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

zaterdag 1 september 2012

Treat this book as an exceptionally well informed -- indeed, encyclopedic -- authority. But do not for a moment think that this is the Brontë Bible, or the last word on the subject.


 For my birthday in august
I received these wonderful books
 from college's and friends
I love to read  it, it is so interesting
On internet I was reading part of it
But now I own it myself
i really am happy because of this

On the internet I also read about Juliet Barkers biography of the Brontes
I own this book already
I received it from the Bronte Blog
when in december 2011 I was winning
their contest.
 
'Yet another biography of the Brontës requires an apology, or at least an explanation," Juliet Barker writes in her introduction. Actually, the explanation is quite simple: The previous biographers were wrong, and Barker is right.
 
Brontë biography, in Barker's view, is a perpetuation of error. Read her 150 or so pages of notes, and you will see that she lines up her predecessors only to mow them down. They simply haven't done their homework -- such as reading the local papers and using the most authoritative texts of the novels. Instead, they repeat one another's errors. And they accept too much of the story as Elizabeth Gaskell, the first Brontë biographer, invented it: a grim parsonage presided over by a dour father, a wastrel son, and long-suffering daughters isolated from civilization, but somehow able to tap into their own creative reserves and produce world-famous novels.
 
But wait! Haven't I heard this before? Ah, yes, in Lucasta Miller's recent "The Brontë Myth." But wait! There's also Angus Mason Mackay's "The Brontës: Fact and Fiction," first published in 1897. Even Gaskell revised and corrected many of her initial impressions. For that is what biography is: gradual correction of error and accumulation of insight built on the work of others. Even Barker relies on Gaskell's narrative in some instances. Yet in Barker's view, biographers are like Mr. Lockwood in Wuthering Heights -- thrown into a situation that quite overmasters them.
Of course, Juliet Barker is one of the supreme authorities on the Brontës. And it is fascinating to watch her correct and add to the record. But too often she is an absolutist. Thus she doubts that Anne's poetry is autobiographical because Emily was writing similar lines at the same time. Why does it have to be either/or? Why does Barker continually ask questions that are really putdowns of previous biographers? No doubt, there has been bad work done on the Brontës, and that needs to be shown up. But the result is that Barker herself sometimes narrows rather than expands our sense of who these complex figures were.
Treat this book as an exceptionally well informed -- indeed, encyclopedic -- authority. But do not for a moment think that this is the Brontë Bible, or the last word on the subject.
Carl Rollyson is co-author, with Lisa Paddock, of "The Brontës: A to Z." Startribune

vrijdag 31 augustus 2012

A door in Cornhill


An ancient thoroughfare with a mythic past, Cornhill takes its name from one of the three former hills of the City of London – an incline barely perceptible today after centuries of human activity upon this site, building and razing, rearranging the land. This is a place does not declare its multilayered history. Yet a pair of carved mahogany doors, designed by the sculptor Walter Gilbert in 1939 at 32 Cornhill – opposite the old pump – bring episodes from this rich past alive in eight graceful tableaux.
Walter Gilbert (1871-1946) was a designer and craftsman who developed his visual style in the Arts & Crafts movement at the end of the nineteenth century and then applied it to a wide range of architectural commissions in the twentieth century, including the gates of Buckingham Palace, sculpture for the facade of Selfridges and some distinctive war memorials. 
Gilbert’s elegant reliefs appeal to me for the laconic humour that observes the cool autocracy of King Lucius and the sullen obedience of his architects, and for the sense of human detail that emphasises W. M. Thackeray’s curls at his collar in the meeting with Anne and Charlotte Bronte at the offices of their publisher Smith, Elder & Co.
Look for more beautiful photographs on spitalfieldslife/a-door-in-cornhill/

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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