte link. The home of Charlotte’s friend Mary Taylor, it is featured as Briarmains in Shirley.
“There was no splendour, but taste was everywhere,” wrote Charlotte about the pretty red-brick house, which looks much as it did in her day. Each room brings you closer to the 1830s, from the elegant parlour to the stone-flagged kitchen with its old range and jelly moulds, to the stained glass windows, described in the novel. Charlotte’s Spen connections and friendship with Mary are explored in an exhibition in the barn.
Wandering around the Parsonage Museum, with the sound of crows outside, there’s a fascinating flavour of the Brontes’ domestic and creative lives.
Items on display include Charlotte’s writing materials and their father Patrick’s magnifying glass.
Pre-booked guided tours allow visitors to see treasures from the Bronte Society’s world-famous collections not always on display, including miniature books, made from sugar paper stitched together, which the siblings created as children.
Outdoor activities include guided walks around Haworth, starting in the Parsonage garden, which remains pretty much as it was during the Brontes’ time. A Cyprus Pine tree has grown from saplings planted by Charlotte acquired on honeymoon in Ireland.
Peter Bowker, screenwriter of ITV’s Wuthering Heights, will be at West Lane Baptist Church, Haworth, on September 24 to talk about the process of adapting a classic novel for television.
Next Saturday, novellist Barbara Taylor Bradford will be at Haworth’s Old Schoolroom talking about her love of the Brontes.
Factfile The Bronte Parsonage Museum, Haworth, is open from April to September, 10am-5.30pm and October to March, 11am-5pm. For more, ring (01535) 642323 or bronte.org Oakwell Hall, Nutter Lane, Birstall, is open weekdays, 11am-5pm, and Saturdays and Sundays, noon-5pm. Ring (01924) 326240 or visit kirklees.gov.uk East Riddlesden Hall, Bradford Road, Riddlesden, is open Saturday to Wednesday, 11am-5pm. Ring (01535) 607075 or visit eastriddlesdenhall.co.uk Red House Museum, Oxford Road, Gomersal, is open Monday to Friday, 11am-5pm and Saturdays and Sundays, noon-5pm. Ring (01274) 335100. (Emma Clayton)

zondag 13 september 2009

First editions




























Currer Bell ( Charlotte Bronte). Jane Eyre An Autobiography in Three Volumes.
London: Smith, Elder, & Co., 1847. First Edition. 8vo - over 7¾" - 9¾" tall. H. Back. First edition - collated with text errors of first edition including title page of Vol III printed with no comma following the publisher Elder as in the first two volumes. Three volume set, bound in full dark green wavy rippled leather. Triple ruled gilt border to boards. Five raised bands to spine, gilt rule to raised bands, titling to the second compartment, volume number and author to the third compartment, tooled floral decoration to other compartments with date embossed towards bottom of spine. Spines of all three volumes are darkened and show slight rubbing/scuffing to top and tail and to raised bands. Upper board of Vol. I is lightly scratched/marked. Corners of all three volumes are a little bumped and scuffed. Binding is uniformly tight. Top edge gilt, gilt inner dentelles and marble endpapers. Contents are clean showing no inscriptions but fore edge and margins show the usual browning with age. A number of small tears to the bottom edge have been expertly repaired in all volumes. pp 304 + 304 + 311. A delightful first edition copy of Charlotte Bronte's first and greatest work. £35,000.00















------------------------------------------------------------------------------

Bookseller: B & B Rare Books, Ltd (New York, US)
Jane Eyre
* Edition: 1st Edition
* Binding: Hardcover
* Publisher: London: Smith, Elder and Co.
* Date published: 1847

Book Description

London: Smith, Elder and Co., 1847. Edited by Currer Bell. First edition. Three volumes. Finely bound by Bayntun-Riviere in a very attractive half dark green crushed morocco, gilt lining on front and rear covers. Spines in 6 gilt-tooled compartments, with 5 raised bands. Top edge gilt. Bound without half titles, 32pp. publisher's advertisements, fly-title and advertisement leaf in volume 3. Three leaves supplied in facsimile in vol. 3, B1, F6, and F7. A number of leaves cleaned and repaired. Housed in a fleece-lined slipcase. Parrish pp.87; Sadlier I. 346; Wolff 826; Smith 2.. 1st Edition. Hardcover. Fine.

