1353:, like its predecessor , suggests the idea of considerable abilities ill applied. There is power, effect, and even nature, though of an extreme kind, in its pages; but there seems in the writer a morbid love for the coarse, not to say the brutal; so that his level subjects are not very attractive, and the more forcible are displeasing or repulsive, from their gross, physical, or profligate substratum. He might reply, that such things are in life... Mere existence, however, as we have often had occasion to remark, is not a sufficient reason for a choice of subject: its general or typical character is a point to consider, and its power of pleasing must be regarded, as well as its mere capabilities of force or effect. It is not only the subject of this novel, however, that is objectionable, but the manner of treating it. There is a coarseness of tone throughout the writing of all these Bells , that puts an offensive subject in its worst point of view, and which generally contrives to dash indifferent things".
1193:, a horrific reality of private life is obtained after passing through the voice of a framing narrator. According to Jacobs, the male narrator represents the public world, and the framed structure serves several functions that are strongly gender-related: it illustrates the process of going behind the official version of reality in order to approach the truth that the culture prefers to deny; it exemplifies the ways in which domestic reality is obscured by layers of conventional ideology; and it replicates the cultural split between male and female spheres that is shown to be one of the sources of the tragedy in the novel. Jacobs concludes that both Emily and Anne seemed to find it necessary, in approaching subjects that were considered to be controversial, to use the voice of a male narrator, appropriating, delegitimizing and even ridiculing his power, before telling anti-patriarchal truth.
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Ralph
Hattersley and Lord Lowborough manage to reform their lives. Arthur and Lord Lowborough particularly seem affected by the traditional signs of alcoholism. They frequently drink themselves into incoherence and on awakening, they drink again to feel better. Lord Lowborough understands that he has a problem and, with willpower and strenuous effort, overcomes his addiction. Arthur continues drinking even after he injures himself falling from a horse, which eventually leads to his death. Ralph, although he drinks heavily with his friends, does not seem to be as much afflicted by alcoholism as by his way of life. Mr Grimsby continues his degradation, going from bad to worse and eventually dying in a brawl. Huntingdon's son Arthur becomes addicted to alcohol through his father's efforts, but Helen begins to add to his wine a small quantity of
1763:. Du Maurier praised the narrative structure, "two separate stories most cleverly combined in one", and believed Gilbert Markham "with his utter confidence in his powers of attracting the opposite sex" to be modelled on Branwell. Presuming that he was familiar with his sisters' novels, du Maurier believed that the story of Helen's marital life with Arthur Huntingdon may have been "a warning to Branwell" and the relationship between "erring, neglectful husband" and "the pious, praying wife" resembles Branwell's views on the marriage of Lydia Robinson, the woman at whose house he was employed as a tutor to her son, while Anne was governess to her daughters. Du Maurier concluded that in childhood years Branwell "shared in his sister's writings; somehow he must continue to live out their characters in the world of his imagination".
1463:. However, both novels, in his opinion, were constructed with an "excessive clumsiness" and "the brutal element of human nature" was equally "given prominence" in them. He continues: " seems a convincing proof, that there is nothing kindly in author's powerful mind, and that, if he continues to write novels, he will introduce into the land of romance a larger number of hateful men and women than any other author of the day". In Gilbert he sees "nothing good, except rude honesty", and while acknowledging Helen's "strong-mindedness", he finds no "lovable or feminine virtues". Despite this, Whipple praised novels characterization: "All the characters are drawn with great power and precision of outline, and the scenes are vivid as the life itself." Helen's marriage to Arthur he sees as "a reversal of the process carried on in
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Helen's true desires, the self-expression of her artwork also defines her as an artist. That she puts so much of herself into her paintings and drawings attests to this self-definition. After her marriage to Arthur, Helen, accepting the roles of wife and housekeeper, rarely refers to herself as an artist. The marital laws of the day made Helen's artworks legally belong to her husband and allowed Arthur to destroy them when he discovered her plans to earn money by selling paintings. Diederich calls it "an ironic echo" of Helen's destruction of Arthur's portrait just before their engagement when he tried to take it from her. Diederich also points that in attempt to become a fee-earning artist "Helen reclaims her artistic talent as her own, distinct from her husband's possession of her art, and of her."
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with
Gilbert – the painting of Wildfell Hall deceptively labelled "Fernley Manor" discloses her precarious position as a runaway wife. Showing Gilbert handling Helen's paintings without her permission, Brontë, according to Diederich, "hints that remarriage to Gilbert may not hold any greater promise to Helen's self-definition and freedom as an artist than did her first marriage". However, unlike Arthur, Gilbert shows much more esteem for Helen's artwork. Diederich concludes that "the domestic realm, whether established with marriage or re-established in remarriage, doesn't support women's self-definition as artists, nor does it provide a structured setting for the unfettered expression of their talents" and that
1467:", but Arthur Huntingdon, in his opinion, is "no Rochester". "He is never virtuously inclined, except in those periods of illness and feebleness which his debaucheries have occasioned". Whipple concludes: "The reader of Acton Bell gains no enlarged view of mankind, giving a healthy action to his sympathies, but is confined to a narrow space of life, and held down, as it were, by main force, to witness the wolfish side of his nature literally and logically set forth. But the criminal courts are not the places in which to take a comprehensive view of humanity and the novelist who confines his observation to them is not likely to produce any lasting impression except of horror and disgust".
871:, however, masculinity is impervious to the softening or "superior" influence of women. Marrying Arthur, Helen is convinced that she can reform him, but six years later she escapes from him to protect herself and her young son. Helen's second husband, Gilbert Markham, who despite many faults is "more pliable", never shows any noticeable reform throughout the novel. Joshi concludes that Gilbert is "tottering toward a new form of masculinity" together with Jack Halford, his close friend, by exchanging confidences and, by learning to communicate and reveal emotions, doing what is considered to be feminine, he can redeem himself, become a new man and a worthy husband of Helen.
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suppression of the book was to protect her younger sister's memory from further onslaughts. Others believe
Charlotte was jealous of her younger sister. Even before Anne's death Charlotte had criticized the novel, stating in a letter to W.S. Williams: "That it had faults of execution, faults of art, was obvious, but faults of intention of feeling could be suspected by none who knew the writer. For my part, I consider the subject unfortunately chosen – it was one the author was not qualified to handle at once vigorously and truthfully. The simple and natural – quiet description and simple pathos – are, I think Acton Bell's forte. I liked
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Initially, Gilbert
Markham casually courts Eliza Millward, despite his mother's belief that he can do better. His interest in Eliza wanes as he comes to know Mrs Graham. In retribution, Eliza spreads (and perhaps creates) scandalous rumours about Helen. With gossip flying, Gilbert is led to believe that his friend Mr Lawrence is courting Mrs Graham. At a chance meeting on a road, Gilbert strikes the mounted Lawrence with a whip handle, causing him to fall from his horse. Though she is unaware of this confrontation, Helen Graham still refuses to marry Gilbert, but when he accuses her of loving Lawrence, she gives him her diaries.
975:, Anne's depiction of the woman as fee-earning artist "trebly trespasses on the domain of the masculine: female artists dabbed in water-colours or sketched decoratively in pen and ink; ladies did not engage in trade; and, besides, tools of her trade in this case count as stolen." Melinda Maunsell believes that Helen is "both revealed and concealed by her artistic hand; providing her with an acceptable means of expression within her social construction, the artists hand also offers a form of independence, a possibility of earning a living, in a period when a woman had virtually no independent power base in any sphere."
1327:. It is, taken altogether, a powerful and an interesting book. Not that it is a pleasant book to read, nor, as we fancy, has it been a pleasant book to write; still less has it been a pleasant training which could teach an author such awful facts, or give courage to write them. The fault of the book is coarseness—not merely that coarseness of subject which will be the stumbling-block of most readers, and which makes it utterly unfit to be put into the hands of girls..." Despite this, he believed that: " society owes thanks, not sneers, to those who dare to shew her the image of her own ugly, hypocritical visage".
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377:
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1839:"not only demonstrates that the individual is subject to powerful ideological forces which delineate his or her place within culture and society, but that there are ways in which these forces can be subverted and resisted by those who suffer as a result. In a narrative which dramatizes the complex interplay between subject and society by focusing on the marital experience of a woman, Brontë highlights the extent to which the internal and supposedly private realms of desire and domesticity are also intensely political."
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1536:, and remember that the writers were two retiring, solitary, consumptive girls! Books, coarse even for men, coarse in language and coarse in conception, the coarseness apparently of violence and uncultivated men – turn out to be the productions of two girls living almost alone, filling their loneliness with quiet studies, and writing their books from a sense of duty, hating the pictures they drew, yet drawing them with austere conscientiousness! There is matter here for the moralist or critic to speculate on".
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36:
444:), the protagonist of the novel and the tenant of the title. Wildfell Hall is the place where she and her brother were born. After their mother's death she goes to live with their aunt and uncle at Staningley Manor, while her brother, Frederick, remains with their father. In spite of their separation, Helen has maintained an affectionate relationship with her brother and later he helps her to escape from her abusive and dissolute husband. The character of Helen Graham was probably inspired by
1879:. Hodgson performed extensive editing of the novel, removing many sections, including the chapter headings and the opening letter, that starts with: "To J. Halford, Esq. Dear Halford, When we were together last..." Other omissions ranged from single words to almost complete chapters (such as the 28th); some sections were completely rearranged in an attempt to compensate for the omissions. Most subsequent English editions, including those eventually produced by Charlotte's publisher,
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is a little prig, Helen
Huntingdon is a prig enormous... She is Anne Brontë's idea of noble womanhood, the first of the modern, large-souled, intellectual heroines." The only thing Sinclair wholly approved of was the author's treatment of marital laws of the time: "Anne Brontë attacks her problem with a freedom and audacity before which her sisters' boldest enterprises seem cowardly and restrained... Her behaviour is the least unusual, not to say revolutionary."
1439:, it concludes: "However objectionable these works may be to crude minds which cannot winnow the chaff vulgarity from the rich grain of genius which burdens them, very many, while enjoying the freshness and vigour, will gladly hail their appearance, as boldly and eloquently developing blind places of wayward passion in the human heart, which is far more interesting to trace than all bustling traces and murky alleys, through which the will-o'-the-wisp genius of
1782:, Spark radically changed her views on Anne: "I do not now agree with my former opinion on Anne Brontë's value as a writer. I think her works are not good enough to be considered in any serious context of the nineteenth century novel or that there exists any literary basis for comparison with the brilliant creative works of Charlotte and Emily... She was a writer who could 'pen' a story well enough; she was a literary equivalent of a decent water-colourist."
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916:
516:, later Lady Lowborough, Arthur Huntingdon's paramour, is flirtatious, bold and exquisitely beautiful. She has an affair with Arthur Huntingdon for several years. Helen is forced to put up with the affair, but when Annabella's husband discovers it, he obtains a divorce. Gilbert says he hears that after Annabella moves to the continent, she falls into poverty and dies destitute and alone, but stresses he cannot be sure if this is true or merely a rumour.
1285:, a reformed masculinity emerges not, as More would have it, under the tutelage of a woman, but by emulating feminine ways. Anne presents the "idle talk" of Linden-Car villagers primary as a way of creating fellowship and community, not only as vicious gossip. According to Joshi, the gossip of middle-class Linden-Car functions not as a critique of the behavior, but rather to heighten its contrast with the chilling atmosphere of the upper-class estate.
1250:"the most unusual example of 19th century domestic fiction", and attributes to that the relative marginalization of the novel in the Brontë sisters' oeuvre. According to O'Toole, Anne, unlike her elder sisters, seems to juxtapose rather than to collapse kinship and sexual relations. The relationship between Frederick and Helen is insular and cannot solve all the problems or contradictions that cluster around the concept of the domestic.
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852:: in both novels female narrative is retold by a man. Brontë, like Atwood, "makes the reader wonder whether any two individuals could achieve the kind of equal relationship Gilbert seems to desire in a society that encourages inequality. Certainly, Helen's silence is in some ways as troubling to twentieth-century readers as Offred's, though Gilbert is much kinder and more thoughtful about his superior position than Pieixoto."
