Articles

online Bronte studies


Empty Letters and the Ghost of Desire in Charlotte Brontë's Villette

pp. 95-106(12) Author: Jackson, Rachel

'Nothing could be worse for the work of mourning, than confusion or doubt: one has to know who is buried and where', writes Jacques Derrida in Spectres of Marx. This paper offers a reading of Charlotte Brontë's Villette and its depiction of haunting, letters and desire through the context of M. Paul's uncertain death at the end of the novel. Using Derrida's notion of spectral ambiguity and the impossibility of knowledge posed by the ghost, I situate the obfuscation of M. Paul's death as a primal scene informing upon the text as a whole; offering a hindsight which underwrites Lucy Snowe's fixation with the perpetual frustrations and losses of erotic desire. I would suggest that this sense of bereavement manifests itself in Lucy's repeated correlation between letters and haunting, and the shared syntax of desire through which she interprets the lacuna permeating both. To Lucy, letters come to stand in the place of bodies and this misreading of the displaced Other prefigures her response to the 'ghost' nun. Both letters and the ghost thus become dialectical in creating the traffic of confused readings instigated by M. Paul's forever absent body, and the haunted 'counter-knowledge' fixed by the text's ultimate, final recalcitrance to pronounce dead or alive.

Ambivalent Desires in Charlotte Brontë's Villette and Grace Aguilar's Vale of Cedars
pp. 107-117(11) Author: Klein, Kathrine

My paper argues that religious tolerance in Charlotte Brontë's novel Villette (1853) and Grace Aguilar's novel The Vale of Cedars; or, the Martyr (1850) translates into a desire for the other. The anti-Catholic sentiment of both narratives is well established: Charlotte Brontë articulates the threats English Protestants felt from 'Papal aggression', while the Anglo-Jewish writer Aguilar uses the Spanish Inquisition to show that, like the English, Jews have been persecuted by Catholics. Both authors, however, express a more complicated engagement with Catholicism, suggesting through their heroines that sensual desire is the product of toleration and self-realization. The Catholic Other in each novel is an ambivalent attraction for the heroine. On the one hand, Lucy Snowe is charmed by Catholic devotion, manifested in Paul Emanuel. On the other, she is repulsed by Catholic practice, manifested in Madame Beck. For Marie Morales, sexual desire is at odds with religious devotion and patriarchal authority. While her husband legally possesses her body, her Catholic lover governs her desire, making her sexually transgressive. It is only her platonic desire for Queen Isabella that makes acceptable Marie's longing for the Catholic Other. Villette and Vale explore religious otherness and mediate sexual longing in mid-Victorian England.

From Pasha to Cleopatra and Vashti: The Oriental Other in Charlotte Brontë's Villette
pp. 118-127(10) Author: Ramli, Aimillia Mohd

Critics have argued that Jane's engagement with the Orient in Jane Eyre (1847) is grounded in the vocabulary of her role as liberator and the discourse of female slavery and male domination as represented by the use of the harem metaphor in the text. Yet little is said about how this same metaphor exposes in Villette (1853) the ambivalence inherent in the construction of a Western character that has been invaded by the so-called menacing influences of the Orient. In the novel, the Oriental familial institution of the harem is figuratively and literally seen as a contaminant that poses a threat to a racial and gendered colonial British character. It suggests that this contamination destabilizes this character, blurring the line that divides both East and West, fantasy and reality, and argues that the Oriental institution of the harem, the artistic representations of women as illustrated by the Orientalist portrait of Cleopatra and the actress playing Vashti and, finally, M. Paul, represent the different ways in which this character is gendered and orientalized.

Charlotte Brontë's Textual Relics: Memorializing the Material in Villette
pp. 128-136(9) Author: Crowther, Kathryn

Charlotte Brontë's ambivalence towards her role as an artist and a writer in the literary marketplace manifests itself in Villette as a desire to memorialize the labour of writing through the production of textual relics: books, letters or collections of documents which are isolated and treasured for their materiality. The textual relic, I argue, reifies a narrative desire to reinstate the materiality of the original text; it bears the trace of the writer's body through its handwriting and thus represents the authentic connection of the original text to the author. It stands, therefore, in opposition to the lost materiality of the infinitely reproducible text which is produced by the commodified literary marketplace.