Price: $12,000.00





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The once neglected creator of Cranford is to be commemorated in a window above Poets' Corner

Sunday, 13 September 2009
The works of Mrs Gaskell have achieved renewed popularity, thanks to the BBC adaptation of 'Cranford', starring Dame Judi Dench
The gossiping ladies of Cranford were embraced by the nation when they first graced our TV screens. Now the novelist who created Miss Matty and friends is to receive the ultimate recognition, 145 years after her death.
Elizabeth Gaskell is to be commemorated in Westminster Abbey next year after the Dean of Westminster, the Very Reverend Dr John Hall, agreed to add her name to a stained-glass window overlooking Poets' Corner.

Her details will appear in the window alongside memorials to such literary worthies as Christopher Marlowe, Oscar Wilde, Alexander Pope, Fanny Burney and A E Housman. A dedication will be held on 25 September next year, four days before the bicentenary of Gaskell's birth.

Sue Birtwistle, producer of the BBC's adaptations of Gaskell's Wives and Daughters and Cranford, said the author, who was buried in Knutsford, Cheshire, in 1865, is "still underrated" and her writing is still relevant.

She added: "It feels terribly modern... she's completely non-judgemental... a very attractive quality. There are very few people – I think Shakespeare does this – where you can actually laugh and cry at the same time. Her characters can make you do this... and I think that's a real skill."

Actress Deborah Findlay, who read Cranford as a child and reprises her role as Miss Tomkinson for a two-part special this Christmas, said: "Barbara Flynn and I were playing the Miss Brownings and I think everybody on the set took us to their hearts really... I was talking to Sue [Birtwistle] about that and I said, 'well there's a whole town of these women in Cranford'."

The Gaskell Society, which promotes her work, first approached the abbey about her inclusion in Poets' Corner and Joan Leach, its founding honorary secretary, said it was "quite an accolade" to get the go-ahead considering the pressure on space.

Cranford screenwriter Heidi Thomas said Mrs Gaskell would be "thrilled to find herself in such a jostling spot. She was as great a social historian as Charles Dickens and as emotionally bold as Charlotte Brontë... she knew and loved them both and it is absolutely fitting that she should take her place beside them."

Mrs Gaskell's books include the industrial novel Mary Barton and Ruth, a story about an unmarried mother deemed so controversial on publication in 1853 that the author banned it from her home and several contemporary readers reportedly burnt copies.

Alan Shelston, who edited Further Letters of Mrs Gaskell and a number of her novels, and is working on a biography of Gaskell, said: "She was always called Mrs Gaskell... an indication that she had a family life – four children and a husband – and, in some ways, that rather prejudiced against her reputation as a practising novelist." He said she had come into her own only in the past 50 years, after feminist interest in her grew. Then came those TV adaptations starring Dame Judi Dench as Cranford's Miss Matty, pictured far left.

Dame Judi is now patron of the Manchester Historic Buildings Trust, which began work this month to restore the author's former home.
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Parsonage

Parsonage

Charlotte Bronte

Presently the door opened, and in came a superannuated mastiff, followed by an old gentleman very like Miss Bronte, who shook hands with us, and then went to call his daughter. A long interval, during which we coaxed the old dog, and looked at a picture of Miss Bronte, by Richmond, the solitary ornament of the room, looking strangely out of place on the bare walls, and at the books on the little shelves, most of them evidently the gift of the authors since Miss Bronte's celebrity. Presently she came in, and welcomed us very kindly, and took me upstairs to take off my bonnet, and herself brought me water and towels. The uncarpeted stone stairs and floors, the old drawers propped on wood, were all scrupulously clean and neat. When we went into the parlour again, we began talking very comfortably, when the door opened and Mr. Bronte looked in; seeing his daughter there, I suppose he thought it was all right, and he retreated to his study on the opposite side of the passage; presently emerging again to bring W---- a country newspaper. This was his last appearance till we went. Miss Bronte spoke with the greatest warmth of Miss Martineau, and of the good she had gained from her. Well! we talked about various things; the character of the people, - about her solitude, etc., till she left the room to help about dinner, I suppose, for she did not return for an age. The old dog had vanished; a fat curly-haired dog honoured us with his company for some time, but finally manifested a wish to get out, so we were left alone. At last she returned, followed by the maid and dinner, which made us all more comfortable; and we had some very pleasant conversation, in the midst of which time passed quicker than we supposed, for at last W---- found that it was half-past three, and we had fourteen or fifteen miles before us. So we hurried off, having obtained from her a promise to pay us a visit in the spring... ------------------- "She cannot see well, and does little beside knitting. The way she weakened her eyesight was this: When she was sixteen or seventeen, she wanted much to draw; and she copied nimini-pimini copper-plate engravings out of annuals, ('stippling,' don't the artists call it?) every little point put in, till at the end of six months she had produced an exquisitely faithful copy of the engraving. She wanted to learn to express her ideas by drawing. After she had tried to draw stories, and not succeeded, she took the better mode of writing; but in so small a hand, that it is almost impossible to decipher what she wrote at this time.