901:– Gilbert, being a well-educated man with high ambitions for some "great achievements", is forced to take over his father's farm, and Helen, being a runaway wife, can call neither her home nor her name her own. The emphasis on allusions in the novel, on using the "language of others", according to McDonagh, may be a reflection on the position of being a tenant, which in its subjugation is similar to that of being a wife.
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259:
590:, a friend of Eliza Millward and a scandalmonger, tries to ensnare Frederick Lawrence, but when Gilbert reveals to him her hatred of Frederick's sister Helen, Frederick breaks off their relationship. As no man she meets fits her high standards, she moves to a nearby country town, constantly name dropping, but friendless and, according to Helen, becomes a bitter spinster.
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forms of domestic containment, one deriving from marriage, the other from the natal family. Priti Joshi, noting Helen and
Gilbert's suspicion of spoken words and reliance on the visual, and their faith in the written word, concludes that a diary is a fitting narrative device because the characters require it, and that the epistolary narrative form reflects this faith.
1146:'s biography of Byron, with its description of womanizing, gaming and carousing, directly influenced the Gondal mythos and was echoed in Brontë's adult works. The characteristics of Arthur Huntington and Annabella Wilmot, both self-indulgent sexual transgressors, may be the relics of Gondal, where most of the main heroes were extravagant and led adventurous lives.
480:, Helen's brother, helps her to escape from Huntingdon and lends her money. As he and Helen grew up apart and only met in Staningley or Grassdale, no one in Linden-Car village guessed that the secretive Mrs Graham is actually Frederick's sister. Eventually he marries Esther Hargrave. Being in mourning for her husband, Helen is forced to miss her brother's wedding.
536:, a friend of Huntingdon's, marries Milicent because he wants a quiet wife who will let him do what he likes with no word of reproach or complaint. He mistreats his wife. "I sometimes think she has no feeling at all; and then I go on until she cries – and that satisfies me," he tells Helen. But after he reforms himself he becomes a loving husband and father.
530:. Later he divorces her and after some time marries a plain middle-aged woman, who makes a good wife to him and a stepmother to his children with Annabella – a son and a nominal daughter. Lord Lowborough also has some resemblances to Branwell, such as a life of debauchery, periods of remorse/religious torments, and opium, as well as moral weakness.
462:, five years old at the beginning of the book, the son of Arthur Huntingdon and Helen. He has a resemblance to his uncle, Frederick, which gives rise to gossip. He is grown up by the time of Gilbert's letter to Jack Halford, and is residing at Grassdale Manor with his wife, Helen Hattersley (the daughter of Milicent Hargrave and Ralph Hattersley).
1883:, followed this mutilated text. These copies are still prevalent today, despite notes on their covers claiming them to be complete and unabridged. In 1992, Oxford University Press published the Clarendon Edition of the novel, which is based on the first edition, but incorporating the preface and the corrections presented in the second edition.
1418:, believing all the novels by Currer, Ellis and Acton Bell were produced by the same person, praised their author as a genius, who can make "his incongruities appear natural". Noting, that "all that is good or attractive about is or might be womanish" it supposes that the author may be "some gifted and retired woman". Despite considering
526:, dour and gloomy, he is in complete contrast to Huntingdon. He used to gamble and drink too much alcohol and developed an addiction to opium, but, after his financial ruin, gradually reforms himself. Lowborough truly loves Annabella, and her infidelity brings him such suffering that only his Christian faith and strong will keep him from
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rather than any of the Brontës." In her introduction to the 1914 edition of the novel
Sinclair was also ambivalent about Anne and her novel — while acclaiming it as "the first presentment of that Feminist novel", she stated that "it bores to tears". Her opinion of Helen was also mixed: "If Agnes Grey
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as "one of the least disagreeable individuals" in the novel, while Helen's
Universalist views were criticised as either "false and bad" or "vague and unmeaning". It concludes: "Unless our authoress can contrive to refine and elevate her general notions of all human and divine things, we shall be glad
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was also castigated: "The dangerous tendency of such a belief must be apparent to any one who gives the subject a moment's consideration; and it becomes scarcely necessary, in order to convince our readers of the madness of trusting to such a forced distortion of the Divine attribute of mercy, to add
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admits that the two novels share "the same mysterious word-painting" with which the author "conveys the scene he (or she) describes to the mind's eye, so as not only to impress it with the mere view, but to speak, as it were, to the imagination, to the inner sense, as is ever the case with the Poetry
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apart and reunited only as adults, is foregrounded to domestic reform – Frederick's virtue compensates for their father's neglect of Helen, and their comfortable relationship, defined by mutual respect and understanding, contrasts with Helen's problematic relationship with her husband and her suitor.
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starts with the arrival of a new person in a neighbourhood—a source of curiosity for a small rural community. Unlike Austen, Brontë makes a woman the centre of interest. Reticent Mrs Graham with her views on alcohol consumption and girls' education, controversial for the 19th century, soon becomes an
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When we have to do with vice and vicious characters, I maintain it is better to depict them as they really are than as they would wish to appear. To represent a bad thing in its least offensive light, is doubtless the most agreeable course for a writer of fiction to pursue; but is it the most honest,
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Anne Brontë constructs marriage and remarriage as a comparative and competitive practice that restricts Helen's rights and talents. Helen's artistic ability plays a central role in her relationships with both
Gilbert and Arthur. Her alternating freedom to paint and inability to do so on her own terms
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A year passes. Gilbert pursues a rumour of Helen's impending wedding, only to find that Mr
Lawrence, with whom he has reconciled, is marrying Helen's friend Esther Hargrave. Gilbert goes to Grassdale, and discovers that Helen is now wealthy and lives at her estate in Staningley. He travels there, but
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is taken from Helen's diaries, in which she describes her marriage to Arthur Huntingdon. The handsome, witty Huntingdon is also spoilt, selfish and self-indulgent. Before marrying Helen, he flirts with Annabella, and uses this to manipulate Helen and convince her to marry him. Helen, blinded by love,
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is narrated by Gilbert Markham, beginning with an account of how a mysterious widow, Mrs Helen Graham, arrives at Wildfell Hall, a nearby mansion. A source of curiosity for the small community, the reticent Mrs Graham and her young son, Arthur, are slowly drawn into the social circles of the village.
1736:
considered Anne the least talented of the sisters and claimed that the framing structure – where "Helen can reveal her innermost being to the diary" while Gilbert is "bound to be as objective as possible" – "throws the novel out of balance". However, she believed that "through the very nature of its
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might have admired". Winifred GĂ©rin believed Helen Graham to be "one of the first married women in fiction who is both competent and resolved to keep herself not by any of the accepted means as housekeeper, companion or governess, but as a painter, selling her canvasses to dealers." Despite this, in
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While refusing to believe whispered insinuations, the main heroes are led astray by precisely the evidence of their eyes: Gilbert, spying Helen walking with Frederick, mistakenly takes them to be lovers, and Helen's naĂŻve empiricism leads her to disastrous marriage. Helen's faith in the written word
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s narrative structure is common to Gothic fiction with the usage of framing narrator, letters and diary as clues to a whole truth. However, the narrator, Gilbert Markham, differs from his gothic predecessors in that he and the official standards he represents are shown to be in part the cause of the
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At the beginning of her diary, the young and unmarried Helen already defines herself as an artist. Her early drawings reveal her private and true feelings for Arthur Huntingdon, feelings that lead her to overlook his true character and lose herself to marriage. Nevertheless, in addition to revealing
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Helen is misled by ideas of romantic love and duty into the delusion that she can repair her husband's conduct. Hattersley declares that he wants a pliant wife who will not interfere with his fun, but the truth is that he really wants quite the opposite. Milicent cannot resist her mother's pressure,
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to contemporary novels. Apart from being used as a quotation, allusions are often applied by peculiar characters to reflect their personalities. Sometimes the individual voices of characters are shown as a patchwork of quotations. Such "borrowed voices" may denote the displacement of the main heroes
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Arthur Huntingdon and most of his male friends are heavy drinkers. Lord Lowborough is "the drunkard by necessity" – he tries to use alcohol as a way to cope with his personal problems. Arthur, like his friend Ralph Hattersley, is the "drunkard from an excess of indulgence in youth". Ultimately, only
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begins after Gilbert's reading of the diaries. Helen bids Gilbert to leave her because she is not free to marry. He complies and soon learns that she has returned to Grassdale because her husband is gravely ill. Helen's ministrations are in vain, and Huntingdon's death is painful since he is fraught
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so that critics could re-acquaint themselves with Anne's greater novel and so that critics could take that opportunity to measure the substantial artistic growth between the two novels." Langland argued that the heroines in Anne's novels influenced those of Charlotte, and named Anne among the first
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was unexpectedly high: "There are scenes, there are situations, in Anne's amazing novel, which for sheer audacity stand alone in mid-Victorian literature, and which would hold their own in the literature of revolt that followed... Her diagnosis of certain states, her realization of certain motives,
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has a particularly devastating effect on her husband, and the malice of Eliza Millward is poisonous to the entire community. The eternal struggle between good and evil is emphasised by heavy use of biblical references: sinners who repent and listen to reason are brought within the fold, while those
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cult – while witty, adventurous and handsome, he is not endowed with intellectual gifts, nor even vitality, famously exhibited by Heathcliff, and has nothing of the fundamental goodness that finally redeemed Rochester. All Huntingdon's vices come from his being spoilt as a child. Analyzing the lack
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Posing as a widow, Helen makes her role as an artist who sells her works, especially to support a child, more socially acceptable. Resembling the time of Arthur's courtship, when Helen's portraits of him betrayed her affection, artwork once again serves the autobiographical role during her meetings
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Gilbert's mother, Mrs Markham, holds the doctrine prevailing at the time that it is "the husband's business to please himself, and hers to please him". The portrayal of Helen, courageous and independent, emphasizes her capacity for seeking autonomy rather than submitting to male authority, and the
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to her. While Helen is spirited and forthright, unafraid to speak to the men in her life with frankness, Milicent, in contrast, is trampled and ignored by her husband. Helen eventually leaves Arthur with her beloved son in tow, while Milicent says that she is "really contented" with her husband and
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in his views on Anne's life. He concluded his monograph by stating that "the Gods were not kind to : no men except her father's curates ever had a chance to look at her. But the gods must have loved her, after all, for they did not prolong her agony. They let her die young," thus emphasizing men's
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writer, was an admirer of Anne Brontë's novels; he believed that Anne "had all the qualities of Jane Austen and other qualities", that "she could write with heat", and if "she had lived ten years longer she would have taken a place beside Jane Austen, perhaps even a higher place". He declared that
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Despite the general dismissiveness of the late 19th–early 20th century critics, Anne still had supporters in literary circles. Esther Alice Chadwick, while believing that Anne lacked "the fire and passion of her sisters" and was "inferior" to them, claimed that she is still "a character well worth
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was almost forgotten in subsequent years. When it became due for a reprint, just over a year after Anne's death, Charlotte prevented its re-publication. (The novel was out of print in England until 1854, but not in America, which had no copyright restriction.) Some critics believe that Charlotte's
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in her sisters' works, but as a decayed relic of an outworn patrician class, whose pretensions are mocked by the recrudescence of building into moor. Stevie Davies has argued that Anne's ancient hall demystifies Gothic. Wildfell Hall is not haunted, it is simply dilapidated, damp and un-welcoming.
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figure of great fascination but also of barely concealed moral failings. His abusive behaviour impels Helen to run away from him, but nevertheless when he becomes ill (after the injury from falling from a horse when drunk), Helen returns to Grassdale to take care of him. Unwilling to stop drinking
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Despite this, it argued that "no man would have made his sex appear at once coarse, brutal, and contemptibly weak, at once disgusting and ridiculous" and concluded that "a possible solution of the enigma is, that it may be the production of an authoress assisted by her husband, or some other male
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opinion, the novel's "evils which render the work unfit for perusal" arose from "a perverted taste and an absence of mental refinement in the writer, together with a total ignorance of the usages of good society". It argues that the scenes of debauchery "are described with a disgustingly truthful
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Carol A. Senf believes that the "unique narrative structure, the wife's story framed by that of her husband... encourages the reader to focus on questions of gender". According to Tess O'Toole, the architecture of Brontë's narrative stresses and calls attention to the disjunction of two different
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which has been empty for many years, with her young son and a servant. Contrary to the early 19th-century norms, she pursues an artist's career and makes an income by selling her pictures. Her strict seclusion soon gives rise to gossip in the neighbouring village and she becomes a social outcast.