Charlotte Brontë, Mary Taylor, and the 'Redundant Women' Debate
pp. 137-148(12) Author: Fenton-Hathaway, Anna

Two years before Charlotte Brontë published Villette, the 1851 British Census reported an 'excess' of over 400,000 'redundant women', a population imbalance that philanthropists and pundits were frantic to resolve. This essay contextualizes Villette within the debate that followed. Charlotte Brontë's private correspondence with her childhood friend Mary Taylor, conducted after Taylor emigrated to find employment abroad, reflects the public debate's greatest tensions, and this essay argues that Charlotte Brontë and Mary Taylor extend the conversation in their novels. In Villette, Lucy Snowe's narrative contortions indicate that any generalized claim, whether feminist or anti-feminist, is equally harmful to the individual (a subtle jab at Taylor's feminist proclamations). Taylor's Miss Miles (1890) features a more frank dissection of female 'redundancy'. The critical premium on psychological complexity that has increased Villette's status has relegated the simpler Miss Miles to literary obscurity, yet both novels deserve renewed attention for their insight into the 'redundant women' debate.

Perception and the Suppression of Identity in Villette
pp. 149-159(11) Author: Haller, Elizabeth K.

Lucy Snowe, the primary character of Charlotte Brontë's Villette, unobtrusively surveys events, observes reactions, studies character all as a means of obtaining involvement without being an active participant. In this veiled existence Lucy can experience life but at a safe distance, in shadow, where 'unobserved I could observe' (V, p. 156). However, I contend that it is as a direct result of her silent surveillance, of her unassuming presence, that she is drawn into each occasion of action in her life. Lucy admits that she is incapable of provoking change on her own behalf: 'To sit still in actual circumstances was my instinct […] I must be stimulated into action. I must be goaded, driven, stung, forced to energy' (V, pp. 290, 42). Indeed, Lucy is consistently goaded into action both by circumstance and by false perception. Ultimately, the forced pretence of her shadowy existence serves as a defence mechanism against the agony of deprivation.

Curiosity, Surveillance and Detection in Charlotte Brontë's Villette
pp. 160-171(12) Author: Jung, Sandro

The article offers a contextualization of female curiosity by relating it to different characters who, in the course of Villette, adopt a criminal, sexual and clinical gaze and use it as a tool to make sense both of gendered and normative reality; I will discuss their self-fashioning in the light of — and as a response to — the constraints of the strictly patrolled and inquisitive patriarchal and religious community at the Pensionnat and in Villette as a whole. In reading the system of surveillance and detection at the Rue Fossette, I will relate questions of the marketability of commodified knowledge and a pseudo-scientific reliance on phrenology to Lucy Snowe's successful negotiation of this society by participating in an economics of love which remains untouched by the moral taint of espionage and the invasion and tradable uses of privacy.

Ohio University Press Free Downloads in Victorian Studies

Benjamin Herschel Babbage

Haworth in the mid 1800’s was not the romantic village that one thinks of when reading all those books written by the Bronte sisters, but in reality was quite a grim place to live and had many social problems because of it’s poor water supply and virtual lack of sanitation. Over 40% of children died before attaining the age of six years, and the school records from this time are testament to the poor health of local children with smallpox, measles, whooping cough and scarlet fever frequently mentioned as the cause of death. The average age of death in the village was 25.8 [years], which was about the same as in Whitechapel, St.George-in-the-East, and St.Luke, three of the most unhealthy of the London districts.

The situation became so bad that Reverend Patrick Bronte took it upon himself in August 1849 to prepare a petition of 222 signatures to send to the General Board of Health in London, in an effort to improve sanitation in the village. No response was received to this so he sent a second petition in October of the same year, and then in February 1850 wrote to them again asking them to survey the water supply in Haworth. His persistence obviously stirred them into action and in April 1850 an Inspector, Benjamin Herschel Babbage, travelled to Haworth to conduct an investigation into the sanitary conditions in Haworth and the surrounding villages of Stanbury and Near and Far Oxenhope. His report found that the sanitary conditions were poor, with open sewers coursing down Haworth Main Street, and water leaching from the graveyard into the main source of drinking water. Here are some of his findings, which make grim reading:

