zaterdag 11 december 2010
vrijdag 10 december 2010
The first edition of Wuthering Heights was published in December, 1847.
After Wuthering Heights was written, the sisters tried to find someone to publish it along with Anne’s novel Agnes Grey. They had trouble finding a publisher, and finally were able to convince Thomas Newby to publish it. He published Wuthering Heights as Volumes I & II, and Agnes Grey as Volume III. They had to pay money upfront for the publication, and contracted Newby to print 350 copies. However, Newby proved himslef to be a horrible published by only printing 250 copies and ignoring the proofing sheets submitted by Emily. This led to the first edition having many errors in the print. This first edition was published in December, 1847.Wuthering Heights was first received by critics with hostile reviews. Five reviewers were found in Amily’s desk after her death and were reprinted in William Sale’s edition of Wuthering Heights. The first review was published in January 1848 by the Atlas. The Atlas review begins by calling Wuthering Heights a "strange, inartistic story…[that] is inexpressibly painful." The reviewer briefly touches on the mystery of the author of Wuthering Heights and whether it was written by a man or woman, and if the same person wrote Agnes Gray. He calls the questions of authorship "matters really of little account" but does assert his "private conviction" that the names of Currer, Acton, and Ellis Bell are "mere publishing names." The writer of the review asserts that there has never been a work of fiction that "presents such shocking pictures of the worst forms of humanity." The author believes that had there been a few "glimpses of sunshine" in the book, it would have "increased the reality of the picture and given strength rather than weakness to the whole." He describes every character in the book as "hateful or thoroughly contemptible" which makes the readers hate and despise them. He claims that even the women of the book "turn out badly." He ends his review by stating that the work of Ellis Bell is not a "great performance" like that of her sisters in Jane Eyre, but that it is "only a promise, but it is a colossal one."
December 1847, Wuthering Height and Agnes Grey published
The year 1847 was a remarkable one for the Bronte sisters of Haworth , Charlotte, Emily and Anne, as all became published novelists – Charlotte with Jane Eyre beating the other two by some six weeks or so in spite of the fact that Wuthering Heights and Agnes Grey had both been accepted by the publisher (and crook) Thomas Newby before Jane Eyre had been completed.
Newby demanded payment of £50 each to publish Wuthering Heights and Agnes Grey, but having received the money and at least type-set the book and produced proof copies he seems to have considered his duties at an end – indeed given the agreement was to return the £50 fees when 250 copies of the books had sold it was almost in his interest not to publish.
The success of Jane Eyre, published by a somewhat more ethical house, persuaded Newby to publish Wuthering Heights and Agnes Grey in a three-volume edition, expecting to cash in on the Bell pseudonym (though he had no idea that such it was) adopted by the sisters.
In spite of its lengthy time span it is a claustrophobic novel, the grim moors almost a prison for the actors in the story. Wuthering Heights shocked some contemporary reviewers, its dark tone and intertwining sexual tensions and relationships very different as it were from the home life of our own dear Queen. Had Emily not hidden behind the apparently male name Ellis Bell it might have stirred greater controversy. That view changed over time, the novel eventually recognized as a classic of the genre, with innumerable films, TV series and other adaptations and takes on the story made, most famously the 1939 with Laurence Olivier as an unconvincing Heathcliff, and perhaps the song which made Kate Bush’s name in 1978.
maandag 6 december 2010
The Brontës. Revised and Updated Edition - A Review
First released in 1994, it became an instant classic, and deservedly so. The wealth of information contained there in and Juliet Barker's clearly extensie research in order to get nearly each and every fact ever linked to the Brontës verified is simply overwhelming. Juliet Barker's goal was no other than to try and dispel - or confirm - the many myths surrounding the Brontë family(1) going back to the sources, thus doing the dirty work for many present and future researchers. A huge number of the books/articles on the Brontës' lives published since then have listed The Brontës in their bibliography.
Time didn't stop in 1994 and as we say many books have been published since and a few discoveries have been made. And so Juliet Barker decided it was time to update the book and so, too, keep it in print for the new generations of Brontëites.
The Brontës. Revised and Updated Edition - A Review
zondag 5 december 2010
World's First Christmas Card
The first commercial Christmas cards were commissioned by Sir Henry Cole in London in 1843 and featured an illustration by John Callcott Horsley.[1] The picture, of a family with a small child drinking wine together, proved controversial, but the idea was shrewd: Cole had helped introduce the Penny Post three years earlier. Two batches totaling 2,050 cards were printed and sold that year for a shilling each.
Early English cards rarely showed winter or religious themes, instead favoring flowers, fairies and other fanciful designs that reminded the recipient of the approach of spring. Humorous and sentimental images of children and animals were popular, as were increasingly elaborate shapes, decorations and materials. In 1875 Louis Prang became the first printer to offer cards in America, though the popularity of his cards led to cheap imitations that eventually drove him from the market. The advent of the postcard spelled the end for elaborate Victorian-style cards, but by the 1920s, cards with envelopes had returned.
Een Victoriaanse kerstkaart
Toen Koningin Victoria met aan haar zijde Prins Albert in 1837 de Engelse troon besteeg was er eigenlijk al tijden geen echt kerstfeest meer. Oliver Cromwell en zijn rigide puriteinse handlangers hadden daar halverwege de zeventiende eeuw korte metten mee gemaakt. In het land bestonden nog steeds wel allerlei Joelfeesttradities, maar die kenden een marginaal bestaan.
De uit Duitsland afkomstige Prins Albert gaf de aanzet tot een radicale ommezwaai. Hij introduceerde in Windsor Castle de ‘Weinachtsbaum’, een kerstboom vol licht.
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