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Helen's retreat from her husband is followed by a return to her natal family origins, symbolized by her return to the home in which she was born, and adoption of her mother's maiden name as her alias. The relationship between Helen and Frederick, sister and brother, who spent all their childhood
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doctrine in England and thus advocated a socially unacceptable view. Helen expresses several times in the story her belief in eventual universal salvation for all souls. She does not reassure the elder Arthur about this on his deathbed because she wants him to repent of his wrongdoing on his own
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Naomi Jacobs argues that "the displacement is exactly the point of the novel, which subjects its readers to a shouldering-aside of familiar notions and comfortable perceptions of the world", and both narrations and jarring discrepancies of tone and perspective between them are essential to the
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Walter Hargrave, the brother of Helen's friend Milicent Hargrave, vies for Helen's affections. While he is not as wild as his peers, he is an unwelcome admirer: Helen senses his predatory nature when they play chess. Walter informs Helen of Arthur's affair with Lady Lowborough. When his friends
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Huntingdon's pack of dissolute friends frequently engage in drunken revels at the family's home, Grassdale, oppressing those of finer character. Both men and women are portrayed as degraded. In particular, Annabella, now Lady Lowborough, is shown to be unfaithful to her melancholic but devoted
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Arthur's corruption of their son – encouraging him to drink and swear at his tender age, and to torture animals – is the last straw for Helen. She plans to flee to save her son, but her husband learns of her plans from her diary and burns the artist's tools with which she had hoped to support
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may be influenced by the print culture of the Brontës' time. For example, Anne's concern to preserve the integrity of each of her narrators' voices is similar to magazine structure that maintains the voice of individual contributors. The novel's labyrinthine structure is established by the
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Of all Arthur's friends, only Walter Hargrave has never been a heavy drinker. He uses this as manipulation in an attempt to win Helen's favour. When it doesn't work, he starts speculating that she cannot manage her life after leaving Arthur without a man's protection and supervision.
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in the context of Branwell's decline as a novel "which deserves perhaps a little more notice and recognition than it has ever received" and added that "as a study of utterly flaccid and invertebrate immorality it bears signs of more faithful transcription from life than anything in
1477:. While acknowledging "the powerful interest of the story", "the talent with which it is written" and an "excellent moral", it argued that "like the fatal melody of the Syren's song, its very perfections render it more dangerous, and therefore more carefully to be avoided". In
1103:, who also thought at first that her religious obligation was to improve her husband's behavior, but very soon she was disillusioned, separated from him and raised their child alone. Despite this, she – like Helen – believed in the ultimate salvation of her husband's soul.
339:, a friend of Charlotte Brontë, to Edward Morison Wimperis, an artist commissioned to illustrate the Brontë sisters' novels in 1872. However, neither Blake Hall nor Thorpe Green, another house where Anne was employed as a governess, corresponds exactly with Grassdale.
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shocking reality he encounters. Chapters formed from Helen's diary strictly follow its style and differ from Gilbert's narrative. His story is also taken from his own diary. Such adherence to the diaries may be considered as a 'testimony of experience'. Since the
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marries him, and resolves to reform him with gentle persuasion and good example. After the birth of their only child, however, Huntingdon becomes increasingly jealous of their son, who is also called Arthur, and his claims on Helen's attentions and affections.
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the traditional submissive behavior of wives is shown as a factor that encourages male oppression. Later, when Ralph decides to reform his life, he blames his wife's meekness and says that resistance from her would have prevented his violence and debauchery.
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s frame structure "a fatal error: for, after so long and minute a history , we cannot go back and recover the enthusiasm which we have been obliged to dismiss a volume and half before". The gossiping of the inhabitants of Linden-Car village reminded it of
250:, in 1913, said that "the slamming of bedroom door against her husband reverberated throughout Victorian England". In leaving her husband and taking away their child, Helen violates not only social conventions but also early 19th-century English law.
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According to Caroline Franklin, Anne Brontë uses the Byronic paradigm "not to titillate, but to shock" – her protest against spousal abuse needs no scandal-mongering allusions to be sensational. The character of Helen Graham may have been inspired by
1557:, in her biography of the Brontës, concluded that "Charlotte, it appears, was prepared to consign her sister's novel to oblivion because she considered its subject at odds with her own perception of what Anne's character was and ought to have been."
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in 1870 a wife had no independent existence under English law, and therefore no right to own property or to enter into contracts separately from her husband, or to sue for divorce, or for the control and custody of her children. As expressed in
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for little Arthur. Helen is suspicious of her from the start (all the families she has previously worked for have conveniently gone abroad), and when Rachel gives her certain proof that Alice is having an affair with her husband, she decides to
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Josephine McDonagh believes that the theme of displacement is underlined by the title of the novel: Helen is the tenant, not an owner-occupier, of Wildfell Hall, the place of her birth, which was bequeathed to a male descendant, her brother.
602:, brother to Jane and Richard, is a rough farmer whom Jane is ashamed of. However, everyone else approves of him as being pleasant and kind. He eventually marries, and Jane leaves the family home as she cannot stand him and his ordinary wife.
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as "the most entertaining novel we have read in a month past". However, he warned the authors, having in mind all the novels from Currer, Ellis and Acton Bell published by 1848, "against their fancy for dwelling upon what is disagreeable".
1061:. Many critics, including Anne's sister Charlotte, considered her depiction of alcoholism and adultery overly graphic and disturbing. In defence, Anne openly stated her writer's intentions in the preface to the second edition of the novel.
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called it "a feminist manifesto of revolutionary power and intelligence". The novel's framing structure, long dismissed as faulty, started to get acclaim as a fitting narrative device, essential to Anne's critical and artistic purposes.
627:, Eliza's elder sister, is a plain, quiet, sensible girl, housekeeper and family drudge. She is trusted and valued by her father, loved and courted by children and poor people, dogs and cats, and slighted and neglected by everybody else.
1161:. The original "Ur-hall" in Gondal may be the source of inspiration for at least two of them—Wuthering Heights and Wildfell Hall. Citing all this, Davies concludes that Charlotte's statement that Anne "hated her work " is not credible.
1610:, while famously saying that "when slammed the door of Mrs Huntingdon's bedroom she slammed it in the face of society and all existing moralities and conventions", considered that she "had no genius". Despite that, her opinion about
663:, the younger sister of Milicent and Walter, and Helen's friend, is bold, high-spirited and independent. She resists an arranged marriage her family tries to force her into and eventually marries Helen's brother, Frederick Lawrence.
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Ultimately she flees with her son, whom she desperately wishes to save from his father's influence. The depiction of marital strife and women's professional work is mitigated by the strong moral message of Anne Brontë's belief in
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1602:, accused Anne of "the narrowness of view" and absence of "some subtle, innate correspondence between eye and brain, between brain and hand, was present in Emily and Charlotte". She concluded that "it is not as the writer of
571:, a clever and pretty girl of 19, is Gilbert's younger sister and a friend of the Millward sisters. She becomes the wife of Jack Halford, to whom Gilbert is recounting in letters what happened 20 years prior in his youth.
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women writers to adopt a woman as narrator. Langland concluded that "if Charlotte Brontë was radical in claiming sexual identity for women, then Anne Brontë was radical in claiming professional identity for women."
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1270:. In a powerfully argued Miltonic debate about virtue, experience, choice and temptation, Helen challenges the segregated education of the two sexes, with its over-exposure for boys and over-protection for girls.
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In her letter to W.S. Williams on 5 September 1850 Charlotte wrote: "The choice of subject in is a mistake, it was too little consonant with the character, tastes and ideas of the gentle, retiring inexperienced
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Marianne Thormählen calls Milicent's remark to her drunk and abusive husband Ralph, reminding him that they are not at home, "one of the most harrowing sentences in the entire novel". Thormählen argues that in
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as the criticism of 19th century domestic ideology that encouraged women to "construct themselves as ethereal angels of morality and virtue". Betty Jay, analyzing Helen's marital experience, concluded that
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minuteness, which shows the writer to be only too well acquainted with the revolting details of such evil revelry" and considers it a final "proof of the unreadableness of these volumes". Helen's belief in
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and the class reserve that lead her to confide her troubles to diary, "the best friend I could have for the purpose ", is also shown as folly when her husband confiscates the diary and reads its contents.
1091:, Anne depicts the pathetic end of her main hero, brought on by his drinking habits. Totally dependent on his estranged wife in his final illness, Arthur Huntingdon ultimately loses all his personality.
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seeking advice regarding her alcoholic husband's abusive conduct. Mr Brontë's counsel was that she should leave her husband. Mrs Collins returned to Haworth in the spring of 1847, while Anne was writing
559:, a twenty-four-year-old farmer, is the principal narrator in the novel. He exhibits jealousy, moodiness, and anger, but during the course of the novel he grows morally and proves to be worthy of Helen.
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Often, when depicting the same subject as her sisters, Anne presents it in a completely different light: Wildfell Hall, an old superannuated mansion, she pictures not as a 'haunted' house like
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Helen escapes from her husband, in violation of English law as it then was, not for her own sake but for young Arthur's. She wants to "obviate his becoming such a gentleman as his father".
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takes inspiration from radical themes of Anne's novel. The heroine is a woman also called Helen, who she hides from her past (in an abusive marriage) in a present-day Yorkshire village.
1277:. Priti Joshi, believing that Anne had read her works, argues that she not only refuses the Wollstonecraftian indictment of the feminine, but also rejects its elevation, articulated by
274:. He resembles Branwell Brontë in three ways: physical good-looks; sexual adventures (before his affair with his employer's wife, Mrs Robinson, Branwell is thought to have fathered an
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as being "written too obviously as a work of propaganda, a treatise against drunkenness, to be considered a work of art". Several years later, however, GĂ©rin wrote an introduction to
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woman writer" in Great Britain. Unlike some early critics, who considered the scenes of debauchery improbable, Harrison and Stanford believed them to be "described in a fashion which
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502:, but some critics have argued that they have very little in common. Along with Lord Lowborough, Huntingdon bears far stronger resemblance to two types of drunkards outlined in
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with terror at what awaits him. Helen cannot comfort him, for he rejects responsibility for his actions and wishes instead for her to come with him to plead for his salvation.
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Mostly because Charlotte, Emily, and Anne published their works under pseudonyms (they respectively were Currer, Ellis, and Acton Bell), many critics initially believed that
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from Gilbert Markham to his friend about the events connected with his meeting a mysterious young widow, calling herself Helen Graham, who arrives at Wildfell Hall, an
633:, Eliza's and Mary's father, is a man of fixed principles, strong prejudices and regular habits. He considers anyone who disagrees with his views deplorably ignorant.
1774:, she must have discovered its merits." Despite notion that Charlotte and Emily were "more gifted", Spark stated that " writings none the less take no mean place in
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so she marries Ralph against her will. Wealthy Annabella wants only a title, while Lord Lowborough devotedly loves her. The social climber Jane Wilson seeks wealth.
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806:, "just enough to produce inevitable nausea and depression without positive sickness". Very soon the boy begins to be made to feel ill by the very smell of alcohol.
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dared not tread." However, Hale believed that Anne "will never be known to fame either as novelist or poet, but only as the sister of Charlotte and Emily."
452:. Like Anna, Helen firstly believed that reforming her husband's behaviour was her religious obligation. Despite disillusionment, both women retained their
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is plagued by anxiety that she is now far above his station. By chance he encounters Helen, her aunt and young Arthur. The two lovers reconcile and marry.
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a "clumsy devise", acknowledged Anne's "pre-eminent gift of story-teller" and "eloquence in proclaiming the equality of men and women". She believed that
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1821 The beginning of Helen's diary (1 June). She is back from her first season in London where she met Arthur. Wedding of Helen and Arthur (20 December).
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or the safest? Is it better to reveal the snares and pitfalls of life to the young and thoughtless traveller, or to cover them with branches and flowers?