Sewerage
“There are no water closets in the town, and only 69 privies, being little more than one privy to every four and a half houses….I found seven houses in the main street without a privy….I found twenty four houses lower down with only one privy amongst them….I believe that it would be found that there are no more than two dozen houses in the whole town that have a privy to themselves….two of the privies used by two dozen each, are in the public street, not only within view of the houses, but exposed to the gaze of passers by, whilst a third, as though even such a situation were too private, is perched upon an eminence commanding the whole length of the street. The cesspit of this privy lies below it, and opens by a small door into the main street; occasionally this door is burst open by the superincumbent weight of night soil and ashes, and they overflow into the public street, and at all times a disgusting effluvium escapes through this door into the street. Within two yards of this cesspit door there is a tap for the supply of water to the neighbouring houses….there are no sewers in Haworth;…..as a consequence of the want of sewerage there is a contiguous to each privy a receptacle for the night soil, in some cases walled round… into these midden-steads are thrown the household refuse and the offal from the slaughter-houses, where mixed with the night soil and occasionally with the drainage from pigsties, the whole lies exposed for months together, decomposition goes on and the offensive smells and putrid gases are given off in close proximity to dwelling-houses, making them much more injurious.”

Water Supply
“Bad as is this state of things, [the lack of a sewerage system] perhaps the most crying want of Haworth is water, of which there is an absolute dearth in the dry season…..very few of the inhabitants use the pump-water for cooking or drinking, as they do not fancy that the water is pure and when the soakage into the ground from the midden-stead, and the small depth of the pump-wells are considered, there appears every reason to suppose that the general opinion upon this subject is correct….the supply of water upon the Head Well is so scant in the summer time that in order to have water for the Monday’s washing, the poor people are in the habit of going there at 2 or 3 o,clock on Monday morning, in order to wait their turn to fill their cans and buckets from the slowly running stream. It is stated that the water at this well is very bad at this season, and it is sometimes so green and putrid that cattle, which have been driven there to drink, after tasting the water, have turned away and refused to touch it again”

Burial Grounds

“The churchyard is almost full of graves….it would appear that 1344 burials have taken place in the last ten years….the practice at Haworth is to cover the grave with a flat stone, and the churchyard presents one entire surface of flat stones, some of them simply reposing upon the mound of earth which covers the grave….this practice is a very bad one as it prevents that access of atmospheric air to the ground, which is necessary for promoting decomposition; and beside, the stones take the place of those grasses and shrubs which if planted, would tend to absorb the gases evolved during decomposition, and render the process less likely to contaminate the atmosphere….drains should be laid very deep, below the greatest depth to which the graves would be dug and the drainage should be carried away by airtight pipes into a main sewer… care being taken to lead into one which has no direct communication with any house-drain. I consider the speedy carrying away in covered channels of the water charged with this most dangerous and most subtle matter to be one of the most efficacious means of diminishing the evils, which there can be no doubt always take place from the vicinity of burial grounds to inhabited places.”

Babbage Recommendations

Babbage’s recommendations for improvements in Haworth were as follows:

He thought that water should be collecting from the surface of the nearby moorland, and also collecting from two springs, which had a wholesome supply, and this should then be piped to a reservoir created in one of the many abandoned stones quarries in the area. The water should then be supplied via a new main running down the main street.

A complete sewerage system should be installed in the village.

The costs of the sewerage system would be £863.10s and should be covered by a rates charge per house of 3/4d per week, and the cost of a water supply would be £1274.12s.6p and should be recovered by a rate of 1 1/4d per house per week

As far as the overcrowded graveyard was concerned, he recommended that no more burials should take place there, and a new burial ground should be found a short distance from the village which should be thoroughly drained to a depth of eight feet, and that a ‘code of regulations’ be established to prevent graves being dug too close to each other, and also that no more than one body be allowed to be interred in each grave.

He also recommended that a new small slaughterhouse be established for the use of the village, and that all slaughtering in other places should be prohibited.

Nothing much seemed to happen quickly after Mr Babbage’s visit to Haworth, other than his report and recommendations, so in August 1851 Patrick Bronte again wrote to the General Board of Heath saying

“ Yet after, tedious delay, they have as far as we know done almost nothing….We might have thought that this arose from a press of more urgent business, had it not been that we have learned from good authority that their salutatory rules have been adopted and enforced in various other places where there was less necessity for them”.

Eventually Patrick Bronte’s persistence was rewarded when a clean water supply was put into Haworth in 1856.

It is interesting to note that most pictures of Rev.Patrick Bronte show him with a scarf/muffler over his lower face and neck, and it is thought that he always wore this to try and protect himself from the noxious smells and diseases in Haworth. There still prevailed at this time something called “The Miasma Theory”, which lead people to believe that certain diseases, particularly cholera, were more prevalent in places where water was undrained and foul-smelling, and that the viruses were carried in the air. This theory was disproved in the late 1850’s, when it was found that these diseases were not airborne, but were carried in the water supply. Improvements in water supplies and sewerage systems reduced these illnesses dramatically.

