1364:, 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".
1204:, 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
1774:. 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".
1474:. 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
1478:", 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".
882:, 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.
986:, 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."
1338:. 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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1850:"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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1547:, 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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455:), 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
1890:. 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."
1450:, 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
1793:, 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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527:, 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.
1296:, 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.
1261:"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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863:: 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."
912:– 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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842:
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601:, 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.
1157:'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.
491:, 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.
547:, 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.
541:. 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.
473:, 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).
1894:, 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.
1429:, 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
537:, 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.
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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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which has been empty for many years. 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. Ultimately she flees with her son,
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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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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
1488:. 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
1114:, 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.
350:, 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
261:, 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
1568:, 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.
613:, 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".
1072:. 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.
638:, 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.
1172:. 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.
1621:, 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
674:, 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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1613:, 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
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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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1281:. 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.
1102:, 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
570:, 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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from Gilbert Markham to his friend about the events connected with his meeting a mysterious young widow, calling herself Helen Graham, who arrives with her young son and a servant to Wildfell Hall, an
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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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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.
1288:. 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
285:. 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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513:, 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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644:, 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.
1785:, 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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817:, "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."
463:. 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?
632:, 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.
693:, 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".
680:, 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
1484:, 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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657:, 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.
2116:, Anne Brontë laid bare the essential imbalance of power between men and women in the suffocating hierarchical structure of Victorian marriage."
1584:"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."
1402:'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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1390:, 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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339:. Ponden shares certain architectural details with Wildfell, including latticed windows and a central portico with a date plaque above.
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663:, 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
346:, 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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607:, 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".
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668:"would not exchange for any man on earth". At length, Ralph finally reforms himself and Milicent finds happiness in marriage.
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293:. Another character in the novel, Lord Lowborough, has an association with opium that may also reflect Branwell's behaviour.
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485:, 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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1292:. 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
878:, 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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949:, "This rule has worked out in reality to mean that though the husband and wife are one, the one is the husband."
1324:. 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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576:, 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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1609:, a novelist, who was widely known for her anti-feminist views, in her introduction to 1900 edition of
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3745:"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
699:, 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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1833:(1991) also juxtaposed the novels of Anne and her sisters'. He stated that in Anne's view
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2247:"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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2008:
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premiered in October 2015, adapted by Jacqueline Firkins and directed by Sarah Rogers.
1617:, but as the sister of Charlotte and Emily Brontë, that Anne Brontë escapes oblivion."
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479:, 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
2082:. 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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4117:. Vol. II. The creative work. Harlow, Essex: Longman for the British Council.
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2650:"Rachel Ablow, 'One Flesh', One Person, and the 1870 Married Women's Property Act"
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732:, 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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3788:"Censored and criticised, The Tenant of Wildfell Hall is perfect for our times"
3241:. 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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3766:"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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3720:"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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2022:, 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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1005:(1857), which depicts a widow attempting to make a living as an artist.
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874:. 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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711:, another paramour of the elder Huntingdon, is hired ostensibly as a
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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
3193:"Ward at the Dictionary of Unitarian & Universalist Biography"
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1679:, 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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2253:. 23 June 1848. p. 8 – via British Newspaper Archive.
1539:, shortly after Anne's death, wrote: "Curious enough is to read
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2003:
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
3817:"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)
2700:(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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269:
139:
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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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1789:." 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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2759:(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
4847:(lifelong friend and correspondent of Charlotte Brontë)
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Jacobs, N. M. (1986). "Gender and Layered Narrative in
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2574:(4). National Council of Teachers of English: 446–456.
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1933:
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
1710:'s novels, Harrison and Stanford named Anne the "first
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wrote: "A people's novel of a very different school is
557:. He helps Arthur to conceal his affair with Annabella.
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in Northeastern English means a small enclosed valley.
3702:"The Mutilated Texts of 'The Tenant of Wildfell Hall'"
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3602:
3578:
3245:
3103:
2327:(4). Modern Humanities Research Association: 831–841.
1406:
concludes that "it is scarcely possible to analyze ".
273:
Blake Hall photographed at the end of the 19th century
4762:(house in Thornton, birthplace of the Brontë sisters)
4310:
The Essence of the Brontës: A Compilation with Essays
3590:
3146:
3091:
3041:
2993:
2942:
2826:
2799:
1229:
894:
is thus considered a feminist novel by many critics.
3448:
3424:
3372:
3293:
2787:
2126:
227:
prevented its re-publication in England until 1854.
3530:
3518:
3384:
1770:in the context of the biography of Anne's brother,
1093:Anne's portrayal of Arthur Huntingdon deflates the
3868:
3670:"100 'most inspiring' novels revealed by BBC Arts"
3542:
3468:
1981:The novel was adapted as a three-act opera at the
4242:New Approaches to the Literary Art of Anne Brontë
4207:Twin Spirits: The Novels of Emily and Anne Brontë
3638:
2622:Davies, Stevie (1996). "Introduction and Notes".
2449:"The Tenant of Wildfell Hall Themes - eNotes.com"
2443:
2441:
2101:The Guernsey Literary and Potato Peel Pie Society
1121:vice is not unique to the men. Lady Lowborough's
930:Portrait of an English married couple, circa 1780
561:
4970:
4131:
3366:
3342:
2820:
2753:Rocky Mountain Review of Language and Literature
327:believed that the original of Wildfell Hall was
289:child who died at birth); and especially in his
2566:: Narrative Silences and Questions of Gender".
2357:Dinsdale, Ann (2008). "Geographical sittings".
2033:(2016) by Sam Baker is a modernized retelling.
1752:is feminist in the deepest sense of the word."
1719:her later work on the Brontës, Gérin dismissed
4804:(waterfall associated with the Brontë sisters)
2897:
2895:
2893:
2438:
1739:"might be said to be the first manifesto for '
623:
592:
504:, Helen's abusive and alcoholic husband, is a
4810:(footpath associated with the Brontë sisters)
4442:
4240:Nash, Julie; Suess, Barbara A., eds. (2001).
4014:Take Courage: Anne Brontë and the Art of Life
3967:Chadwick, Mrs Ellis H (Esther Alice) (1914).
3662:
2150:
2108:), argues about the cultural significance of
2014:The 2022 adaptation by Emme Hoy premiered at
1796:Only in the last decades of the 20th century
1153:, about which they composed prose and poems.
1145:believes that the settings and characters in
890:corrective role of women in relation to men.
5044:British novels adapted into television shows
3930:. New York & Abingdon, Oxon: Routledge.
3807:
3805:
3479:(online ed.). Oxford University Press.