621:, daughter of the vicar and friend of Jane Wilson, is a scandalmonger. Gilbert carries on a half-serious flirtation with her before he first meets Helen.
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Although the publishers respected Charlotte's wishes, shortly before her death in 1854 the London firm of Thomas Hodgson issued a one-volume edition of
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application of direct speech. Gilbert's letter incorporates Helen's diary; and in turn, Helen's diary includes Arthur's autobiographical reminiscences.
682:, one of Helen's suitors before her marriage, is rejected because Helen is repelled by his dull conversation. Helen prefers to spell his name "Bore'em".
669:, mother of the three Hargrave children, is a hard and stingy woman. She adores her only son and tries to marry off her daughters as soon as possible.
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a "soft nonsense", thus making "almost an accusation against Emily". Unlike Chitham and Liddell, Maria H. Frawley identified the central element in
1473:, believing "despite reports to the contrary" that " woman could have written such a work", warned its readers, especially ladies, against reading
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646:, a friend of Arthur Huntingdon's, is a predatory admirer of Helen while she is still living with her husband. He is a cousin of Annabella Wilmot.
2105:, Anne Brontë laid bare the essential imbalance of power between men and women in the suffocating hierarchical structure of Victorian marriage."
1573:"was painfully discordant to one who would fain have sheltered herself from all but peaceful and religious ideas". In his essay on Emily Brontë,
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herself. Eventually, with help from her brother, Mr Lawrence, and her servant, Rachel, Helen escapes and finds a secret refuge at Wildfell Hall.
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The phrase "tied to the apron strings" was coined in the novel: "Even at his age, he ought not to be always tied to his mother's apron string."
1391:'s style, but "with less of that particular quality which her dialogues invariably possessed". Considering the novel's structure as "faulty",
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1864:
1379:, while praising all Brontës as "a hardy race", who "do not lounge in drawing-rooms or boudoirs", and "not common-place writers", considered
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Note that Gilbert offers his story as a "coin", the "first instalment of debt", that indicates emotional clumsiness even in his older self.
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Acton Bell. Probably the most shocking of the Brontës' novels, it had an instant and phenomenal success, but after Anne's death her sister
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328:. Ponden shares certain architectural details with Wildfell, including latticed windows and a central portico with a date plaque above.
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652:, a meek woman married to Ralph Hattersley against her will, is Walter's sister and Helen's close friend. Milicent can be seen as a
335:, where Anne had been employed as a governess, was suggested as the model for Grassdale Manor, Arthur Huntingdon's country seat, by
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596:, Jane's brother, succeeds the Reverend Millward in the vicarage of Lindenhope and eventually marries his daughter, the plain Mary.
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calls for "more support for married and remarried women's legal rights and artistic opportunities in nineteenth-century Britain".
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alcohol, Huntingdon deteriorates in health and eventually dies. He is widely thought to be loosely based on the author's brother,
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believed that Anne "would have no right to be considered at all as a writer but for her association with imperative spirits".
1511:", which it believed to be "one of the coarsest of the books we ever perused". The Reverend Michael Millward was considered by
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657:"would not exchange for any man on earth". At length, Ralph finally reforms himself and Milicent finds happiness in marriage.
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282:. Another character in the novel, Lord Lowborough, has an association with opium that may also reflect Branwell's behaviour.
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474:, Helen's aunt, tries to warn her against marrying Huntingdon. She dies several years after Helen's and Gilbert's marriage.
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praised her proficiency. She believed that Charlotte was a "harsh sister to Anne" and "had she taken an impartial view of
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Anne challenges the central tenet of 19th-century domestic ideology – women's influence on men – famously postulated by
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had "the rarest literary quality of heat", and blamed Charlotte Brontë for her youngest sister's loss of reputation.
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1281:. Anne Brontë's feminism, in Joshi's words, "forges a path between the extremes of Wollstonecraft-More spectrum". In
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are influenced by Anne's juvenile fiction. In their childhood Emily and Anne Brontë created the imaginary kingdom of
867:, where the main heroine fulfills (or reduces) her ambitions for a wider life by taming and managing her husband. In
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Thormählen, Marianne (October 1993). "The Villain of "Wildfell Hall": Aspects and Prospects of Arthur Huntingdon".
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938:, "This rule has worked out in reality to mean that though the husband and wife are one, the one is the husband."
1313:. Especially shocking was Helen's slamming of her bedroom door in the face of her husband after continuing abuse.
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not only complicate Helen's definition as wife, widow, and artist, but also enable Anne Brontë to criticize the
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to learn that she is not intending to add another work to those which have already been produced by her pen".
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Hannah More's belief in the "moral superiority" of women had strongly influenced Victorian domestic ideology.
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Maunsell, Melinda (Summer 1997). "The Hand-Made Tale: Hand Codes and Power Transactions in Anne Brontë's
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565:, Gilbert's seventeen-year-old brother, is high-spirited and idle, and often tries but fails to be witty.
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depart, Arthur pines openly for his paramour and derides his wife, but he will not grant her a divorce.
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1598:, a novelist, who was widely known for her anti-feminist views, in her introduction to 1900 edition of
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3734:"World premiere of The Tenant of Wildfell Hall opens the Department of Theatre and Film's 64th season"
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that this doctrine is alike repugnant to Scripture, and in direct opposition to the teaching of the
688:, the uncle of Annabella Wilmot, is another of Helen's early suitors. She considers him a scoundrel.
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is the story of Mrs Collins, the wife of a local curate, who in November 1840 came to Anne's father
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has established its reputation as a landmark feminist text. In her 1996 introduction to the novel,
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friend: if this be not the case, we would rather decide on the whole, that it is a man's writing."
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1828 Helen goes back to Grassdale to take care of Arthur (4 November); Arthur dies (5 December).
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of sense and reason amongst males as the consequence of value-system based on the worship of
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The novel begins in 1847, but flashes back to the period from 1821 to 1830 before returning.
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1822:(1991) also juxtaposed the novels of Anne and her sisters'. He stated that in Anne's view
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2236:"Mr. Newby Will Publish On The 24th, Mr. Acton Bell's Novel, The Tenant Of Wildfell Hall"
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writing a diary had been a popular form of documenting and expressing personal opinions.
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1997:
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premiered in October 2015, adapted by Jacqueline Firkins and directed by Sarah Rogers.
1606:, but as the sister of Charlotte and Emily Brontë, that Anne Brontë escapes oblivion."
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468:, Helen's wealthy uncle, dies near the end of the novel and leaves Staningley to Helen.
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Their proper sphere; a study of the Brontë sisters as early-Victorian female novelists
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Diederich, Nicole A. (2003). "The Art of Comparison: Remarriage in Anne Brontë's
2071:. The name of the heroine is Helen Huntingdon and she also has a disastrous marriage.
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said: "It is worth pausing briefly to reflect on what might have been Anne's fate had
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Four houses in the younger Brontës' novels have "W. H." initials: Wellwood House in
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4106:. Vol. II. The creative work. Harlow, Essex: Longman for the British Council.
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2639:"Rachel Ablow, 'One Flesh', One Person, and the 1870 Married Women's Property Act"
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721:, is the husband of Rose Markham and the addressee of Gilbert's letters. He is an
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The Kinship Coterie and the Literary Endeavors of the Women in the Shelley Circle
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were written by the same person, stated that the latter is "not so bad a book as
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by W. T. Hale, where he stated that in the "ideas and situations", presented in
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accord. Despite his inability to do so, Helen still believes in his redemption.
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3777:"Censored and criticised, The Tenant of Wildfell Hall is perfect for our times"
3230:. London & Toronto; New York: J. M. Dent & Sons; E. P. Dutton & Co.
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in northern dialect means pool, pond or low-lying and boggy ground. Lindenhope
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3755:"Shocking gossip as The Tenant Of Wildfell Hall moves into York Theatre Royal"
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O'Toole, Tess (1999). "Siblings and Suitors in the Narrative Architecture of
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Only in 1929 the first dedicated biography of Anne came out – it was a short
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1827 Helen flees to Wildfell Hall with Rachel and little Arthur (24 October).
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3709:"BBC Radio 4 - 15 Minute Drama, The Tenant of Wildfell Hall - Episode guide"
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exhibited elements which she called in the preface to the second edition of
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is the book title acted out by Lady Mary Crawley in the Christmas charade.
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Joshi, Priti (2009). "Masculinity and Gossip in Anne Brontë's "Tenant"".
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1847 Gilbert ends his letter to Jack Halford and the narrative (10 June).
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began to get critical acclaim. Elizabeth Langland in her 1989 monograph
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The novel's critique of libertine men may be influenced by the works of
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1822 Helen reports the birth of her son, named also Arthur (5 December).
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2011:, Australia on June 21. The production was directed by Jessica Arthur.
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Anne Brontë starts her novel in a social comedy manner, reminiscent of
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994:(1857), which depicts a widow attempting to make a living as an artist.
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863:. This doctrine found its way into even "protofeminist" novels such as
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The Female Romantics: Nineteenth-century Women Novelists and Byronism
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with music composed by Garrett Hope and libretto by Steven Soebbing.
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features numerous allusions to a wide range of other texts, from the
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Annabella Milbanke, a possible real-life inspiration for Helen Graham
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The reveal kickstarts the BBC's year-long celebration of literature.
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Josephine McDonagh believes that some of the stylistic features of
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Women Novelists of Queen Victoria's Reign; A Book of Appreciations
3182:"Ward at the Dictionary of Unitarian & Universalist Biography"
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1668:, Anne "was way ahead of her times" and that "she rushed in where
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In discussing Brontë's narrative strategy, Carol N. Senf compares
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1802/3 Helen Lawrence born at Wildfell Hall; Gilbert Markham born.
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Linden-Car, the village that Wildfell Hall stands close to, is in
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McDonagh, Josephine (2008). "Introduction and Additional Notes".
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2242:. 23 June 1848. p. 8 – via British Newspaper Archive.
1528:, shortly after Anne's death, wrote: "Curious enough is to read
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2008:
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and directed by Elizabeth Newman. The production opened in the
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as established by marriage and re-established with remarriage.
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Some aspects of the life and character of the author's brother
3806:"The Woman Who Ran by Sam Baker review – 21st‑century take on
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1824 Helen reveals Arthur's affair with Annabella (7 October).
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which was home to and is greatly associated with the Brontës)
2689:(1). Victorian Studies Association of Western Canada: 43–61.
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Notwithstanding Anne's repudiation of the Gothic atmosphere,
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258:
128:
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Hale, Will T. (1930). "Anne Brontë: Her Life and Writings".
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Swinburne, Algernon Charles (16 June 1883). "Emily Brontë".
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who remain stubborn tend to meet violent or miserable ends.
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1778:." However, some forty years later, in the introduction to
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as the Painting of real genius". Again having in mind both
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believed that English society "owes thanks, not sneers" to
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Ten episodes aired from 28 November to 9 December 2011 on
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Unlike her elder sisters, Anne Brontë did not follow the
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2748:(2). Rocky Mountain Modern Language Association: 25–41.
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was one of a few magazines that was not hostile towards
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is the second and final novel written by English author
4836:(lifelong friend and correspondent of Charlotte Brontë)
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Jacobs, N. M. (1986). "Gender and Layered Narrative in
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2563:(4). National Council of Teachers of English: 446–456.
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The novel has twice been adapted for television by the
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In her early essays on Anne Brontë's novels and poetry
1699:'s novels, Harrison and Stanford named Anne the "first
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wrote: "A people's novel of a very different school is
546:. He helps Arthur to conceal his affair with Annabella.
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in Northeastern English means a small enclosed valley.
3691:"The Mutilated Texts of 'The Tenant of Wildfell Hall'"
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3591:
3567:
3234:
3092:
2316:(4). Modern Humanities Research Association: 831–841.
1395:
concludes that "it is scarcely possible to analyze ".
262:
Blake Hall photographed at the end of the 19th century
4751:(house in Thornton, birthplace of the Brontë sisters)
4299:
The Essence of the Brontës: A Compilation with Essays
3579:
3135:
3080:
3030:
2982:
2931:
2815:
2788:
1218:
883:
is thus considered a feminist novel by many critics.