Rev Bronte must however have been made of stern stuff because he lived to the grand old age of 84 years and outlived his wife and all six of his children, which was quite an achievement for anyone living in Haworth in those days!

read orignal on the weblog Bancrofts from Yorkshire
 

Haworth

The best-known village in Yorkshire is “on the slide” a heritage boss said as he toured Haworth.
Trevor Mitchell, regional director of English Heritage, visited Haworth prior to the release of his organisation’s Heritage at Risk register.

He said it would not be recognised by the Bronte family.

Mr Mitchell pointed out the street clutter, especially signage, “too modern” shop fronts and the state of the setts, which Bradford Council is to repair at a cost of £600,000 over the next three years.
“This is the shop window for the whole of Yorkshire,” he said. “Hundreds of thousands of people come here and it ought to be a world-class experience but people don’t get that.
“There is a lack of a shared vision. We are worried and Bradford Council is worried that the quality of the best-known village in Yorkshire is on the slide.”
He hoped to encourage shopkeepers and homeowners to pay attention to the heritage needs of the village which would bring economic benefits in the long run.
It was hoped to draw up plans and images of what the village should look like.

He was accompanied by Christine Kerrin, City Hall’s team leader for design and conservation, and John Hogg, the Council’s design and countryside manager.
Miss Kerrin said some changes had not been for the best. “Some window details are incorrect and the cumulative effect of signage and boards is not in character,” she said. “Haworth has a wonderful image, it’s an historic place but that character is not there in all places because of poor decision- making.”


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Heritage status

Bronte country and Haworth village are hoping to be granted highly-prized world heritage status.
World Heritage Sites are chosen for their outstanding universal value to culture, history or science.
The Bronte Landscape and Haworth village is one of 38 nominations from across the country.
An independent expert panel will now be set up to assess each bid and advise ministers on which should be included in a shortlist submitted to the United Nations Educational, Scientific and Cultural Organization (UNESCO) next year.
Keighley and Ilkley Conservative MP Kris Hopkins said: “I am delighted that Bronte Landscape and Haworth Village have been put forward for consideration and, as far as I’m concerned, they are in a league of their own.
“The literacy legacy left by the Brontes is the source of immense local pride as well as fascination for people across the world, many of whom travel to Bronte Country to experience the wildness and the wonders of the moors. Needless to say the bid has my absolute support.”
Earlier this year Government invited councils and others to bid. Sites winning through will join the Taj Mahal, the Great Wall of China, Statue of Liberty and more than 800 other sites on UNESCO’s list of the world’s most important historical sites.
Announcing the bidders, Tourism and Heritage Minister John Penrose said: “The UK’s heritage is world-class and this list represents the unique variety and history present in all corners of this country and our overseas territories.
“We wanted a strong and varied list to eventually put to UNESCO and I’m delighted that so many wonderful, diverse places have been put forward.
“Any list that includes Jodrell Bank, the Forth Bridge, Blackpool and the Turks and Caicos Islands certainly doesn’t lack variety. But what all 38 sites have in common is a wow factor and a cultural resonance that makes them real contenders to sit alongside the Pyramids and Red Square in this most distinguished of gatherings.”
The selection process can take between five and ten years.
After the bid is submitted to UNESCO by the UK Government, it will then be assessed by the International Council on Monuments and Sites and the World Conservation Union.
If successful, the application is then judged by the World Heritage Committee, which meets once a year to decide which sites will be inscribed on UNESCO’s World Heritage List.

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Overzichtsfoto van Haworth

Haworth and the Black Bull

Black Bull in winter

De stoel van Branwell Bronte in the Black Bull

Haworth, the home of the Bronte family, is almost as famous as Stratford-upon-Avon as a place for literary pilgrimage. The Revd Patrick Bronte brought his family to live in the parsonage at Haworth in 1820 and it is now kept as a museum. At the top of the steep and cobbled main street is the Black Bull, with its gritstone walls blackened by years of smoke pollution from the former tall chimneys of the local woollen mills. Branwell Bronte, the artistically frustrated brother of Charlotte, Emily and Anne spent many hours drinking at the Black Bull and eventually, in 1845, his consumption of alcohol and opium killed him. Emily caught a chill at his funeral and died just 10 days later, not living to receive the acclaim to her novel 'Wuthering Heights'.