2908:SEL: Studies in English Literature 1500–1900
2516:SEL: Studies in English Literature 1500–1900
1068:style in her two novels, opting instead for
1009:Nicole A. Diederich has argued that in
770:1830 Gilbert and Helen are married (August).
495:
281:correspond to those of Arthur Huntingdon in
32:The Tenant of Wildfell Hall (disambiguation)
2977:(229). James Fraser: 417–432. January 1849.
2959:
2957:
2901:
2890:
2878:(3). Journal of Narrative Theory: 204–219.
2352:
2350:
2221:Hale was, according to Elizabeth Langland,
648:
264:
4788:(landscape portrayed in the Brontë novels)
4449:
4435:
3996:
3512:
3238:The Tenant of Wildfell Hall and Agnes Grey
3218:Ward, Mrs Humphry (1900). "Introduction".
2465:
2380:
2378:
2318:
2205:
2068:. Her name is also used as a secret code.
2055:The story of Helen Graham is mentioned in
978:– one form of artist's self-identification
45:
18:Helen Graham (The Tenant of Wildfell Hall)
4239:
3802:
3656:
3164:
2857:
2855:
2853:
2746:
2617:
2487:
2432:
2226:attention over her literary achievements.
2180:
2170:
1686:In 1959, two biographies were published:
1574:repeated Charlotte's words about Anne in
1168:, and Wildfell Hall and Woodford Hall in
377:The novel is divided into three volumes.
4187:. Totowa, New Jersey: Barnes and Noble.
4182:
4042:
3973:. London: Sir Isaac Pitman and sons Ltd.
3966:
3584:
3572:
3560:
3470:"Brontë, (Patrick) Branwell (1817–1848)"
3466:
3311:
3287:
3275:
3263:
3251:
3234:
2954:
2844:
2687:
2615:
2613:
2611:
2609:
2607:
2605:
2603:
2601:
2599:
2597:
2509:
2507:
2505:
2503:
2501:
2499:
2384:
2356:
2347:
2276:
2145:List of feminist literature § 1840s
2036:
1754:
1633:
1555:A great success on initial publication,
1408:
1340:
1133:
993:The story of Helen Graham, according to
988:
970:
925:
840:
791:
434:
386:
311:
268:
4816:(school attended by the Brontë sisters)
4585:Lines Composed in a Wood on a Windy Day
4201:
4082:
4061:
3977:
3632:
3620:
3608:
3596:
3476:Oxford Dictionary of National Biography
3152:
3109:
2557:
2555:
2553:
2408:
2375:
1308:
430:
14:
4971:
4735:(husband of first cousin once removed)
4619:Poems by Currer, Ellis, and Acton Bell
4038:. Cambridge: Harvard University Press.
4030:
3944:
3922:
3454:
3442:
3430:
3354:
3235:Sinclair, May (1922). "Introduction".
3097:
3085:
3073:
3047:
3035:
3023:
3011:
2999:
2987:
2948:
2861:
2850:
2832:
2808:
2621:
2314:
2312:
2310:
2301:
2272:
2270:
2268:
2266:
2264:
2262:
2260:
1817:, noting Anne's apparent distaste for
1129:
1054:
1033:
4863:(lifelong friend of Charlotte Brontë)
4430:
4304:
4223:
4163:
4149:. Tavistock, Devon: Northcote House.
4108:
4096:
4008:
4002:The Infernal World of Branwell Brontë
3811:
3548:
3536:
3524:
3402:
3390:
3378:
3299:
2793:
2734:
2594:
2513:
2496:
2390:
51:Title page of the first edition, 1848
3699:
3693:
3323:
3217:
3121:
2681:
2561:
2550:
2459:
2215:
2161:
1825:criticized both Branwell's life and
1706:was published some ten years before
1647:studying". Chadwick also considered
1642:, an admirer of Anne Brontë's novels
1551:Suppression and subsequent criticism
820:
777:
553:, another of Arthur's friends, is a
391:Helen and Gilbert by Walter L. Colls
4144:
3644:
3410:. Harmondsworth: Penguin Classics.
2740:
2307:
2257:
1175:
836:
684:
24:
4873:who was loved by Charlotte Brontë)
4456:
4417:The Tenant of Wildfell Hall (1996)
4406:The Tenant of Wildfell Hall (1968)
3928:The Brontës: The Critical Heritage
3706:www.mick-armitage.staff.shef.ac.uk
3332:(83–86). Indiana University: 3–44.
3224:. New York: Harper & Brothers.
3128:www.mick-armitage.staff.shef.ac.uk
2872:The Journal of Narrative Technique
1454:has so long led the public mind".
1230:From social comedy to social drama
25:
5065:
5049:British novels adapted into plays
5014:British novels adapted into films
5009:Works published under a pseudonym
4820:St Michael and All Angels' Church
4328:
3887:from the original on 20 June 2022
2482:(1). Taylor & Francis: 5–19.
2476:The Journal of the Brontë Society
1999:In 2017 the novel was adapted by
1881:
1268:
1252:
1138:Thomas Moore's biography of Byron
4952:
4951:
4509:
4360:
4092:. London: Smith, Elder & Co.
3982:. Oxford: Blackwell Publishers.
3061:"Sharpe's London Magazine, 1848"
2202:were written by the same person.
2129:
2104:film adaptation, Juliet Ashton (
1211:
445:Helen "Nell" Lawrence Huntingdon
4300:. London: Hurst & Blackett.
4068:. New York: Twayne Publishers.
3970:In the footsteps of the Brontës
3899:
3861:
3840:
3780:
3758:
3737:
3712:
3460:
3396:
3317:
3228:
3211:
3185:
3158:
3115:
3053:
2914:(4). Rice University: 715–731.
2667:
2642:
2522:(4). Rice University: 907–924.
2468:"'Horror and disgust': Reading
1580:, claiming that the subject of
1564:better than the present work."
964:
897:
372:
4782:which was home to the Brontës)
4772:which was home to the Brontës)
4244:. Ashgate Publishing Limited.
4138:Anne Brontë: Her Life and Work
3169:(2903). John Francis: 762–763.
2239:
1990:University of British Columbia
1983:University of Nebraska-Lincoln
1897:
1688:Anne Brontë, her life and work
749:1792/3 Arthur Huntingdon born.
562:Inhabitants of Linden-Car Farm
415:Part Three (Chapters 45 to 53)
316:Wildfell Hall, as depicted by
13:
1:
4385:Page scans of first edition:
4229:Conversations in Ebury Street
2489:10.1080/14748932.2019.1525872
2466:Thormählen, Marianne (2018).
2232:
1787:nineteenth-century literature
956:
866:According to Priti Joshi, in
787:
642:The Reverend Michael Millward
447:, known also under her alias
425:
232:framed as a series of letters
4826:of which Patrick Brontë was
4183:Langland, Elizabeth (1989).