3437:
3413:
3361:
3282:
2776:
2115:
216:
prevented its re-publication in England until 1854.
3519:
3507:
3373:
1759:in the context of the biography of Anne's brother,
1082:Anne's portrayal of Arthur Huntingdon deflates the
3857:
3659:"100 'most inspiring' novels revealed by BBC Arts"
3531:
3457:
1970:The novel was adapted as a three-act opera at the
4231:New Approaches to the Literary Art of Anne Brontë
4196:Twin Spirits: The Novels of Emily and Anne Brontë
3627:
2611:Davies, Stevie (1996). "Introduction and Notes".
2438:"The Tenant of Wildfell Hall Themes - eNotes.com"
2432:
2430:
2090:The Guernsey Literary and Potato Peel Pie Society
1110:vice is not unique to the men. Lady Lowborough's
919:Portrait of an English married couple, circa 1780
550:
4959:
4120:
3355:
3331:
2809:
2742:Rocky Mountain Review of Language and Literature
316:believed that the original of Wildfell Hall was
278:child who died at birth); and especially in his
2555:: Narrative Silences and Questions of Gender".
2346:Dinsdale, Ann (2008). "Geographical sittings".
2022:(2016) by Sam Baker is a modernized retelling.
1741:is feminist in the deepest sense of the word."
1708:her later work on the Brontës, Gérin dismissed
4793:(waterfall associated with the Brontë sisters)
2886:
2884:
2882:
2427:
1728:"might be said to be the first manifesto for '
612:
581:
493:, Helen's abusive and alcoholic husband, is a
4799:(footpath associated with the Brontë sisters)
4431:
4229:Nash, Julie; Suess, Barbara A., eds. (2001).
4003:Take Courage: Anne Brontë and the Art of Life
3956:Chadwick, Mrs Ellis H (Esther Alice) (1914).
3651:
2139:
2097:), argues about the cultural significance of
2003:The 2022 adaptation by Emme Hoy premiered at
1785:Only in the last decades of the 20th century
1142:, about which they composed prose and poems.
1134:believes that the settings and characters in
879:corrective role of women in relation to men.
5033:British novels adapted into television shows
3919:. New York & Abingdon, Oxon: Routledge.
3796:
3794:
3468:(online ed.). Oxford University Press.
2897:SEL: Studies in English Literature 1500–1900
2505:SEL: Studies in English Literature 1500–1900
1057:style in her two novels, opting instead for
998:Nicole A. Diederich has argued that in
759:1830 Gilbert and Helen are married (August).
484:
270:correspond to those of Arthur Huntingdon in
21:The Tenant of Wildfell Hall (disambiguation)
2966:(229). James Fraser: 417–432. January 1849.
2948:
2946:
2890:
2879:
2867:(3). Journal of Narrative Theory: 204–219.
2341:
2339:
2210:Hale was, according to Elizabeth Langland,
637:
253:
4777:(landscape portrayed in the Brontë novels)
4438:
4424:
3985:
3501:
3227:The Tenant of Wildfell Hall and Agnes Grey
3207:Ward, Mrs Humphry (1900). "Introduction".
2454:
2369:
2367:
2307:
2194:
2057:. Her name is also used as a secret code.
2044:The story of Helen Graham is mentioned in
967:– one form of artist's self-identification
34:
4228:
3791:
3645:
3153:
2846:
2844:
2842:
2735:
2606:
2476:
2421:
2215:attention over her literary achievements.
2169:
2159:
1675:In 1959, two biographies were published:
1563:repeated Charlotte's words about Anne in
1157:, and Wildfell Hall and Woodford Hall in
366:The novel is divided into three volumes.
4176:. Totowa, New Jersey: Barnes and Noble.
4171:
4031:
3962:. London: Sir Isaac Pitman and sons Ltd.
3955:
3573:
3561:
3549:
3459:"Brontë, (Patrick) Branwell (1817–1848)"
3455:
3300:
3276:
3264:
3252:
3240:
3223:
2943:
2833:
2676:
2604:
2602:
2600:
2598:
2596:
2594:
2592:
2590:
2588:
2586:
2498:
2496:
2494:
2492:
2490:
2488:
2373:
2345:
2336:
2265:
2134:List of feminist literature § 1840s
2025:
1743:
1622:
1544:A great success on initial publication,
1397:
1329:
1122:
982:The story of Helen Graham, according to
977:
959:
914:
829:
780:
423:
375:
300:
257:
4805:(school attended by the Brontë sisters)
4574:Lines Composed in a Wood on a Windy Day
4190:
4071:
4050:
3966:
3621:
3609:
3597:
3585:
3465:Oxford Dictionary of National Biography
3141:
3098:
2546:
2544:
2542:
2397:
2364:
1297:
419:
4960:
4724:(husband of first cousin once removed)
4608:Poems by Currer, Ellis, and Acton Bell
4027:. Cambridge: Harvard University Press.
4019:
3933:
3911:
3443:
3431:
3419:
3343:
3224:Sinclair, May (1922). "Introduction".
3086:
3074:
3062:
3036:
3024:
3012:
3000:
2988:
2976:
2937:
2850:
2839:
2821:
2797:
2610:
2303:
2301:
2299:
2290:
2261:
2259:
2257:
2255:
2253:
2251:
2249:
1806:, noting Anne's apparent distaste for
1118:
1043:
1022:
4852:(lifelong friend of Charlotte Brontë)
4419:
4293:
4212:
4152:
4138:. Tavistock, Devon: Northcote House.
4097:
4085:
3997:
3991:The Infernal World of Branwell Brontë
3800:
3537:
3525:
3513:
3391:
3379:
3367:
3288:
2782:
2723:
2583:
2502:
2485:
2379:
40:Title page of the first edition, 1848
3688:
3682:
3312:
3206:
3110:
2670:
2550:
2539:
2448:
2204:
2150:
1814:criticized both Branwell's life and
1695:was published some ten years before
1636:studying". Chadwick also considered
1631:, an admirer of Anne Brontë's novels
1540:Suppression and subsequent criticism
809:
766:
542:, another of Arthur's friends, is a
380:Helen and Gilbert by Walter L. Colls
4133:
3633:
3399:. Harmondsworth: Penguin Classics.
2729:
2296:
2246:
1164:
825:
673:
13:
4862:who was loved by Charlotte Brontë)
4445:
4406:The Tenant of Wildfell Hall (1996)
4395:The Tenant of Wildfell Hall (1968)
3917:The Brontës: The Critical Heritage
3695:www.mick-armitage.staff.shef.ac.uk
3321:(83–86). Indiana University: 3–44.
3213:. New York: Harper & Brothers.
3117:www.mick-armitage.staff.shef.ac.uk
2861:The Journal of Narrative Technique
1443:has so long led the public mind".
1219:From social comedy to social drama
14:
5054:
5038:British novels adapted into plays
5003:British novels adapted into films
4998:Works published under a pseudonym
4809:St Michael and All Angels' Church
4317:
3876:from the original on 20 June 2022
2471:(1). Taylor & Francis: 5–19.
2465:The Journal of the Brontë Society
1988:In 2017 the novel was adapted by
1870:
1257:
1241:
1127:Thomas Moore's biography of Byron
4941:
4940:
4498:
4349:
4081:. London: Smith, Elder & Co.
3971:. Oxford: Blackwell Publishers.
3050:"Sharpe's London Magazine, 1848"
2191:were written by the same person.
2118:
2093:film adaptation, Juliet Ashton (
1200:
434:Helen "Nell" Lawrence Huntingdon
4289:. London: Hurst & Blackett.
4057:. New York: Twayne Publishers.
3959:In the footsteps of the Brontës
3888:
3850:
3829:
3769:
3747:
3726:
3701:
3449:
3385:
3306:
3217:
3200:
3174:
3147:
3104:
3042:
2903:(4). Rice University: 715–731.
2656:
2631:
2511:(4). Rice University: 907–924.
2457:"'Horror and disgust': Reading
1569:, claiming that the subject of
1553:better than the present work."
953:
886:
361:
4771:which was home to the Brontës)
4761:which was home to the Brontës)
4233:. Ashgate Publishing Limited.
4127:Anne Brontë: Her Life and Work
3158:(2903). John Francis: 762–763.
2228:
1979:University of British Columbia
1972:University of Nebraska-Lincoln
1886:
1677:Anne Brontë, her life and work
738:1792/3 Arthur Huntingdon born.
551:Inhabitants of Linden-Car Farm
404:Part Three (Chapters 45 to 53)
305:Wildfell Hall, as depicted by
1:
4374:Page scans of first edition:
4218:Conversations in Ebury Street
2478:10.1080/14748932.2019.1525872
2455:Thormählen, Marianne (2018).
2221:
1776:nineteenth-century literature
945:
855:According to Priti Joshi, in
776:
631:The Reverend Michael Millward
436:, known also under her alias
414:
221:framed as a series of letters
4815:of which Patrick Brontë was
4172:Langland, Elizabeth (1989).
4153:Joffe, Sharon Lynne (2007).
4078:The Life of Charlotte Brontë
3489:UK public library membership
3456:Neufeldt, Victor A. (2004).
3356:Harrison & Stanford 1959
3332:Harrison & Stanford 1959
2810:Harrison & Stanford 1959
1966:Theatre and musical versions
1960:second version, made in 1996
1566:The Life of Charlotte Brontë
1292:
925:Married Women's Property Act
385:Part two (Chapters 16 to 44)
285:Another possible source for
204:. It was first published in
29:The Tenant of Wildfell Hall
7:
4968:The Tenant of Wildfell Hall
4589:The Tenant of Wildfell Hall
4366:The Tenant of Wildfell Hall
4359:public domain audiobook at
4356:The Tenant of Wildfell Hall
4339:The Tenant of Wildfell Hall
4325:The Tenant of Wildfell Hall
4032:Franklin, Caroline (2012).
3808:The Tenant of Wildfell Hall
3397:The Tenant of Wildfell Hall
3210:The Tenant of Wildfell Hall
3113:"The Novels of Anne Brontë"
2893:The Tenant of Wildfell Hall
2857:The Tenant of Wildfell Hall
2738:The Tenant of Wildfell Hall
2679:The Tenant of Wildfell Hall
2614:The Tenant of Wildfell Hall
2553:The Tenant of Wildfell Hall
2459:The Tenant of Wildfell Hall
2348:The Tenant of Wildfell Hall
2270:. Oxford University Press.
2268:The Tenant of Wildfell Hall
2189:The Tenant of Wildfell Hall
2111:
2069:The Tenant of Wildfell Hall
2039:The Tenant of Wildfell Hall
1983:The Tenant of Wildfell Hall
1928:first version, made in 1968
1877:The Tenant of Wildfell Hall
1865:100 most influential novels
1861:The Tenant of Wildfell Hall
1795:The Tenant of Wildfell Hall
1534:The Tenant of Wildfell Hall
1407:The Tenant of Wildfell Hall
1351:The Tenant of Wildfell Hall
1325:The Tenant of Wildfell Hall
1303:The Tenant of Wildfell Hall
1235:The Tenant of Wildfell Hall
1153:, the eponymous mansion in
904:
881:The Tenant of Wildfell Hall
729:
613:Inhabitants of the Vicarage
582:Inhabitants of Ryecote Farm
370:Part One (Chapters 1 to 15)
240:The Tenant of Wildfell Hall
197:The Tenant of Wildfell Hall
183:The Tenant of Wildfell Hall
10:
5059:
5043:Novels adapted into operas
4174:Anne Brontë: The Other One
4051:Frawley, Maria H. (1996).
3904:
3859:"How Sam Baker's thriller
3315:Indiana University Studies
2310:The Modern Language Review
2140:Notes, references, sources
1791:Anne Brontë: The Other One
1780:The Essence of the Brontës
1640:to be "probably the first
1575:Algernon Charles Swinburne
1305:challenged the prevailing
1048:
908:
508:The Anatomy of Drunkenness
238:Most critics now consider
18:
4935:
4879:
4826:
4731:
4664:
4623:
4599:
4563:
4507:
4496:
4453:
3941:. London: Phoenix House.