I asked her whether she had ever taken opium, as the description given of its effects in Villette was so exactly like what I had experienced, - vivid and exaggerated presence of objects, of which the outlines were indistinct, or lost in golden mist, etc. She replied, that she had never, to her knowledge, taken a grain of it in any shape, but that she had followed the process she always adopted when she had to describe anything which had not fallen within her own experience; she had thought intently on it for many and many a night before falling to sleep, - wondering what it was like, or how it would be, - till at length, sometimes after the progress of her story had been arrested at this one point for weeks, she wakened up in the morning with all clear before her, as if she had in reality gone through the experience, and then could describe it, word for word, as it had happened. I cannot account for this psychologically; I only am sure that it was so, because she said it. ----------------------She thought much of her duty, and had loftier and clearer notions of it than most people, and held fast to them with more success. It was done, it seems to me, with much more difficulty than people have of stronger nerves, and better fortunes. All her life was but labour and pain; and she never threw down the burden for the sake of present pleasure. I don't know what use you can make of all I have said. I have written it with the strong desire to obtain appreciation for her. Yet, what does it matter? She herself appealed to the world's judgement for her use of some of the faculties she had, - not the best, - but still the only ones she could turn to strangers' benefit. They heartily, greedily enjoyed the fruits of her labours, and then found out she was much to be blamed for possessing such faculties. Why ask for a judgement on her from such a world?" elizabeth gaskell/charlotte bronte



Poem: No coward soul is mine

No coward soul is mine,
No trembler in the worlds storm-troubled sphere:
I see Heavens glories shine,
And faith shines equal, arming me from fear.


O God within my breast.
Almighty, ever-present Deity!
Life -- that in me has rest,
As I -- Undying Life -- have power in Thee!


Vain are the thousand creeds
That move mens hearts: unutterably vain;
Worthless as withered weeds,
Or idlest froth amid the boundless main,


To waken doubt in one
Holding so fast by Thine infinity;
So surely anchored on
The steadfast Rock of immortality.


With wide-embracing love
Thy Spirit animates eternal years,
Pervades and broods above,
Changes, sustains, dissolves, creates, and rears.


Though earth and man were gone,
And suns and universes ceased to be,
And Thou wert left alone,
Every existence would exist in Thee.


There is not room for Death,
Nor atom that his might could render void:
Thou -- Thou art Being and Breath,
And what Thou art may never be destroyed.


--
Emily Bronte

Family tree

The Bronte Family

Grandparents - paternal
Hugh Brunty was born 1755 and died circa 1808. He married Eleanor McClory, known as Alice in 1776.

Grandparents - maternal
Thomas Branwell (born 1746 died 5th April 1808) was married in 1768 to Anne Carne (baptised 27th April 1744 and died 19th December 1809).

Parents
Father was Patrick Bronte, the eldest of 10 children born to Hugh Brunty and Eleanor (Alice) McClory. He was born 17th March 1777 and died on 7th June 1861. Mother was Maria Branwell, who was born on 15th April 1783 and died on 15th September 1821.

Maria had a sister, Elizabeth who was known as Aunt Branwell. She was born in 1776 and died on 29th October 1842.

Patrick Bronte married Maria Branwell on 29th December 1812.

The Bronte Children
Patrick and Maria Bronte had six children.
The first child was Maria, who was born in 1814 and died on 6th June 1825.
The second daughter, Elizabeth was born on 8th February 1815 and died shortly after Maria on 15th June 1825. Charlotte was the third daughter, born on 21st April 1816.

Charlotte married Arthur Bell Nicholls (born 1818) on 29th June 1854. Charlotte died on 31st March 1855. Arthur lived until 2nd December 1906.

The first and only son born to Patrick and Maria was Patrick Branwell, who was born on 26th June 1817 and died on 24th September 1848.

Emily Jane, the fourth daughter was born on 30th July 1818 and died on 19th December 1848.

The sixth and last child was Anne, born on 17th January 1820 who died on 28th May 1849.

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