4164:Joffe, Sharon Lynne (2007).
4089:The Life of Charlotte Brontë
3500:UK public library membership
3467:Neufeldt, Victor A. (2004).
3367:Harrison & Stanford 1959
3343:Harrison & Stanford 1959
2821:Harrison & Stanford 1959
1977:Theatre and musical versions
1971:second version, made in 1996
1577:The Life of Charlotte Brontë
1303:
936:Married Women's Property Act
396:Part two (Chapters 16 to 44)
296:Another possible source for
215:. It was first published in
40:The Tenant of Wildfell Hall
7:
4979:The Tenant of Wildfell Hall
4600:The Tenant of Wildfell Hall
4377:The Tenant of Wildfell Hall
4370:public domain audiobook at
4367:The Tenant of Wildfell Hall
4350:The Tenant of Wildfell Hall
4336:The Tenant of Wildfell Hall
4043:Franklin, Caroline (2012).
3819:The Tenant of Wildfell Hall
3408:The Tenant of Wildfell Hall
3221:The Tenant of Wildfell Hall
3124:"The Novels of Anne Brontë"
2904:The Tenant of Wildfell Hall
2868:The Tenant of Wildfell Hall
2749:The Tenant of Wildfell Hall
2690:The Tenant of Wildfell Hall
2625:The Tenant of Wildfell Hall
2564:The Tenant of Wildfell Hall
2470:The Tenant of Wildfell Hall
2359:The Tenant of Wildfell Hall
2281:. Oxford University Press.
2279:The Tenant of Wildfell Hall
2200:The Tenant of Wildfell Hall
2122:
2080:The Tenant of Wildfell Hall
2050:The Tenant of Wildfell Hall
1994:The Tenant of Wildfell Hall
1939:first version, made in 1968
1888:The Tenant of Wildfell Hall
1876:100 most influential novels
1872:The Tenant of Wildfell Hall
1806:The Tenant of Wildfell Hall
1545:The Tenant of Wildfell Hall
1418:The Tenant of Wildfell Hall
1362:The Tenant of Wildfell Hall
1336:The Tenant of Wildfell Hall
1314:The Tenant of Wildfell Hall
1246:The Tenant of Wildfell Hall
1164:, the eponymous mansion in
915:
892:The Tenant of Wildfell Hall
740:
624:Inhabitants of the Vicarage
593:Inhabitants of Ryecote Farm
381:Part One (Chapters 1 to 15)
251:The Tenant of Wildfell Hall
208:The Tenant of Wildfell Hall
194:The Tenant of Wildfell Hall
10:
5070:
5054:Novels adapted into operas
4185:Anne Brontë: The Other One
4062:Frawley, Maria H. (1996).
3915:
3870:"How Sam Baker's thriller
3326:Indiana University Studies
2321:The Modern Language Review
2151:Notes, references, sources
1802:Anne Brontë: The Other One
1791:The Essence of the Brontës
1651:to be "probably the first
1586:Algernon Charles Swinburne
1316:challenged the prevailing
1059:
919:
519:The Anatomy of Drunkenness
249:Most critics now consider
29:
4946:
4890:
4837:
4742:
4675:
4634:
4610:
4574:
4518:
4507:
4464:
3952:. London: Phoenix House.
2675:"United States v. Yazell"
1433:"infinitely inferior" to
934:Until the passing of the
782:
496:Huntingdon and his circle
188:
175:
163:
151:
137:
129:
117:
109:
99:
89:
75:
67:
56:
44:
27:1848 novel by Anne Brontë
4659:The Young Men's Magazine
4543:F. De Samara to A. G. A.
4312:. Manchester: Carcanet.
4168:. New York: Peter Lang.
4109:GĂ©rin, Winifred (1974).
3978:Chitham, Edward (1991).
3906:"Apron strings, tied to"
3874:inspired by Anne Brontë"
3406:(1979). "Introduction".
2654:www.branchcollective.org
2562:Senf, Carol A. (1990). "
2155:
2046:Christmas special (2011)
1864:On 5 November 2019, the
1482:Sharpe's London Magazine
1224:
1046:contradicted prevailing
649:Inhabitants of The Grove
483:Margaret "Peggy" Maxwell
471:Master Arthur Huntingdon
451:(Graham is her mother's
265:Background and locations
5034:Novels set in the 1820s
5019:Novels set in Yorkshire
4792:Brontë Parsonage Museum
2677:– via Wikisource.
2416:"Anne Brontë (Website)"
2361:. Worth Press Limited.
2005:Octagon Theatre, Bolton
1808:been re-published with
1470:"less unpleasant" than
1003:Nameless and Friendless
946:United States v. Yazell
798:The Drunkard's Progress
318:Edmund Morison Wimperis
253:to be one of the first
4284:Macquoid, Katharine S.
4209:. London: Peter Owen.
1892:Smith, Elder & Co.
1760:
1643:
1420:
1352:
1139:
1108:Anna Isabella Milbanke
1079:
1006:
979:
931:
846:
809:
457:Anna Isabella Milbanke
440:
392:
323:The Brontë biographer
320:
274:
5039:Novels set in Cumbria
4989:Novels about adultery
4853:(lifelong friend and
4794:(former home and now
4723:(Charlotte's husband)
3980:A Life of Anne Brontë
3657:Nash & Suess 2001
3485:10.1093/ref:odnb/3526
2920:10.1353/sel.1999.0038
2706:10.1353/vcr.1997.0008
2433:Nash & Suess 2001
2037:References in culture
2016:Roslyn Packer Theatre
1831:A Life of Anne Brontë
1758:
1637:
1463:North American Review
1423:An American magazine
1412:
1344:
1273:In the third chapter
1137:
1074:
992:
974:
929:
844:
795:
438:
390:
315:
272:
133:3 vols: 358, 366, 342
5029:Novels about artists
4938:Victorian literature
4857:of Charlotte Brontë)
4721:Arthur Bell Nicholls
4626:List of Brontë poems
4288:French Hector, Annie
3946:Barker, Juliet R. V.
3180:Oliphant et al. 1897
2026:Literary adaptations
2007:and then moved into
1829:. Edward Chitham in
1690:by Ada Harrison and
1328:, in his review for
1309:Contemporary reviews
1277:changes tone to the
997:, may have inspired
431:Helen and her family
94:Thomas Cautley Newby
30:For other uses, see
4984:1848 British novels
4814:Cowan Bridge School
4536:To a Wreath of Snow
4276:Yonge, Charlotte M.
4145:Jay, Betty (2000).
3883:. 31 January 2016.
3815:(29 January 2016).
3700:Armitage, Michael.