2664:"United States v. Yazell"
1422:"infinitely inferior" to
923:Until the passing of the
771:
485:Huntingdon and his circle
177:
164:
152:
140:
126:
118:
106:
98:
88:
78:
64:
56:
45:
33:
16:1848 novel by Anne Brontë
4648:The Young Men's Magazine
4532:F. De Samara to A. G. A.
4301:. Manchester: Carcanet.
4157:. New York: Peter Lang.
4098:GĂ©rin, Winifred (1974).
3967:Chitham, Edward (1991).
3895:"Apron strings, tied to"
3863:inspired by Anne Brontë"
3395:(1979). "Introduction".
2643:www.branchcollective.org
2551:Senf, Carol A. (1990). "
2144:
2035:Christmas special (2011)
1853:On 5 November 2019, the
1471:Sharpe's London Magazine
1213:
1035:contradicted prevailing
638:Inhabitants of The Grove
472:Margaret "Peggy" Maxwell
460:Master Arthur Huntingdon
440:(Graham is her mother's
254:Background and locations
5023:Novels set in the 1820s
5008:Novels set in Yorkshire
4781:Brontë Parsonage Museum
2666:– via Wikisource.
2405:"Anne Brontë (Website)"
2350:. Worth Press Limited.
1994:Octagon Theatre, Bolton
1797:been re-published with
1459:"less unpleasant" than
992:Nameless and Friendless
935:United States v. Yazell
787:The Drunkard's Progress
307:Edmund Morison Wimperis
242:to be one of the first
4273:Macquoid, Katharine S.
4198:. London: Peter Owen.
1881:Smith, Elder & Co.
1749:
1632:
1409:
1341:
1128:
1097:Anna Isabella Milbanke
1068:
995:
968:
920:
835:
798:
446:Anna Isabella Milbanke
429:
381:
312:The Brontë biographer
309:
263:
5028:Novels set in Cumbria
4978:Novels about adultery
4842:(lifelong friend and
4783:(former home and now
4712:(Charlotte's husband)
3969:A Life of Anne Brontë
3646:Nash & Suess 2001
3474:10.1093/ref:odnb/3526
2909:10.1353/sel.1999.0038
2695:10.1353/vcr.1997.0008
2422:Nash & Suess 2001
2026:References in culture
2005:Roslyn Packer Theatre
1820:A Life of Anne Brontë
1747:
1626:
1452:North American Review
1412:An American magazine
1401:
1333:
1262:In the third chapter
1126:
1063:
981:
963:
918:
833:
784:
427:
379:
304:
261:
122:3 vols: 358, 366, 342
5018:Novels about artists
4927:Victorian literature
4846:of Charlotte Brontë)
4710:Arthur Bell Nicholls
4615:List of Brontë poems
4277:French Hector, Annie
3935:Barker, Juliet R. V.
3169:Oliphant et al. 1897
2015:Literary adaptations
1996:and then moved into
1818:. Edward Chitham in
1679:by Ada Harrison and
1317:, in his review for
1298:Contemporary reviews
1266:changes tone to the
986:, may have inspired
420:Helen and her family
83:Thomas Cautley Newby
19:For other uses, see
4973:1848 British novels
4803:Cowan Bridge School
4525:To a Wreath of Snow
4265:Yonge, Charlotte M.
4134:Jay, Betty (2000).
3872:. 31 January 2016.
3804:(29 January 2016).
3689:Armitage, Michael.
3624:, pp. 134–136.
3552:, pp. 152–153.
3346:, pp. 258–259.
3123:on 26 November 2014
3111:Armitage, Michael.
3077:, pp. 266–268.
3065:, pp. 263–265.
3027:, pp. 261–262.
3015:, pp. 257–261.
3003:, pp. 254–256.
2979:, pp. 249–250.
2726:, pp. 281–282.
2293:, pp. 334–335.
2054:A Great Deliverance
1918:Television versions
1863:on its list of the
1484:Universal salvation
1447:Edwin Percy Whipple
1275:Mary Wollstonecraft
1246:Tess O'Toole calls
1230:Pride and Prejudice
1119:Sisters' connection
1044:Style and narrative
1023:Universal salvation
796:temperance movement
320:, a farmhouse near
233:universal salvation
30:
4704:Elizabeth Branwell
4600:Collaborative work
4253:Lynn Linton, Eliza
4249:Oliphant, Margaret
4073:Gaskell, Elizabeth
4021:Ewbank, Inga Stina
3987:du Maurier, Daphne
3897:, Wordorigins.org
3504:, pp. 209–10.
2517:10.1353/sel.0.0079
2411:on 25 August 2011.
1998:York Theatre Royal
1892:Radio show version
1808:Romantic tradition
1750:
1633:
1577:briefly mentioned
1410:
1342:
1129:
996:
969:
921:
836:
799:
478:Frederick Lawrence
430:
382:
310:
264:
28:
5013:Epistolary novels
4993:Fictional diaries
4955:
4954:
4912:To Walk Invisible
4840:Elizabeth Gaskell
4749:Brontë Birthplace
4553:Wuthering Heights
4539:Come hither child
4344:Project Gutenberg
4308:978-1-847-77470-5
4261:Sergeant, Adeline
4164:978-0-820-49506-4
4100:Ian Scott-Kilvert
4043:978-0-415-99541-2
3861:The Woman Who Ran
3667:. 5 November 2019
3487:(Subscription or
3434:, pp. 83–84.
3188:on 13 August 2012
3171:, pp. 28–29.
2959:Fraser's Magazine
2853:Wuthering Heights
2624:978-0-14-043474-3
2617:. Penguin Books.
2357:978-1-903025-57-4
2277:978-0-19-920755-8
2185:Wuthering Heights
2082:The Woman Who Ran
2020:The Woman Who Ran
1824:Wuthering Heights
1816:Wuthering Heights
1753:Daphne du Maurier
1737:central concern,
1734:Inga-Stina Ewbank
1722:Wuthering Heights
1592:Margaret Oliphant
1588:Wuthering Heights
1561:Elizabeth Gaskell
1530:Wuthering Heights
1461:Wuthering Heights
1320:Fraser's Magazine
1191:Wuthering Heights
1155:Wuthering Heights
1076:Wuthering Heights
988:Emily Mary Osborn
811:Domestic violence
792:Nathaniel Currier
767:Literary analysis
650:Milicent Hargrave
491:Arthur Huntingdon
193:
192:
99:Publication place
52:(as "Acton Bell")
5050:
4983:Victorian novels
4944:
4943:
4896:Les Sœurs Brontë
4856:Constantin HĂ©ger
4791:Brontë Waterfall
4698:Elizabeth Brontë
4634:A Book of Ryhmes
4502:
4440:
4433:
4426:
4417:
4416:
4388:Internet Archive
4353:
4352:
4346:
4312:
4290:
4244:
4225:
4209:
4187:
4168:
4149:
4130:
4117:
4094:
4093:. Thomas Nelson.
4082:
4068:
4047:
4028:
4016:
4005:. Random House.
3994:
3982:
3963:
3952:
3930:
3898:
3892:
3886:
3885:
3883:
3881:
3865:
3854:
3848:
3847:
3845:
3843:
3833:
3827:
3826:
3824:
3822:
3798:
3789:
3788:
3786:
3784:
3773:
3767:
3766:
3764:
3762:
3751:
3745:
3744:
3742:
3740:
3730:
3724:
3723:
3721:
3719:
3705:
3699:
3698:
3686:
3680:
3679:
3674:
3672:
3655:
3649:
3643:
3637:
3631:
3625:
3619:
3613:
3607:
3601:
3595:
3589:
3583:
3577:
3571:
3565:
3559:
3553:
3547:
3541:
3535:
3529:
3523:
3517:
3511:
3505:
3499:
3493:
3492:
3484:
3482:
3480:
3461:
3453:
3447:
3441:
3435:
3429:
3423:
3417:
3411:
3410:
3389:
3383:
3377:
3371:
3365:
3359:
3353:
3347:
3341:
3335:
3329:
3323:
3322:
3310:
3304:
3298:
3292:
3286:
3280:
3274:
3268:
3262:
3256:
3250:
3244:
3238:
3232:
3231:
3221:
3215:
3214:
3204:
3198:
3197:
3195:
3193:
3184:. Archived from
3178:
3172:
3166:
3160:
3159:
3151:
3145:
3139:
3133:
3132:
3130:
3128:
3119:. Archived from
3108:
3102:
3096:
3090:
3084:
3078:
3072:
3066:
3060:
3054:
3053:
3046:
3040:
3034:
3028:
3022:
3016:
3010:
3004:
2998:
2992:
2986:
2980:
2974:
2968:
2967:
2950:
2941:
2935:
2929:
2928:
2888:
2877:
2876:
2848:
2837:
2831:
2825:
2819:
2813:
2807:
2801:
2795:
2786:
2780:
2774:
2773:
2733:
2727:
2721:
2715:
2714:
2683:Victorian Review
2674:
2668:
2667:
2660:
2654:
2653:
2651:
2649:
2635:
2629:
2628:
2608:
2581:
2580:
2548:
2537:
2536:
2500:
2483:
2482:
2480:
2452:
2446:
2445:
2434:
2425:
2419:
2413:
2412:
2407:. Archived from
2401:
2395:
2394:
2383:
2377:
2371:
2362:
2361:
2343:
2334:
2333:
2305:
2294:
2288:
2282:
2281:
2263:
2244:
2243:
2240:The Morning Post
2232:
2216:
2208:
2202:
2198:
2192:
2173:
2167:
2163:
2157:
2154:
2128:
2123:
2122:
2067:was inspired by
2060:Tina Connolly's
2046:Elizabeth George
1990:Deborah McAndrew
1428:Literature World
1415:Literature World
1385:
1335:Charles Kingsley
1315:Charles Kingsley
1175:
1165:Framed narration
1027:Seemingly pious
826:Gender relations
790:, lithograph by
723:unseen character
674:Other characters
534:Ralph Hattersley
514:Annabella Wilmot
165:Preceded by
156:
130:
90:Publication date
73:social criticism
69:Epistolary novel
38:
31:
27:
5058:
5057:
5053:
5052:
5051:
5049:
5048:
5047:
4988:Feminist novels
4958:
4957:
4956:
4951:
4931:
4880:Cultural legacy
4875:
4872:of the Brontës)
4822:
4787:of the Brontës)
4727:
4686:Branwell Brontë
4660:
4619:
4595:
4559:
4503:
4494:
4449:
4444:
4350:
4336:
4330:Standard Ebooks
4320:
4315:
4309:
4241:
4206:
4192:Liddell, Robert
4184:
4165:
4146:
4123:Stanford, Derek
4121:Harrison, Ada;
4114:
4087:GĂ©rin, Winifred
4065:
4044:
4013:
3999:Ellis, Samantha
3979:
3949:
3927:
3907:
3902:
3901:
3893:
3889:
3879:
3877:
3869:The Independent
3856:
3855:
3851:
3841:
3839:
3835:
3834:
3830:
3820:
3818:
3802:Ellis, Samantha
3799:
3792:
3782:
3780:
3775:
3774:
3770:
3760:
3758:
3757:. 21 April 2017
3753:
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3717:
3715:
3707:
3706:
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3572:
3568:
3560:
3556:
3548:
3544:
3536:
3532:
3524:
3520:
3512:
3508:
3502:du Maurier 1960
3500:
3496:
3486:
3478:
3476:
3454:
3450:
3442:
3438:
3430:
3426:
3418:
3414:
3407:
3393:GĂ©rin, Winifred
3390:
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3378:
3374:
3366:
3362:
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3205:
3201:
3191:
3189:
3180:
3179:
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3057:
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3035:
3031:
3023:
3019:
3011:
3007:
2999:
2995:
2987:
2983:
2975:
2971:
2954:"Recent Novels"
2952:
2951:
2944:
2936:
2932:
2889:
2880:
2849:
2840:
2832:
2828:
2820:
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2808:
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2796:
2789:
2781:
2777:
2754:10.2307/1348391
2734:
2730:
2722:
2718:
2675:
2671:
2662:
2661:
2657:
2647:
2645:
2637:
2636:
2632:
2625:
2609:
2584:
2557:College English
2549:
2540:
2501:
2486:
2453:
2449:
2436:
2435:
2428:
2420:
2416:
2403:
2402:
2398:
2391:www.bronte.info
2385:
2384:
2380:
2372:
2365:
2358:
2344:
2337:
2322:10.2307/3734417
2306:
2297:
2289:
2285:
2278:
2264:
2247:
2234:
2233:
2229:
2224:
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2209:
2205:
2199:
2195:
2174:
2170:
2164:
2160:
2155:
2151:
2147:
2142:
2124:
2117:
2114:
2028:
1958:starred in the
1944:Tara Fitzgerald
1910:as Gilbert and
1908:Robert Lonsdale
1889:
1873:
1810:, claimed that
1761:Branwell Brontë
1748:Branwell Brontë
1542:
1525:Leader Magazine
1499:, arguing that
1489:Anglican Church
1383:
1300:
1295:
1260:
1244:
1221:
1216:
1203:
1173:
1167:
1121:
1072:Thornfield Hall
1051:
1046:
1025:
1005:domestic sphere
958:
948:
913:
907:
889:
849:Handmaid's Tale
844:Margaret Atwood
828:
814:
794:supporting the
779:
774:
769:
732:
676:
661:Esther Hargrave
644:Walter Hargrave
640:
615:
584:
557:Gilbert Markham
553:
520:Lord Lowborough
487:
422:
417:
364:
268:Branwell Brontë
256:
145:
107:Media type
91:
41:
24:
17:
12:
11:
5:
5056:
5046:
5045:
5040:
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4980:
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4908:
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4883:
4881:
4877:
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4873:
4863:
4853:
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4837:
4830:
4828:
4824:
4823:
4821:
4820:
4806:
4800:
4794:
4788:
4778:
4775:Brontë Country
4772:
4762:
4752:
4746:
4735:
4733:
4729:
4728:
4726:
4725:
4722:William Morgan
4719:
4718:(uncle-in-law)
4713:
4707:
4701:
4695:
4689:
4683:
4680:Maria Branwell
4677:
4674:Patrick Brontë
4670:
4668:
4662:
4661:
4659:
4658:
4651:
4644:
4637:
4629:
4627:
4621:
4620:
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4603:
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4560:
4558:
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4535:
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4521:
4513:
4511:
4505:
4504:
4497:
4495:
4493:
4492:
4484:
4476:
4468:
4459:
4457:
4451:
4450:
4447:Brontë sisters
4443:
4442:
4435:
4428:
4420:
4414:
4413:
4402:
4391:
4372:
4363:
4347:
4334:
4332:
4319:
4318:External links
4316:
4314:
4313:
4307:
4291:
4281:Marshall, Emma
4245:
4239:
4226:
4210:
4204:
4188:
4182:
4169:
4163:
4150:
4144:
4131:
4118:
4112:
4095:
4083:
4069:
4063:
4048:
4042:
4029:
4017:
4011:
3995:
3983:
3977:
3964:
3953:
3947:
3931:
3925:
3913:Allott, Miriam
3908:
3906:
3903:
3900:
3899:
3887:
3849:
3828:
3790:
3779:. 27 June 2022
3768:
3746:
3725:
3700:
3681:
3650:
3648:, p. 106.