Today the Black Bull inside is a touristy open-plan pub with the focus on good value food but in Branwell's day it would have been divided into a series of small dark rooms. According to Mrs Gaskell, Branwell's great conversational talents: "procured him the undesirable distinction of having his company recommended by the landlord of the Black Bull to any chance traveller who might happen to feel solitary or dull over his liquor". Across the Main street is the Apothecary. It was the house of the pharmacist at the time of the Brontes, where Branwell Bronte bought laudanum, an opium derived drug

rose apothecary from Haworth

Uitzicht vanuit de voortuin van The Parsonage in Haworth

VOORGANGERS EN TIJDGENOTEN VAN DE BRONTËS

AUGUSTAN PROSE (eind 17de-eind 18de eeuw)

In deze periode werd de aanzet gegeven tot een nieuwe literaire vorm, de novel, die in de
Victoriaanse tijd tot bloei zou komen. In deze novel nam men afstand van de fantastische en
heroïsche aspecten die tot dan toe het proza hadden gedomineerd. Men wilde komen tot een meer
realistische representatie van de wereld en de mensen die deze bevolken. De bekendste voorbeelden
van novels uit deze tijd zijn Robinson Crusoe van Daniel Defoe en Tom Jones van Henry Fielding.
In deze tijd doken ook de eerste heroines op in de Engelse literatuur. Voordien waren vrouwelijke
personages vaak randfiguren die zelf geen acties ondernamen, maar deze ondergingen. Hier worden
ze hoofdpersonages die op zoek zijn naar hun plaats in de samenleving en actief stappen
ondernemen om hun lot te beteren. Men kan echter nog niet spreken van vrijgevochten vrouwen: een
plaats zoeken in de samenleving wordt meestal ingevuld door het zoeken van een ‘favorable match’.
Enkele voorbeelden van novels met heroines: Moll Flanders en Roxana van Daniel Defoe (1660?-
1698), Pamela, or Virtue Rewarded en Clarissa van Samuel Richardson (1689-1761).

ROMANTIEK (1785-1830)
De heroine novel verdwijnt in de romantische stroming meer naar de achtergrond ten voordele van de
gothic (Frankenstein van Mary Shelley) en de historical novel (Ivanhoe van Sir Walter Scott). Enkel
Jane Austen blijft in deze tijd novels schrijven over jonge vrouwen die een geschikte partner zoeken.
Zij wordt dan ook beschouwd als anti-romantiek.
outhey (die in 1813 Poet Laureate -hofdichterwerd),
wel bekend als de 'Lake Poets' (dichters uit het Lake District). Wordsworth volgde Southey in
die functie op in 1843.

VICTORIAANSE TIJD (1830-1901)
In deze tijd kwam de strijd voor vrouwenemancipatie meer op het voorplan door onder meer het belangrijke essay The Subjection of Women door John Stuart Mill. Men ging zich afzetten tegen het
beeld van de vrouw als broze engel die beschermd moest worden van de harde realiteit. In ‘finishing
schools’ werden meisjes uit de gegoede klassen opgeleid tot poppetjes die konden borduren en
bloemschikken, maar die het denkwerk aan hun echtgenoot moesten overlaten. Dit leidde vaak tot
frustratie bij deze vrouwen die zich vaak stierlijk verveelden.
Vooraanstaande vrouwen zoals Queen Victoria en schrijfster George Eliot ijverden dan ook voor een
gelijke educatie voor vrouwen en mannen. Hun feminisme was echter gematigd. Zij waren tegen
stemrecht voor vrouwen en geloofden nog steeds dat de vrouw op de eerste plaats moeder en
echtgenote was. Verscheidene schrijfsters publiceerden autobiografische werken die uiting geven aan
deze frustraties: Harriet Martineau (1802-1876), Florence Nightingale (1820-1910).

Het Victoriaanse tijdperk was een echte bloeiperiode voor dit genre, met voorop uiteraard Charles
Dickens. Het was tevens de tijd van de heroines zoals Jane Eyre (uit Jane Eyre van Charlotte Brontë),
Dorothea Brooke (uit Middlemarch van George Eliot) en Becky Sharp (uit Vanity Fair van William
Thackeray). Naast de zusjes Brontë laten diverse andere auteurs heroïnes in hun verhalen
voorkomen, zoals Elizabeth Gaskell (1810-1856), George Eliot (pseud. van Mary Ann Evans) (1819-
1880), William Makepeace Thackeray (1811-1863), Thomas Hardy (1840-1928) en Henry James.