3635:, pp. 134–136.
3563:, pp. 152–153.
3357:, pp. 258–259.
3134:on 26 November 2014
3122:Armitage, Michael.
3088:, pp. 266–268.
3076:, pp. 263–265.
3038:, pp. 261–262.
3026:, pp. 257–261.
3014:, pp. 254–256.
2990:, pp. 249–250.
2737:, pp. 281–282.
2304:, pp. 334–335.
2065:A Great Deliverance
1929:Television versions
1874:on its list of the
1495:Universal salvation
1458:Edwin Percy Whipple
1286:Mary Wollstonecraft
1257:Tess O'Toole calls
1241:Pride and Prejudice
1130:Sisters' connection
1055:Style and narrative
1034:Universal salvation
807:temperance movement
331:, a farmhouse near
244:universal salvation
41:
4715:Elizabeth Branwell
4611:Collaborative work
4264:Lynn Linton, Eliza
4260:Oliphant, Margaret
4084:Gaskell, Elizabeth
4032:Ewbank, Inga Stina
3998:du Maurier, Daphne
3908:, Wordorigins.org
3515:, pp. 209–10.
2528:10.1353/sel.0.0079
2422:on 25 August 2011.
2009:York Theatre Royal
1903:Radio show version
1819:Romantic tradition
1761:
1644:
1588:briefly mentioned
1421:
1353:
1140:
1007:
980:
932:
847:
810:
489:Frederick Lawrence
441:
393:
321:
275:
39:
5024:Epistolary novels
5004:Fictional diaries
4966:
4965:
4923:To Walk Invisible
4851:Elizabeth Gaskell
4760:Brontë Birthplace
4564:Wuthering Heights
4550:Come hither child
4355:Project Gutenberg
4319:978-1-847-77470-5
4272:Sergeant, Adeline
4175:978-0-820-49506-4
4111:Ian Scott-Kilvert
4054:978-0-415-99541-2
3872:The Woman Who Ran
3678:. 5 November 2019
3498:(Subscription or
3445:, pp. 83–84.
3199:on 13 August 2012
3182:, pp. 28–29.
2970:Fraser's Magazine
2864:Wuthering Heights
2635:978-0-14-043474-3
2628:. Penguin Books.
2368:978-1-903025-57-4
2288:978-0-19-920755-8
2196:Wuthering Heights
2093:The Woman Who Ran
2031:The Woman Who Ran
1835:Wuthering Heights
1827:Wuthering Heights
1764:Daphne du Maurier
1748:central concern,
1745:Inga-Stina Ewbank
1733:Wuthering Heights
1603:Margaret Oliphant
1599:Wuthering Heights
1572:Elizabeth Gaskell
1541:Wuthering Heights
1472:Wuthering Heights
1331:Fraser's Magazine
1202:Wuthering Heights
1166:Wuthering Heights
1087:Wuthering Heights
999:Emily Mary Osborn
822:Domestic violence
803:Nathaniel Currier
778:Literary analysis
661:Milicent Hargrave
502:Arthur Huntingdon
204:
203:
110:Publication place
63:(as "Acton Bell")
16:(Redirected from
5061:
4994:Victorian novels
4955:
4954:
4907:Les Sœurs Brontë
4867:Constantin HĂ©ger
4802:Brontë Waterfall
4709:Elizabeth Brontë
4645:A Book of Ryhmes
4513:
4451:
4444:
4437:
4428:
4427:
4399:Internet Archive
4364:
4363:
4357:
4323:
4301:
4255:
4236:
4220:
4198:
4179:
4160:
4141:
4128:
4105:
4104:. Thomas Nelson.
4093:
4079:
4058:
4039:
4027:
4016:. Random House.
4005:
3993:
3974:
3963:
3941:
3909:
3903:
3897:
3896:
3894:
3892:
3876:
3865:
3859:
3858:
3856:
3854:
3844:
3838:
3837:
3835:
3833:
3809:
3800:
3799:
3797:
3795:
3784:
3778:
3777:
3775:
3773:
3762:
3756:
3755:
3753:
3751:
3741:
3735:
3734:
3732:
3730:
3716:
3710:
3709:
3697:
3691:
3690:
3685:
3683:
3666:
3660:
3654:
3648:
3642:
3636:
3630:
3624:
3618:
3612:
3606:
3600:
3594:
3588:
3582:
3576:
3570:
3564:
3558:
3552:
3546:
3540:
3534:
3528:
3522:
3516:
3510:
3504:
3503:
3495:
3493:
3491:
3472:
3464:
3458:
3452:
3446:
3440:
3434:
3428:
3422:
3421:
3400:
3394:
3388:
3382:
3376:
3370:
3364:
3358:
3352:
3346:
3340:
3334:
3333:
3321:
3315:
3309:
3303:
3297:
3291:
3285:
3279:
3273:
3267:
3261:
3255:
3249:
3243:
3242:
3232:
3226:
3225:
3215:
3209:
3208:
3206:
3204:
3195:. Archived from
3189:
3183:
3177:
3171:
3170:
3162:
3156:
3150:
3144:
3143:
3141:
3139:
3130:. Archived from
3119:
3113:
3107:
3101:
3095:
3089:
3083:
3077:
3071:
3065:
3064:
3057:
3051:
3045:
3039:
3033:
3027:
3021:
3015:
3009:
3003:
2997:
2991:
2985:
2979:
2978:
2961:
2952:
2946:
2940:
2939:
2899:
2888:
2887:
2859:
2848:
2842:
2836:
2830:
2824:
2818:
2812:
2806:
2797:
2791:
2785:
2784:
2744:
2738:
2732:
2726:
2725:
2694:Victorian Review
2685:
2679:
2678:
2671:
2665:
2664:
2662:
2660:
2646:
2640:
2639:
2619:
2592:
2591:
2559:
2548:
2547:
2511:
2494:
2493:
2491:
2463:
2457:
2456:
2445:
2436:
2430:
2424:
2423:
2418:. Archived from
2412:
2406:
2405:
2394:
2388:
2382:
2373:
2372:
2354:
2345:
2344:
2316:
2305:
2299:
2293:
2292:
2274:
2255:
2254:
2251:The Morning Post
2243:
2227:
2219:
2213:
2209:
2203:
2184:
2178:
2174:
2168:
2165:
2139:
2134:
2133:
2078:was inspired by
2071:Tina Connolly's
2057:Elizabeth George
2001:Deborah McAndrew
1439:Literature World
1426:Literature World
1396:
1346:Charles Kingsley
1326:Charles Kingsley
1186:
1176:Framed narration
1038:Seemingly pious
837:Gender relations
801:, lithograph by
734:unseen character
685:Other characters
545:Ralph Hattersley
525:Annabella Wilmot
176:Preceded by
167:
141:
101:Publication date
84:social criticism
80:Epistolary novel
49:
42:
38:
21:
5069:
5068:
5064:
5063:
5062:
5060:
5059:
5058:
4999:Feminist novels
4969:
4968:
4967:
4962:
4942:
4891:Cultural legacy
4886:
4883:of the Brontës)
4833:
4798:of the Brontës)
4738:
4697:Branwell Brontë
4671:
4630:
4606:
4570:
4514:
4505:
4460:
4455:
4361:
4347:
4341:Standard Ebooks
4331:
4326:
4320:
4252:
4217:
4203:Liddell, Robert
4195:
4176:
4157:
4134:Stanford, Derek
4132:Harrison, Ada;
4125:
4098:GĂ©rin, Winifred
4076:
4055:
4024:
4010:Ellis, Samantha
3990:
3960:
3938:
3918:
3913:
3912:
3904:
3900:
3890:
3888:
3880:The Independent
3867:
3866:
3862:
3852:
3850:
3846:
3845:
3841:
3831:
3829:
3813:Ellis, Samantha
3810:
3803:
3793:
3791:
3786:
3785:
3781:
3771:
3769:
3768:. 21 April 2017
3764:
3763:
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3718:
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3663:
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3591:
3583:
3579:
3571:
3567:
3559:
3555:
3547:
3543:
3535:
3531:
3523:
3519:
3513:du Maurier 1960
3511:
3507:
3497:
3489:
3487:
3465:
3461:
3453:
3449:
3441:
3437:
3429:
3425:
3418:
3404:GĂ©rin, Winifred
3401:
3397:
3389:
3385:
3377:
3373:
3365:
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3216:
3212:
3202:
3200:
3191:
3190:
3186:
3178:
3174:
3163:
3159:
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3137:
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3084:
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3072:
3068:
3059:
3058:
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3046:
3042:
3034:
3030:
3022:
3018:
3010:
3006:
2998:
2994:
2986:
2982:
2965:"Recent Novels"
2963:
2962:
2955:
2947:
2943:
2900:
2891:
2860:
2851:
2843:
2839:
2831:
2827:
2819:
2815:
2807:
2800:
2792:
2788:
2765:10.2307/1348391
2745:
2741:
2733:
2729:
2686:
2682:
2673:
2672:
2668:
2658:
2656:
2648:
2647:
2643:
2636:
2620:
2595:
2568:College English
2560:
2551:
2512:
2497:
2464:
2460:
2447:
2446:
2439:
2431:
2427:
2414:
2413:
2409:
2402:www.bronte.info
2396:
2395:
2391:
2383:
2376:
2369:
2355:
2348:
2333:10.2307/3734417
2317:
2308:
2300:
2296:
2289:
2275:
2258:
2245:
2244:
2240:
2235:
2230:
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2216:
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2206:
2185:
2181:
2175:
2171:
2166:
2162:
2158:
2153:
2135:
2128:
2125:
2039:
1969:starred in the
1955:Tara Fitzgerald
1921:as Gilbert and
1919:Robert Lonsdale
1900:
1884:
1821:, claimed that
1772:Branwell Brontë
1759:Branwell Brontë
1553:
1536:Leader Magazine
1510:, arguing that
1500:Anglican Church
1394:
1311:
1306:
1271:
1255:
1232:
1227:
1214:
1184:
1178:
1132:
1083:Thornfield Hall
1062:
1057:
1036:
1016:domestic sphere
969:
959:
924:
918:
900:
860:Handmaid's Tale
855:Margaret Atwood
839:
825:
805:supporting the
790:
785:
780:
743:
687:
672:Esther Hargrave
655:Walter Hargrave
651:
626:
595:
568:Gilbert Markham
564:
531:Lord Lowborough
498:
433:
428:
375:
279:Branwell Brontë
267:
156:
118:Media type
102:
52:
35:
28:
23:
22:
15:
12:
11:
5:
5067:
5057:
5056:
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5011:
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4874:
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4858:
4848:
4841:
4839:
4835:
4834:
4832:
4831:
4817:
4811:
4805:
4799:
4789:
4786:Brontë Country
4783:
4773:
4763:
4757:
4746:
4744:
4740:
4739:
4737:
4736:
4733:William Morgan
4730:
4729:(uncle-in-law)
4724:
4718:
4712:
4706:
4700:
4694:
4691:Maria Branwell
4688:
4685:Patrick Brontë
4681:
4679:
4673:
4672:
4670:
4669:
4662:
4655:
4648:
4640:
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4515:
4508:
4506:
4504:
4503:
4495:
4487:
4479:
4470:
4468:
4462:
4461:
4458:Brontë sisters
4454:
4453:
4446:
4439:
4431:
4425:
4424:
4413:
4402:
4383:
4374:
4358:
4345:
4343:
4330:
4329:External links
4327:
4325:
4324:
4318:
4302:
4292:Marshall, Emma
4256:
4250:
4237:
4221:
4215:
4199:
4193:
4180:
4174:
4161:
4155:
4142:
4129:
4123:
4106:
4094:
4080:
4074:
4059:
4053:
4040:
4028:
4022:
4006:
3994:
3988:
3975:
3964:
3958:
3942:
3936:
3924:Allott, Miriam
3919:
3917:
3914:
3911:
3910:
3898:
3860:
3839:
3801:
3790:. 27 June 2022
3779:
3757:
3736:
3711:
3692:
3661:
3659:, p. 106.
3649:
3637:
3625:
3623:, p. 168.
3613:
3611:, p. 141.
3601:
3589:
3577:
3575:, p. 158.
3565:
3553:
3541:
3529:
3517:
3505:
3459:
3447:
3435:
3423:
3416:
3395:
3383:
3381:, p. 251.
3371:
3369:, p. 233.
3359:
3347:
3345:, p. 242.
3335:
3316:
3314:, p. 155.
3304:
3302:, p. 239.
3292:
3290:, p. 355.
3280:
3278:, p. 171.
3268:
3266:, p. 308.
3256:
3244:
3227:
3210:
3184:
3172:
3157:
3145:
3114:
3112:, p. 177.
3102:
3100:, p. 292.
3090:
3078:
3066:
3052:
3050:, p. 265.
3040:
3028:
3016:
3004:
3002:, p. 251.
2992:
2980:
2953:
2951:, p. 270.
2941:
2889:
2849:
2847:, p. 127.
2837:
2835:, p. 532.
2825:
2823:, p. 236.
2813:
2811:, p. 654.
2798:
2796:, p. 176.
2786:
2739:
2727:
2680:
2666:
2641:
2634:
2593:
2580:10.2307/377662
2549:
2495:
2458:
2437:
2435:, p. 156.