3638:
3626:
3614:
3612:, p. 168.
3602:
3600:, p. 141.
3590:
3578:
3566:
3564:, p. 158.
3554:
3542:
3530:
3518:
3506:
3494:
3448:
3436:
3424:
3412:
3405:
3384:
3372:
3370:, p. 251.
3360:
3358:, p. 233.
3348:
3336:
3334:, p. 242.
3324:
3305:
3303:, p. 155.
3293:
3291:, p. 239.
3281:
3279:, p. 355.
3269:
3267:, p. 171.
3257:
3255:, p. 308.
3245:
3233:
3216:
3199:
3173:
3161:
3146:
3134:
3103:
3101:, p. 177.
3091:
3089:, p. 292.
3079:
3067:
3055:
3041:
3039:, p. 265.
3029:
3017:
3005:
2993:
2991:, p. 251.
2981:
2969:
2942:
2940:, p. 270.
2930:
2878:
2838:
2836:, p. 127.
2826:
2824:, p. 532.
2814:
2812:, p. 236.
2802:
2800:, p. 654.
2787:
2785:, p. 176.
2775:
2728:
2716:
2669:
2655:
2630:
2623:
2582:
2569:10.2307/377662
2538:
2484:
2447:
2426:
2424:, p. 156.
2414:
2396:
2378:
2363:
2356:
2335:
2295:
2283:
2276:
2245:
2226:
2225:
2223:
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2168:
2158:
2148:
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2143:
2141:
2138:
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2136:
2130:
2129:
2113:
2110:
2027:
2024:
1981:adaptation of
1968:
1967:
1940:Bryan Marshall
1936:Corin Redgrave
1920:
1919:
1904:Hattie Morahan
1894:
1893:
1888:
1885:
1872:
1871:Mutilated text
1869:
1804:Robert Liddell
1691:. Noting that
1689:Winifred GĂ©rin
1681:Derek Stanford
1541:
1538:
1299:
1296:
1294:
1291:
1268:novel of ideas
1259:
1258:Novel of ideas
1256:
1243:
1242:Domestic drama
1240:
1220:
1217:
1215:
1212:
1202:
1199:
1166:
1163:
1120:
1117:
1099:, the wife of
1050:
1047:
1045:
1042:
1024:
1021:
984:Samantha Ellis
957:
952:
947:
944:
932:'s dissent in
906:
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885:
827:
824:
813:
808:
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775:
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765:
764:
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689:
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675:
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664:
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647:
639:
636:
635:
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628:
622:
619:Eliza Millward
614:
611:
610:
609:
603:
597:
594:Richard Wilson
591:
583:
580:
579:
578:
572:
566:
563:Fergus Markham
560:
552:
549:
548:
547:
537:
531:
517:
511:
504:Robert Macnish
486:
483:
482:
481:
475:
469:
463:
457:
448:, the wife of
421:
418:
416:
413:
363:
360:
331:Blake Hall at
326:West Yorkshire
314:Winifred GĂ©rin
291:Patrick Brontë
255:
252:
191:
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4753:
4750:
4747:
4744:
4740:
4737:
4736:
4734:
4730:
4723:
4720:
4717:
4716:John Kingston
4714:
4711:
4708:
4705:
4702:
4699:
4696:
4693:
4690:
4687:
4684:
4681:
4678:
4675:
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4663:
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4586:
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4582:
4578:
4575:
4571:
4570:
4568:
4566:
4562:
4555:
4554:
4550:
4547:
4546:A Death-Scene
4543:
4540:
4536:
4533:
4529:
4526:
4522:
4519:
4515:
4514:
4512:
4510:
4506:
4501:
4490:
4489:
4488:The Professor
4485:
4482:
4481:
4477:
4474:
4473:
4469:
4466:
4465:
4461:
4460:
4458:
4456:
4452:
4448:
4441:
4436:
4434:
4429:
4427:
4422:
4421:
4418:
4412:
4408:
4407:
4403:
4401:
4397:
4396:
4392:
4389:
4386:volumes from
4385:
4381:
4377:
4373:
4371:
4367:
4364:
4362:
4358:
4357:
4348:
4345:
4341:
4340:
4335:
4333:
4331:
4327:
4326:
4322:
4321:
4310:
4304:
4300:
4296:
4295:Spark, Muriel
4292:
4288:
4287:
4282:
4278:
4274:
4270:
4269:Parr, Harriet
4266:
4262:
4258:
4254:
4250:
4246:
4242:
4240:0-7546-0199-4
4236:
4232:
4227:
4223:
4219:
4215:
4214:Moore, George
4211:
4207:
4205:9780720607765
4201:
4197:
4193:
4189:
4185:
4183:0-389-20866-3
4179:
4175:
4170:
4166:
4160:
4156:
4151:
4147:
4145:0-746-30922-8
4141:
4137:
4132:
4128:
4124:
4119:
4115:
4113:9780582012387
4109:
4105:
4101:
4096:
4092:
4088:
4084:
4080:
4079:
4074:
4070:
4066:
4064:0-805-77060-7
4060:
4056:
4055:
4049:
4045:
4039:
4036:. Routledge.
4035:
4030:
4026:
4022:
4018:
4014:
4012:9781473522138
4008:
4004:
4000:
3996:
3992:
3988:
3984:
3980:
3978:0-631-18944-0
3974:
3970:
3965:
3961:
3960:
3954:
3950:
3948:1-85799-069-2
3944:
3940:
3936:
3932:
3928:
3926:9781136173813
3922:
3918:
3914:
3910:
3909:
3896:
3891:
3875:
3871:
3870:
3864:
3862:
3853:
3838:
3832:
3817:
3816:
3811:
3809:
3803:
3797:
3795:
3778:
3772:
3756:
3750:
3735:
3729:
3714:
3710:
3704:
3696:
3692:
3685:
3678:
3666:
3665:
3660:
3654:
3647:
3642:
3636:, p. 37.
3635:
3630:
3623:
3618:
3611:
3606:
3599:
3594:
3588:, p. 94.
3587:
3582:
3576:, p. 55.
3575:
3574:Langland 1989
3570:
3563:
3562:Langland 1989
3558:
3551:
3550:Langland 1989
3546:
3539:
3534:
3528:, p. 38.
3527:
3522:
3516:, p. 37.
3515:
3510:
3503:
3498:
3490:
3475:
3471:
3467:
3466:
3460:
3452:
3446:, p. 84.
3445:
3440:
3433:
3428:
3422:, p. 49.
3421:
3416:
3408:
3406:9780140431377
3402:
3398:
3394:
3388:
3382:, p. 39.
3381:
3376:
3369:
3364:
3357:
3352:
3345:
3340:
3333:
3328:
3320:
3316:
3309:
3302:
3301:Langland 1989
3297:
3290:
3285:
3278:
3277:Chadwick 1914
3273:
3266:
3265:Chadwick 1914
3261:
3254:
3253:Chadwick 1914
3249:
3243:, p. 11.
3242:
3241:Chadwick 1914
3237:
3229:
3228:
3220:
3212:
3211:
3203:
3187:
3183:
3177:
3170:
3165:
3157:
3156:The Athenaeum
3150:
3144:, p. 52.
3143:
3138:
3122:
3118:
3114:
3107:
3100:
3095:
3088:
3083:
3076:
3071:
3064:
3059:
3051:
3045:
3038:
3033:
3026:
3021:
3014:
3009:
3002:
2997:
2990:
2985:
2978:
2973:
2965:
2961:
2960:
2955:
2949:
2947:
2939:
2934:
2926:
2922:
2918:
2914:
2910:
2906:
2902:
2898:
2894:
2887:
2885:
2883:
2874:
2870:
2866:
2862:
2858:
2854:
2847:
2845:
2843:
2835:
2834:Franklin 2012
2830:
2823:
2818:
2811:
2806:
2799:
2794:
2792:
2784:
2779:
2771:
2767:
2763:
2759:
2755:
2751:
2747:
2743:
2739:
2732:
2725:
2720:
2712:
2708:
2704:
2700:
2696:
2692:
2688:
2684:
2680:
2673:
2665:
2659:
2644:
2640:
2634:
2626:
2620:
2616:
2615:
2607:
2605:
2603:
2601:
2599:
2597:
2595:
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2591:
2589:
2587:
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2534:
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2387:"bronte.info"
2382:
2376:, p. 128
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1364:H. F. Chorley
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1359:The Athenaeum
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1346:The Spectator
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1201:Direct speech
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973:Stevie Davies
971:According to
966:
965:Self-portrait
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600:Robert Wilson
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219:The novel is
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151:
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143:Dewey Decimal
139:
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125:
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109:
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63:
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55:
51:
48:
44:
37:
32:
26:
22:
4939:
4919:
4911:
4903:
4895:
4887:
4866:George Smith
4834:Ellen Nussey
4692:Maria Brontë
4653:
4646:
4639:
4632:
4606:
4588:
4587:
4579:
4551:
4486:
4478:
4470:
4462:
4405:
4394:
4370:Open Library
4355:
4337:
4323:
4298:
4285:
4230:
4222:W. Heinemann
4217:
4195:
4173:
4154:
4135:
4126:
4103:
4090:
4077:
4053:
4033:
4024:
4002:
3990:
3968:
3958:
3938:
3916:
3890:
3878:. Retrieved
3867:
3860:
3852:
3840:. Retrieved
3837:"Copperhead"
3831:
3819:. Retrieved
3815:The Guardian
3813:
3807:
3781:. Retrieved
3771:
3759:. Retrieved
3749:
3737:. Retrieved
3728:
3716:. Retrieved
3712:
3703:
3694:
3684:
3676:
3669:. Retrieved
3662:
3653:
3641:
3629:
3622:Frawley 1996
3617:
3610:Chitham 1991
3605:
3598:Chitham 1991
3593:
3586:Liddell 1990
3581:
3569:
3557:
3545:
3540:, p. 9.