Jane Eyre

Ik ben momenteel

weer in de ban van

Jane Eyre

zowel het boek als de film

 met Toby Stephens and Ruth Wilson

Jane Eyre is het boek

dat ik als klein meisje verslond

en wat de basis legde

voor mijn liefde

voor de Bronte Sisters

Ik wilde alles weten over de schrijfster

van Jane Eyre

en haar vader, broer en zussen

dat is tot de dag van vandaag

het boek heb al veel keer herlezen

en daar ben ik nu ook weer mee bezig

Maar nu heb ik ook een verzamel DVD

met Jane Eyre

Wuthering Heights

The Tenant of Wildfell Hall

en wat ik zie

bevalt me

meestal ben ik geirriteerd bij boekverfilmingen

omdat ik me een personage dan anders voorstel

maar daar heb ik geen last van bij deze verfilmingen

dus dubbel op genieten........

Mary Taylor

Interessante informatie over Mary Taylor

Brontë’s letters to Constantin Heger

 

 

collection-items/letters-from-charlotte-bront-to-prof-constantin-heger

 

In beginning her exploration of Brontë’s letters to Constantin Heger, Kauffman suggests that the letters reveal Charlotte Brontë’s transformation ‘from Heger’s correspondent into the novelist of Jane Eyre’ (Kauffman 1986: 160). Kauffman intends to connect the rhetorical strategies of the letters and of Jane Eyre to map ‘the metamorphosis of the rhetoric of passion from an authentic to a fictional discourse’ (p. 160).

To start with, Kauffman maps out the narrative of Brontë’s and Heger’s encounter including:

• Charlotte’s and Emily’s trip to Brussels in 1842 to learn languages;

• their return to England at the death of their aunt;

• Charlotte Brontë’s return to Brussels alone in 1843;

• and her final return to England in 1844.

Brontë began writing to Heger after her return and there is evidence to suggest that there were more letters than survive today. In the letters that do remain, Kauffman notes a variety of characteristics that fit the ‘amorous epistolary discourse’ on which her study focuses. These include:

• ‘the denial of the reality of separation’;

• ‘the desire for contact’;

• ‘despair at the master’s silence’;

• and ‘resigned desolation’ (p. 161).

In initial letters, Brontë is ‘submissive’ and puts ‘emphasis on having been given the authority to write’ (p. 161). However, when Heger write back with a firm, stern tone providing instruction as to how she must write, Brontë rebels and does the opposite; ‘she becomes more outspoken, more indignant, less submissive’ (p. 161-162). Kauffman notes that ‘[l]ike all amorous epistolary discourses, Charlotte’s letters are demands, pleas, threats, and confrontations, filled with the same marks of internal tension, contradiction, self-division, and torment’ (p. 163).

Like Mary Jacobus in ‘The Buried Letter’, Kauffman notes that the figure of student-governess-teacher is an ambiguous one in nineteenth-century British society. She describes Brontë as ‘simultaneously a family intimate and a family employee; the boundaries between belonging to and being excluded from the family are constantly shifting ones’ (p. 163). In Jane Eyre, Blanche Ingram tries to humiliate the governess-heroine and in her letters, Brontë expresses anguish at her humiliation in being a governess. In her letters to Heger, Brontë seems unsure as to whether to situate herself as governess or pupil as she tries to reconcile Heger’s warmth in past encounters and the coldness of his silence. Gaskell and others have tried to suggest that the romance between Heger and Brontë was imagined, but Kauffman provides much evidence that suggests that Heger exploited teacher-pupil relationships on a regular basis with his charismatic personality. Brontë’s letters are always a work of persuasion for him to break his silence and write to her again, which he never does. Silence is of course an obsession of Brontë’s novels too: ‘[i]h her letters, poems and novels Charlotte continued all her life to portray the intense misery of loneliness, exile and unrequited love’ (p. 170).

Kauffman, L. 1986, Discourses of Desire: Gender, Genre and Epistolary Fictions, Ithaca: Cornell University Press.

The Letters of Charlotte Bronte

Vol 1: 1829-1847
Edited by Margaret Smith

"I cannot be formal in a letter,'' Charlotte Bronte apologised to an impossibly conventional ex-suitor, Henry Nussey. "If I write at all, I must write as I think.'' At that time, in 1841, a governess to the White family in Rawdon, Yorkshire, she confides her discontent with indulged children to this dull clergyman who, she knew, understood her not at all. It is this incaution, this need to explain herself against the odds, that makes her a great writer of letters. She seems to invite condemnation ("I am dwelling too much on my own concerns and feelings... I repent having written it'') so that a literal reader would find it easy to vilify or pity her, but none of her states of mind are exactly what they seem. It was improper for a clergyman's daughter in the 19th century to murmur against her lot, but she does so with a swelling commitment to another life which reveals a characteristic and unexpected strength: "my home is humble and unattractive to strangers but to me it contains what I shall find nowhere else in the world - [the] profound, and intense affection which brothers and sisters feel for each other when their minds are cast in the same mould''.