2425:
2407:
2389:
2374:
2367:
2346:
2306:
2294:
2287:
2256:
2237:
2236:
2234:
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2159:
2157:
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2141:
2140:
2124:
2121:
2038:
2035:
1992:adaptation of
1979:
1978:
1951:Bryan Marshall
1947:Corin Redgrave
1931:
1930:
1915:Hattie Morahan
1905:
1904:
1899:
1896:
1883:
1882:Mutilated text
1880:
1815:Robert Liddell
1702:. Noting that
1700:Winifred GĂ©rin
1692:Derek Stanford
1552:
1549:
1310:
1307:
1305:
1302:
1279:novel of ideas
1270:
1269:Novel of ideas
1267:
1254:
1253:Domestic drama
1251:
1231:
1228:
1226:
1223:
1213:
1210:
1177:
1174:
1131:
1128:
1110:, the wife of
1061:
1058:
1056:
1053:
1035:
1032:
995:Samantha Ellis
968:
963:
958:
955:
943:'s dissent in
917:
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835:
824:
819:
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683:
682:
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675:
669:
658:
650:
647:
646:
645:
639:
633:
630:Eliza Millward
625:
622:
621:
620:
614:
608:
605:Richard Wilson
602:
594:
591:
590:
589:
583:
577:
574:Fergus Markham
571:
563:
560:
559:
558:
548:
542:
528:
522:
515:Robert Macnish
497:
494:
493:
492:
486:
480:
474:
468:
459:, the wife of
432:
429:
427:
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374:
371:
342:Blake Hall at
337:West Yorkshire
325:Winifred GĂ©rin
302:Patrick Brontë
266:
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4764:
4761:
4758:
4755:
4751:
4748:
4747:
4745:
4741:
4734:
4731:
4728:
4727:John Kingston
4725:
4722:
4719:
4716:
4713:
4710:
4707:
4704:
4701:
4698:
4695:
4692:
4689:
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4678:
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4593:
4589:
4586:
4582:
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4579:
4577:
4573:
4566:
4565:
4561:
4558:
4557:A Death-Scene
4554:
4551:
4547:
4544:
4540:
4537:
4533:
4530:
4526:
4525:
4523:
4521:
4517:
4512:
4501:
4500:
4499:The Professor
4496:
4493:
4492:
4488:
4485:
4484:
4480:
4477:
4476:
4472:
4471:
4469:
4467:
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4459:
4452:
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4445:
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4438:
4433:
4432:
4429:
4423:
4419:
4418:
4414:
4412:
4408:
4407:
4403:
4400:
4397:volumes from
4396:
4392:
4388:
4384:
4382:
4378:
4375:
4373:
4369:
4368:
4359:
4356:
4352:
4351:
4346:
4344:
4342:
4338:
4337:
4333:
4332:
4321:
4315:
4311:
4307:
4306:Spark, Muriel
4303:
4299:
4298:
4293:
4289:
4285:
4281:
4280:Parr, Harriet
4277:
4273:
4269:
4265:
4261:
4257:
4253:
4251:0-7546-0199-4
4247:
4243:
4238:
4234:
4230:
4226:
4225:Moore, George
4222:
4218:
4216:9780720607765
4212:
4208:
4204:
4200:
4196:
4194:0-389-20866-3
4190:
4186:
4181:
4177:
4171:
4167:
4162:
4158:
4156:0-746-30922-8
4152:
4148:
4143:
4139:
4135:
4130:
4126:
4124:9780582012387
4120:
4116:
4112:
4107:
4103:
4099:
4095:
4091:
4090:
4085:
4081:
4077:
4075:0-805-77060-7
4071:
4067:
4066:
4060:
4056:
4050:
4047:. Routledge.
4046:
4041:
4037:
4033:
4029:
4025:
4023:9781473522138
4019:
4015:
4011:
4007:
4003:
3999:
3995:
3991:
3989:0-631-18944-0
3985:
3981:
3976:
3972:
3971:
3965:
3961:
3959:1-85799-069-2
3955:
3951:
3947:
3943:
3939:
3937:9781136173813
3933:
3929:
3925:
3921:
3920:
3907:
3902:
3886:
3882:
3881:
3875:
3873:
3864:
3849:
3843:
3828:
3827:
3822:
3820:
3814:
3808:
3806:
3789:
3783:
3767:
3761:
3746:
3740:
3725:
3721:
3715:
3707:
3703:
3696:
3689:
3677:
3676:
3671:
3665:
3658:
3653:
3647:, p. 37.
3646:
3641:
3634:
3629:
3622:
3617:
3610:
3605:
3599:, p. 94.
3598:
3593:
3587:, p. 55.
3586:
3585:Langland 1989
3581:
3574:
3573:Langland 1989
3569:
3562:
3561:Langland 1989
3557:
3550:
3545:
3539:, p. 38.
3538:
3533:
3527:, p. 37.
3526:
3521:
3514:
3509:
3501:
3486:
3482:
3478:
3477:
3471:
3463:
3457:, p. 84.
3456:
3451:
3444:
3439:
3433:, p. 49.
3432:
3427:
3419:
3417:9780140431377
3413:
3409:
3405:
3399:
3393:, p. 39.
3392:
3387:
3380:
3375:
3368:
3363:
3356:
3351:
3344:
3339:
3331:
3327:
3320:
3313:
3312:Langland 1989
3308:
3301:
3296:
3289:
3288:Chadwick 1914
3284:
3277:
3276:Chadwick 1914
3272:
3265:
3264:Chadwick 1914
3260:
3254:, p. 11.
3253:
3252:Chadwick 1914
3248:
3240:
3239:
3231:
3223:
3222:
3214:
3198:
3194:
3188:
3181:
3176:
3168:
3167:The Athenaeum
3161:
3155:, p. 52.