3533:
3521:
3509:
3497:
3477:. Retrieved
3463:
3451:
3439:
3427:
3415:
3396:
3387:
3375:
3363:
3351:
3339:
3327:
3318:
3314:
3308:
3296:
3284:
3272:
3260:
3248:
3236:
3226:
3219:
3209:
3202:
3190:. Retrieved
3186:the original
3176:
3164:
3155:
3149:
3142:Gaskell 1857
3137:
3125:. Retrieved
3121:the original
3116:
3106:
3099:Chitham 1991
3094:
3082:
3070:
3058:
3044:
3032:
3020:
3008:
2996:
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2778:
2745:
2741:
2737:
2731:
2719:
2686:
2682:
2678:
2672:
2658:
2648:21 September
2646:. Retrieved
2642:
2633:
2613:
2560:
2556:
2552:
2508:
2504:
2468:
2464:
2458:
2450:
2441:
2417:
2409:the original
2399:
2390:
2381:
2347:
2313:
2309:
2286:
2267:
2239:
2230:
2212:chauvinistic
2206:
2196:
2188:
2184:
2180:
2176:
2171:
2161:
2152:
2107:
2102:
2098:
2088:
2087:In the 2018
2086:
2081:
2073:
2068:
2064:
2059:
2052:
2043:
2038:
2032:
2029:
2019:
2018:
2014:
2013:
2002:
1987:
1982:
1976:
1969:
1921:
1897:
1895:
1876:
1874:
1860:
1854:
1852:
1842:
1841:
1836:
1831:
1827:
1823:
1819:
1815:
1811:
1798:
1794:
1790:
1786:
1784:
1779:
1771:
1768:Muriel Spark
1765:
1756:
1751:
1738:
1725:
1721:
1717:
1713:
1709:
1697:George Eliot
1692:
1684:
1676:
1674:
1665:
1659:
1654:
1646:George Moore
1637:
1634:
1629:George Moore
1611:
1608:May Sinclair
1603:
1599:
1587:
1583:
1578:
1570:
1564:
1559:
1550:
1545:
1543:
1533:
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1523:
1518:
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1445:
1436:
1432:
1427:
1423:
1419:
1413:
1411:
1406:
1402:
1392:
1380:
1376:The Examiner
1374:
1373:
1367:
1357:
1356:A critic in
1355:
1350:
1344:
1343:
1324:
1318:
1302:
1301:
1287:
1282:
1272:
1263:
1261:
1252:
1247:
1245:
1234:
1228:
1222:
1206:
1204:
1195:
1190:
1186:
1185:purpose. In
1183:
1170:
1168:
1158:
1154:
1150:
1148:
1144:Thomas Moore
1135:
1130:
1107:
1105:
1093:
1081:
1069:
1064:
1052:
1032:
1029:Universalist
1026:
1016:
1013:
1009:
999:
997:
991:
990:'s painting
970:
955:Woman artist
949:
940:
933:
922:
893:
890:
887:Displacement
880:
877:
873:
868:
864:
856:
854:
847:
839:
837:
818:
815:
800:
785:
733:
715:Jack Halford
714:
708:
697:
691:
685:
679:
667:Mrs Hargrave
666:
660:
649:
643:
630:
624:
618:
605:
599:
593:
587:
574:
569:Rose Markham
568:
562:
556:
539:
533:
519:
513:
507:
490:
477:
471:
465:
459:
454:Universalist
438:Helen Graham
437:
433:
409:
403:
402:
398:
394:
390:
384:
383:
369:
368:
365:
362:Plot summary
353:
347:
341:
337:Ellen Nussey
330:
311:
295:
286:
284:
276:illegitimate
271:
265:
248:May Sinclair
239:
237:
218:
196:
195:
194:
181:
168:
94:24 June 1848
25:
4922:(2022 film)
4914:(2016 film)
4906:(2005 play)
4898:(1979 film)
4890:(1946 film)
4850:Mary Taylor
4257:Lyall, Edna
4136:Anne Brontë
4104:The Brontës
4091:Anne Brontë
4054:Anne Brontë
3939:The Brontës
3783:14 December
3671:10 November
3444:Ewbank 1966
3432:Ewbank 1966
3420:Ewbank 1966
3344:Allott 2013
3127:9 September
3087:Allott 2013
3075:Allott 2013
3063:Allott 2013
3037:Allott 2013
3025:Allott 2013
3013:Allott 2013
3001:Allott 2013
2989:Allott 2013
2977:Allott 2013
2938:Allott 2013
2822:Barker 1995
2798:Barker 1995
2291:Barker 1995
1932:Janet Munro
1914:as Arthur.
1899:BBC Radio 4
1887:Adaptations
1730:Women's Lib
1685:Anne Brontë
1650:Anglo-Irish
1520:G. H. Lewes
1496:The Rambler
1455:considered
1389:Jane Austen
1362:, probably
1339:Anne Brontë
1279:Hannah More
1225:Jane Austen
1179:Renaissance
861:Hannah More
698:Alice Myers
588:Jane Wilson
575:Mrs Markham
524:Melancholic
442:maiden name
318:Ponden Hall
225:Elizabethan
202:Anne Brontë
50:Anne Brontë
4962:Categories
4844:biographer
4827:Associates
4797:Brontë Way
4641:Glass Town
4581:Agnes Grey
4220:. London:
3538:Spark 2014
3526:Spark 2014
3514:Spark 2014
3491:required.)
3380:GĂ©rin 1974
3368:GĂ©rin 1959
3289:Moore 1924
2783:Joffe 2007
2724:Ellis 2017
2222:References
2177:Agnes Grey
2099:The Tenant
2095:Lily James
2079:2016 novel
2065:Copperhead
2062:2013 novel
2050:1988 novel
1930:, starred
1906:as Helen,
1843:The Tenant
1837:The Tenant
1832:The Tenant
1828:The Tenant
1812:The Tenant
1799:Agnes Grey
1787:The Tenant
1757:The Tenant
1755:discussed
1739:The Tenant
1726:The Tenant
1718:The Tenant
1714:The Tenant
1710:The Tenant
1693:The Tenant
1666:The Tenant
1655:The Tenant
1642:temperance
1638:The Tenant
1612:The Tenant
1600:The Tenant
1579:The Tenant
1571:The Tenant
1551:Agnes Grey
1546:The Tenant
1505:The Tenant
1475:The Tenant
1457:The Tenant
1437:The Tenant
1420:The Tenant
1381:The Tenant
1368:The Tenant
1283:The Tenant
1264:The Tenant
1248:The Tenant
1207:The Tenant
1189:, like in
1187:The Tenant
1171:The Tenant
1159:The Tenant
1151:Agnes Grey
1136:The Tenant
1108:The Tenant
1101:Lord Byron
1037:Protestant
1033:The Tenant
1017:The Tenant
1000:The Tenant
946:Motherhood
930:Hugo Black
909:See also:
894:The Tenant
869:The Tenant
857:The Tenant
840:The Tenant
819:The Tenant
777:Alcoholism
680:Mr Boarham
606:Mrs Wilson
544:misogynist
540:Mr Grimsby
466:Mr Maxwell
450:Lord Byron
415:Characters
296:The Tenant
287:The Tenant
280:alcoholism
272:The Tenant
208:under the
188:Wikisource
170:Agnes Grey
160:PR4162 .T4
4870:publisher
4765:Hartshead
4732:Locations
4688:(brother)
4625:Juvenilia
4464:Jane Eyre
4455:Charlotte
3880:9 January
3842:9 January
3761:31 August
3739:31 August
3718:9 January
3192:16 August
2925:145659077
2770:146466188
2711:162448800
2533:145595504
2181:Jane Eyre
2075:Sam Baker
1670:Thackeray
1662:monograph
1627:Novelist
1615:suggests
1596:Mary Ward
1584:Jane Eyre
1509:Jane Eyre
1501:Jane Eyre
1465:Jane Eyre
1433:Jane Eyre
1424:Jane Eyre
1293:Criticism
1238:outcast.
1031:ideas in
911:Coverture
865:Jane Eyre
702:governess
686:Mr Wilmot
392:husband.
344:Yorkshire
214:Charlotte
210:pseudonym
135:162118830
112:Hardcover
79:Publisher
4946:Category
4888:Devotion
4755:Thornton
4700:(sister)
4694:(sister)
4682:(mother)
4676:(father)
4576:" (1846)
4548:" (1844)
4541:" (1839)
4534:" (1838)
4527:" (1837)
4520:" (1837)
4480:Villette
4361:LibriVox
4297:(2014).
4283:(1897).
4216:(1924).
4194:(1990).
4125:(1959).
4089:(1959).
4075:(1857).
4023:(1966).
4001:(2017).
3989:(1960).
3937:(1995).
3915:(2013).
3874:Archived
3664:BBC News
3634:Jay 2000
3479:23 April
2873:30225153
2703:27794855
2525:40467510
2166:writer."
2112:See also
1912:Leo Bill
1856:BBC News
1644:novel".
1479:Sharpe's
1393:Examiner
1366:, cited
1349:wrote: "
1112:adultery
1089:machismo
1055:Romantic
905:Marriage
730:Timeline
500:Branwell
333:Mirfield
322:Stanbury
246:novels.
244:feminist
57:Language
4860:teacher
4769:village
4759:village
4743:village
4739:Haworth
4472:Shirley
4102:(ed.).
3905:Sources
3052:. 1848.
2917:1556270
2762:1348391
2330:3734417
2030:In the
1902:, with
1859:listed
1701:realist
1513:Rambler
1441:Dickens
1309:of the
1227:. Like
1084:Byronic
1059:Realism
1049:Realism
528:suicide
495:Byronic
228:mansion
110:Print (
60:English
4904:Brontë
4817:pastor
4813:church
4785:museum
4706:(aunt)
4666:Family
4655:Gondal
4611:(1846)
4592:(1848)
4584:(1847)
4556:(1847)
4491:(1857)
4483:(1853)
4475:(1849)
4467:(1847)
4380:second
4305:
4237:
4202:
4180:
4161:
4142:
4110:
4061:
4040:
4009:
3975:
3945:
3923:
3821:25 May
3485:
3403:
2923:
2915:
2871:
2768:
2760:
2709:
2701:
2621:
2577:377662
2575:
2531:
2523:
2442:eNotes
2354:
2328:
2274:
2101:: "In
2009:Sydney
1926:. The
1617:Balzac
1307:morals
1140:Gondal
772:Themes
719:squire
709:Benson
692:Rachel
456:faith.
172:
46:Author
4920:Emily
4518:Lines
4509:Emily
4384:third
4376:first
2921:S2CID
2913:JSTOR
2869:JSTOR
2766:S2CID
2758:JSTOR
2707:S2CID
2699:JSTOR
2573:JSTOR
2529:S2CID
2521:JSTOR
2326:JSTOR
2145:Notes
1648:, an
1522:, in
1449:from
1384:'
1214:Genre
1174:'
898:Bible
842:with
705:flee.
148:823.8
119:Pages
65:Genre
4565:Anne
4411:IMDb
4400:IMDb
4382:and
4303:ISBN
4235:ISBN
4224:Ltd.
4200:ISBN
4178:ISBN
4159:ISBN
4140:ISBN
4108:ISBN
4059:ISBN
4038:ISBN
4007:ISBN
3973:ISBN
3943:ISBN
3921:ISBN
3882:2022
3844:2022
3823:2023
3785:2022
3763:2017
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