Behind these words lies a writer's life which Charlotte shared with her sisters, Emily and Anne, and brother, Branwell, and which was to issue in the phenomenally successful Jane Eyre in 1847. The date marks a logical end to this, the first of three projected volumes of letters. What do the letters tell us of the transformation of an apparently subdued governess to the novelist who could declare in a letter to her publishers on 4 January 1848: "It would take a great deal to crush me''?

Though modest quiet was expected of ladies, Charlotte could not contain the upsurge of language any more than she could deny her thought. Some of her most formative letters - letters in which we hear for the first time her complex authorial voice - were written to men who would not grant what she wished. When Charlotte sent the Poet Laureate, Robert Southey, some of her poems, he told her in 1837 that "Literature cannot be the business of a woman's life''. She replied with apparent propriety which completely reassured Southey, but her letter reverberates with veiled sarcasm which the editor of this volume does not hear: "In the evenings, I confess, I do think, but I never trouble any one else with my thoughts... I trust I shall never more feel ambitious to see my name in print; if the wish should rise, I'll look at Southey's letter, and suppress it.'' The brilliant verbal glide of her abjection to Southey was her first public performance of a role she made her own - hiding undaunted creative fire under a mask of perfect docility.

When Charlotte refused Henry Nussey in 1839, her letter explained in a patient and kindly tone that she was not the right wife for him, and prescribed instead a similar caricature of meek womanhood: "Her character should not be too marked, ardent and original - her temper should be mild...'' Again, the editor misses the scorn, and suggests that this tepid and passionless construct lies behind the marriage of Jane Eyre (yes, Jane Eyre who unites with her husband as bone of his bone and flesh of his flesh.) Curiously, in the same letter, there is also a strong element of candour where Charlotte actually owns to being "satirical'' to the very man whose taste she's sending up.

It is telling to compare this layered letter with Charlotte's more direct explanation of her "natural home-character'' in a letter to Nussey's sister, Ellen. If she ever married, she must have an "intense attachment''. Nor could she "sit all day long making a grave face before my husband - I would laugh...'' To Ellen and to her other lifelong friend, Mary Taylor, she wrote in a bracing, unguarded, often humorous way. After her death, Mary, an outspoken feminist, destroyed all but one of Charlotte's letters as dangers to her reputation. Ellen preserved several hundred because she understood their future importance. Wishing to publish them and at the same time protect the docile image Charlotte herself had promoted, Ellen went through decades of anxiety. Her indecisiveness and growing bitterness made her an easy target for predators such as the arch-hypocrite, T J Wise, who bullied her into surrendering her letters. He promised that this treasure would go to the nation; instead, he sold off many letters (along with other Bronteana) to the highest bidders around the world. The history of the Bronte letters is a story as bizarre in its way as that of Jane Eyre.

The most famous letters in this volume are the four Charlotte wrote in French in 1844-45 to her beloved teacher in Brussels, M. Heger. The fact that Madame Heger pieced three of these letters together from torn fragments she found in her husband's bin suggests that Madame did not consider this tie negligible. There has been much speculation whether these surviving letters were adulterous or innocent. This is a misunderstanding of Charlotte's capacity for an indefinable form of love that thrived on Monsieur's recognition of her potential as a writer, his capacity to know her as she perceived herself to be. If we think of these letters in view of the great novels to come, they may be seen as the source of a new model of manhood: a hero who will engage with a hidden "other'' in a woman; who does not exclude it as alien. This future fictional enlargement on M. Heger gains its imaginative licence from distance - the correspondent's invisibility as reader. In this sense, what Charlotte undertook was not quite a real correspondence which reflects the correspondent; it was more an invented correspondence, close to an imaginative act and supplemented, probably, by many letters which Charlotte composed (in her mind or even on paper) but did not send. This ingredient of invention may explain Monsieur's increasing reluctance to reply. And although this was painful to Charlotte as a pupil, it was to her advantage as a rising writer to have to imagine passion, not enact it, for this freed her to imagine from a woman's point of view.
It has taken 140 years since Charlotte Bronte's death for a proper edition of her letters to be published. Readers must be grateful to Margaret Smith for the recovery of accurate texts - as accurate as they can be at this point in time, given their wanderings, dismemberments and mutilations. One letter was discovered to be in five fragments in five different libraries. The restoration of the texts themselves is a triumph of meticulous labour. Yet the clouding of Charlotte Bronte is not quite over. For between the reader and the letters is a laborious biographical introduction. Instead of trusting the letters to speak for themselves, the editor pre-empts Charlotte's witty, blistering, multi-shaded voice with a flattened account. We are told of religious anxiety in the late 1830s and "torments'' over M. Heger in the next phase, but we are not told about Charlotte Bronte's imaginative power to turn the losses of her life to gain. So, why undertake this edition? Her aim, the editor declares, is "to enhance'' our understanding of a woman who wrote novels. So are the letters only a set of useful commentaries rather than works of art? Margaret Smith comes to a strangely lame conclusion for a person with the privilege of editing one of the greatest letter- writers in the English language.