3154:
3149:
3133:
3129:
3125:
3118:
3111:
3106:
3099:
3094:
3087:
3082:
3075:
3070:
3062:
3056:
3049:
3044:
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3032:
3025:
3020:
3013:
3008:
3001:
2996:
2989:
2984:
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2960:
2958:
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2945:
2937:
2933:
2929:
2925:
2921:
2917:
2913:
2909:
2905:
2898:
2896:
2894:
2885:
2881:
2877:
2873:
2869:
2865:
2858:
2856:
2854:
2846:
2845:Franklin 2012
2841:
2834:
2829:
2822:
2817:
2810:
2805:
2803:
2795:
2790:
2782:
2778:
2774:
2770:
2766:
2762:
2758:
2754:
2750:
2743:
2736:
2731:
2723:
2719:
2715:
2711:
2707:
2703:
2699:
2695:
2691:
2684:
2676:
2670:
2655:
2651:
2645:
2637:
2631:
2627:
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2616:
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2610:
2608:
2606:
2604:
2602:
2600:
2598:
2589:
2585:
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2565:
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2541:
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2399:
2398:"bronte.info"
2393:
2387:, p. 128
2386:
2385:Franklin 2012
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2137:Novels portal
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2114:Wildfell Hall
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2044:Downton Abbey
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2017:
2012:
2010:
2006:
2002:
1997:
1995:
1991:
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1968:
1967:James Purefoy
1964:
1963:Rupert Graves
1960:
1959:Toby Stephens
1956:
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1858:Stevie Davies
1855:
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1783:Wildfell Hall
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1615:Wildfell Hall
1612:
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1569:
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1566:Juliet Barker
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1415:
1414:The Athenaeum
1411:
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1393:
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1388:
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1375:H. F. Chorley
1372:
1371:
1370:The Athenaeum
1365:
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1359:
1358:
1357:The Spectator
1351:
1347:
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1333:
1332:
1327:
1323:
1322:Victorian era
1319:
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1219:
1212:Direct speech
1209:
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1199:
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1183:
1173:
1171:
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1158:
1156:
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1144:
1143:Stevie Davies
1136:
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1019:
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1000:
996:
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987:
985:
984:Stevie Davies
982:According to
977:
976:Self-portrait
973:
967:
962:
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948:
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815:tartar emetic
808:
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636:Mary Millward
634:
631:
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612:
611:Robert Wilson
609:
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245:
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237:
233:
230:The novel is
228:
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218:
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196:
195:
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184:
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178:
174:
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166:LC Class
162:
158:
155:
154:Dewey Decimal
150:
147:
144:
142:
136:
132:
128:
124:
120:
116:
112:
108:
104:
98:
95:
92:
88:
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81:
78:
74:
70:
66:
62:
59:
55:
48:
43:
37:
33:
19:
4950:
4930:
4922:
4914:
4906:
4898:
4877:George Smith
4845:Ellen Nussey
4703:Maria Brontë
4664:
4657:
4650:
4643:
4617:
4599:
4598:
4590:
4562:
4497:
4489:
4481:
4473:
4416:
4405:
4381:Open Library
4366:
4348:
4334:
4309:
4296:
4241:
4233:W. Heinemann
4228:
4206:
4184:
4165:
4146:
4137:
4114:
4101:
4088:
4064:
4044:
4035:
4013:
4001:
3979:
3969:
3949:
3927:
3901:
3889:. Retrieved
3878:
3871:
3863:
3851:. Retrieved
3848:"Copperhead"
3842:
3830:. Retrieved
3826:The Guardian
3824:
3818:
3792:. Retrieved
3782:
3770:. Retrieved
3760:
3748:. Retrieved
3739:
3727:. Retrieved
3723:
3714:
3705:
3695:
3687:
3680:. Retrieved
3673:
3664:
3652:
3640:
3633:Frawley 1996
3628:
3621:Chitham 1991
3616:
3609:Chitham 1991
3604:
3597:Liddell 1990
3592:
3580:
3568:
3556:
3551:, p. 9.
3544:
3532:
3520:
3508:
3488:. Retrieved
3474:
3462:
3450:
3438:
3426:
3407:
3398:
3386:
3374:
3362:
3350:
3338:
3329:
3325:
3319:
3307:
3295:
3283:
3271:
3259:
3247:
3237:
3230:
3220:
3213:
3201:. Retrieved
3197:the original
3187:
3175:
3166:
3160:
3153:Gaskell 1857
3148:
3136:. Retrieved
3132:the original
3127:
3117:
3110:Chitham 1991
3105:
3093:
3081:
3069:
3055:
3043:
3031:
3019:
3007:
2995:
2983:
2974:
2968:
2944:
2911:
2907:
2903:
2875:
2871:
2867:
2863:
2840:
2828:
2816:
2789:
2756:
2752:
2748:
2742:
2730:
2697:
2693:
2689:
2683:
2669:
2659:21 September
2657:. Retrieved
2653:
2644:
2624:
2571:
2567:
2563:
2519:
2515:
2479:
2475:
2469:
2461:
2452:
2428:
2420:the original
2410:
2401:
2392:
2358:
2324:
2320:
2297:
2278:
2250:
2241:
2223:chauvinistic
2217:
2207:
2199:
2195:
2191:
2187:
2182:
2172:
2163:
2118:
2113:
2109:
2099:
2098:In the 2018
2097:
2092:
2084:
2079:
2075:
2070:
2063:
2054:
2049:
2043:
2040:
2030:
2029:
2025:
2024:
2013:
1998:
1993:
1987:
1980:
1932:
1908:
1906:
1887:
1885:
1871:
1865:
1863:
1853:
1852:
1847:
1842:
1838:
1834:
1830:
1826:
1822:
1809:
1805:
1801:
1797:
1795:
1790:
1782:
1779:Muriel Spark
1776:
1767:
1762:
1749:
1736:
1732:
1728:
1724:
1720:
1708:George Eliot
1703:
1695:
1687:
1685:
1676:
1670:
1665:
1657:George Moore
1648:
1645:
1640:George Moore
1622:
1619:May Sinclair
1614:
1610:
1598:
1594:
1589:
1581:
1575:
1570:
1561:
1556:
1554:
1544:
1540:
1534:
1529:
1523:
1519:
1515:
1511:
1505:
1504:
1489:
1485:
1481:
1480:
1475:
1471:
1467:
1461:
1456:
1447:
1443:
1438:
1434:
1430:
1424:
1422:
1417:
1413:
1403:
1391:
1387:The Examiner
1385:
1384:
1378:
1368:
1367:A critic in
1366:
1361:
1355:
1354:
1335:
1329:
1313:
1312:
1298:
1293:
1283:
1274:
1272:
1263:
1258:
1256:
1245:
1239:
1233:
1217:
1215:
1206:
1201:
1197:
1196:purpose. In
1194:
1181:
1179:
1169:
1165:
1161:
1159:
1155:Thomas Moore
1146:
1141:
1118:
1116:
1104:
1092:
1080:
1075:
1063:
1043:
1040:Universalist
1037:
1027:
1024:
1020:
1010:
1008:
1002:
1001:'s painting
981:
966:Woman artist
960:
951:
944:
933:
904:
901:
898:Displacement
891:
888:
884:
879:
875:
867:
865:
858:
850:
848:
829:
826:
811:
796:
744:
726:Jack Halford
725:
719:
708:
702:
696:
690:
678:Mrs Hargrave
677:
671:
660:
654:
641:
635:
629:
616:
610:
604:
598:
585:
580:Rose Markham
579:
573:
567:
550:
544:
530:
524:
518:
501:
488:
482:
476:
470:
465:Universalist
449:Helen Graham
448:
444:
420:
414:
413:
409:
405:
401:
395:
394:
380:
379:
376:
373:Plot summary
364:
358:
352:
348:Ellen Nussey
341:
322:
306:
297:
295:
287:illegitimate
282:
276:
259:May Sinclair
250:
248:
229:
207:
206:
205:
192:
179:
105:24 June 1848
36:
4933:(2022 film)
4925:(2016 film)
4917:(2005 play)
4909:(1979 film)
4901:(1946 film)
4861:Mary Taylor
4268:Lyall, Edna
4147:Anne Brontë
4115:The Brontës
4102:Anne Brontë
4065:Anne Brontë
3950:The Brontës
3794:14 December
3682:10 November
3455:Ewbank 1966
3443:Ewbank 1966
3431:Ewbank 1966
3355:Allott 2013
3138:9 September
3098:Allott 2013
3086:Allott 2013
3074:Allott 2013
3048:Allott 2013
3036:Allott 2013
3024:Allott 2013
3012:Allott 2013
3000:Allott 2013
2988:Allott 2013
2949:Allott 2013
2833:Barker 1995
2809:Barker 1995
2302:Barker 1995
1943:Janet Munro
1925:as Arthur.
