As a young man, Branwell Brontë was trained as a portrait painter in Haworth, and worked as a portrait painter in Bradford in 1838 and 1839. His most famous portrait is of his three sisters: he seems to have painted himself out, though a legend holds that after an argument his father rubbed the image out with turpentine.
In 1840, Brontë became a tutor to a family of young boys in Broughton-in-Furness but was dismissed within six months. During this time he did a translation of Horace. He was then employed by the Manchester and Leeds Railway, initially as 'assistant clerk in charge' at their Sowerby Bridge station, being appointed to that post in August 1840, his salary being £75 per annum paid quarterly;[2] neither the station nor the line had opened – this event took place on 5 October 1840.[3] Brontë's salary was increased to £130 when he was transferred to Luddendenfoot railway station as 'clerk in charge' on 1 April 1841.[2] He was dismissed in 1842 due to a deficit of eleven pounds, one shilling and sevenpence in the accounts, probably stolen by Watson, the porter, who was left in charge when Brontë went drinking.[2] This was attributed to incompetence rather than theft, and the missing sum was deducted from Brontë's salary.[2] During his period of employment both as a tutor and on the railways he harboured literary ambitions and published poetry under various pseudonyms in the Yorkshire press. Read more: wiki/Branwell_Bronte-
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On the whole, Branwell's critical reputation was cemented by Charlotte's exceedingly unfavorable judgment of him, revealed in a number of bitter letters sent to her publisher just after Branwell's death. According to Brontë scholar Robert G. Collins, Charlotte's assessment “was the sentence of death upon Branwell's reputation.” Charlotte had not spoken to Branwell for about two years before his death, and days after his funeral wrote: “I do not weep from a sense of bereavement … but for the wreck of talent, the ruin of promise, the untimely dreary extinction of what might have been a burning and a shining light. … There is such a bitterness of pity for his life and death, such a yearning for the emptiness of his whole existence as I cannot describe.” Elizabeth Gaskell, whose 1857 biography became the basis for subsequent Brontë studies, received most of her information about the family from Charlotte, who described the sad but welcome death of her brother. In 1886 Francis A. Leyland, a friend of Branwell's, attempted to restore Branwell's character with the publication of The Brontë Family, with Special Reference to Patrick Branwell Brontë. Claiming that Branwell had been unfairly characterized, Leyland attempted not to clear Branwell of his wrongs but to depict him as a man to be admired in spite of his flaws. Many critics found the book to be dull, however, and continued to maintain their earlier perception of Branwell.
The practice of condemning Branwell continued into the 1940s and 50s, with critics generally claiming that his work showed very little, if any, signs of genius. In 1960, the critical tide turned somewhat when Daphne Du Maurier, in her study The Infernal World of Branwell Brontë, argued that Branwell's reputation had been maligned. A year later Brontë scholar and biographer Winifred Gerin made a case for the need to study Branwell's works as a whole in order to understand his tortured and disappointing life and to comprehend the emotional outlook of the writer. The most recent scholarship echoes Gerin's argument, acknowledging the futility of trying to assess Branwell's overall purpose and qualifications when most editions of his works either include outdated or unreliable information, contain inaccuracies due to difficulties in dating or assigning authorship, or simply bring together fragments of his work. For a proper critical assessment of Branwell's merits as a writer, recent critics contend that a complete and accurate source of all of Branwell's known writings is needed.
Read all the article: enotes.com/patrick-branwell-bronte-criticism/bronte-patrick-branwell
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