Letter from Charlotte back to the parsonage.

The hammer has descended, and the letter from Charlotte Brontë to William Smith Williams, dated October 18, 1848 – is now on its way from the auction room in New York to the Parsonage. Written just after the death of Branwell and at a time when Emily was displaying distressing symptoms of Tuberculosis (she died three months later), the letter is highly significant, even though there are no references to these things.

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A letter written by Charlotte Brontë as she grieved over the death of her brother Branwell and fretted about the health of her younger sister Emily is on its way back to Haworth.
The Brontë Parsonage Museum outbid other collectors to get the letter for $55,000 (£39,000) at an auction in New York.
It will join a treasure trove of artifacts acquired by the museum in Haworth over the past six months.
This latest item was written by the author of Jane Eyre, on October 18, 1848, shortly after Branwell died. It was sent to William Smith William, the reader at her publisher Smith Elder and Co.
Ann Dinsdale, the museum’s collections manager, said: “This was a very sad period of her life. Branwell had just died and Emily was showing symptoms of the TB which would kill her three months later.
“The letter doesn’t refer to these things, but it talks about her being ill. I think her deep unhappiness was manifested in this ill health.”

Mr William became a friend to Charlotte having spotted her potential as a writer when she sent her first novel The Professor to the publishing house. It was not accepted but he encouraged her to write Jane Eyre, which the company published.
Mrs Dinsdale said staff followed the auction online and were very excited when they realised the hammer had gone down on their bid.
Once the letter arrives back in Haworth, it will join the other recently bought artifacts including a poetry manuscript written by Charlotte as a 13-year-old and Emily’s artist’s box.

The Bluebell, gedicht van Emily Bronte

The Bluebell is the sweetest flower

That waves in summer air

Its blossoms have the mightiest power

To soothe my spirit's care

There is a spell in purple heath

Too wildly, sadly dear

The violet has a fragrant breath

But fragrance will not cheer

The trees are bare, the sun is cold

And seldom, seldom seen

The heavens have lost their zone of gold

And earth her robe of green

And ice upon the glancing stream

Has cast its sombre shade

And distant hills and valleys seem

In frozen mist arrayed

The Bluebell cannot charm me now

The heath has lost its bloom

The violets in the glen below

They yield no sweet perfume

But, though I mourn the sweet Bluebell

'Tis better far away

I know how fast my tears would swell

To see it smile to-day

For, oh! when chill the sunbeams fall

Adown that dreary sky

And gild yon dank and darkened wall

With transient brilliancy

How do I weep, how do I pine

For the time of flowers to come

And turn me from that fading shine

To mourn the fields of home!

Brieven van Charlotte Bronte

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Rebecca Fraser

Op dit moment lees ik

 met veel plezier

 het boek Charlotte Bronte

 van Rebecca Fraser

Ik dacht dat ik bijna alles wel wist

maar in dit boek

komen dingen naar voren die mij

onbekend waren

zoals

het adres

waar Charlotte haar brieven aan Monseigneur Heber naar toe stuurde

en was Branwell een blackmailer?

 

Rebecca Fraser has worked as a researcher, publisher's editor and journalist, and has written for many publications including Tatler, Vogue, The Times and the Spectator. She has also illustrated two children's books, King Arthur and the Knights of the Round Table and Robin Hood. She is married and has three daughters. Her first book, a biography of Charlotte Brontë-, was very well received, and she has recently become President of the Brontë- Society.