1910:BBC Radio 4
1898:Adaptations
1741:Women's Lib
1696:Anne Brontë
1661:Anglo-Irish
1531:G. H. Lewes
1507:The Rambler
1466:considered
1400:Jane Austen
1373:, probably
1350:Anne Brontë
1290:Hannah More
1236:Jane Austen
1190:Renaissance
872:Hannah More
709:Alice Myers
599:Jane Wilson
586:Mrs Markham
535:Melancholic
453:maiden name
329:Ponden Hall
236:Elizabethan
213:Anne Brontë
61:Anne Brontë
4973:Categories
4855:biographer
4838:Associates
4808:Brontë Way
4652:Glass Town
4592:Agnes Grey
4231:. London:
3549:Spark 2014
3537:Spark 2014
3525:Spark 2014
3502:required.)
3391:GĂ©rin 1974
3379:GĂ©rin 1959
3300:Moore 1924
2794:Joffe 2007
2735:Ellis 2017
2233:References
2188:Agnes Grey
2110:The Tenant
2106:Lily James
2090:2016 novel
2076:Copperhead
2073:2013 novel
2061:1988 novel
1941:, starred
1917:as Helen,
1854:The Tenant
1848:The Tenant
1843:The Tenant
1839:The Tenant
1823:The Tenant
1810:Agnes Grey
1798:The Tenant
1768:The Tenant
1766:discussed
1750:The Tenant
1737:The Tenant
1729:The Tenant
1725:The Tenant
1721:The Tenant
1704:The Tenant
1677:The Tenant
1666:The Tenant
1653:temperance
1649:The Tenant
1623:The Tenant
1611:The Tenant
1590:The Tenant
1582:The Tenant
1562:Agnes Grey
1557:The Tenant
1516:The Tenant
1486:The Tenant
1468:The Tenant
1448:The Tenant
1431:The Tenant
1392:The Tenant
1379:The Tenant
1294:The Tenant
1275:The Tenant
1259:The Tenant
1218:The Tenant
1200:, like in
1198:The Tenant
1182:The Tenant
1170:The Tenant
1162:Agnes Grey
1147:The Tenant
1119:The Tenant
1112:Lord Byron
1048:Protestant
1044:The Tenant
1028:The Tenant
1011:The Tenant
957:Motherhood
941:Hugo Black
920:See also:
905:The Tenant
880:The Tenant
868:The Tenant
851:The Tenant
830:The Tenant
788:Alcoholism
691:Mr Boarham
617:Mrs Wilson
555:misogynist
551:Mr Grimsby
477:Mr Maxwell
461:Lord Byron
426:Characters
307:The Tenant
298:The Tenant
291:alcoholism
283:The Tenant
219:under the
199:Wikisource
181:Agnes Grey
171:PR4162 .T4
4881:publisher
4776:Hartshead
4743:Locations
4699:(brother)
4636:Juvenilia
4475:Jane Eyre
4466:Charlotte
3891:9 January
3853:9 January
3772:31 August
3750:31 August
3729:9 January
3203:16 August
2936:145659077
2781:146466188
2722:162448800
2544:145595504
2192:Jane Eyre
2086:Sam Baker
1681:Thackeray
1673:monograph
1638:Novelist
1626:suggests
1607:Mary Ward
1595:Jane Eyre
1520:Jane Eyre
1512:Jane Eyre
1476:Jane Eyre
1444:Jane Eyre
1435:Jane Eyre
1304:Criticism
1249:outcast.
1042:ideas in
922:Coverture
876:Jane Eyre
713:governess
697:Mr Wilmot
403:husband.
355:Yorkshire
225:Charlotte
221:pseudonym
146:162118830
123:Hardcover
90:Publisher
4957:Category
4899:Devotion
4766:Thornton
4711:(sister)
4705:(sister)
4693:(mother)
4687:(father)
4587:" (1846)
4559:" (1844)
4552:" (1839)
4545:" (1838)
4538:" (1837)
4531:" (1837)
4491:Villette
4372:LibriVox
4308:(2014).
4294:(1897).
4227:(1924).
4205:(1990).
4136:(1959).
4100:(1959).
4086:(1857).
4034:(1966).
4012:(2017).
4000:(1960).
3948:(1995).
3926:(2013).
3885:Archived
3675:BBC News
3645:Jay 2000
3490:23 April
2884:30225153
2714:27794855
2536:40467510
2177:writer."
2123:See also
1923:Leo Bill
1867:BBC News
1655:novel".
1490:Sharpe's
1404:Examiner
1377:, cited
1360:wrote: "
1123:adultery
1100:machismo
1066:Romantic
916:Marriage
741:Timeline
511:Branwell
344:Mirfield
333:Stanbury
257:novels.
255:feminist
68:Language
4871:teacher
4780:village
4770:village
4754:village
4750:Haworth
4483:Shirley
4113:(ed.).
3916:Sources
3063:. 1848.
2928:1556270
2773:1348391
2341:3734417
2041:In the
1913:, with
1870:listed
1712:realist
1524:Rambler
1452:Dickens
1320:of the
1238:. Like
1095:Byronic
1070:Realism
1060:Realism
539:suicide
506:Byronic
239:mansion
121:Print (
71:English
4915:Brontë
4828:pastor
4824:church
4796:museum
4717:(aunt)
4677:Family
4666:Gondal
4622:(1846)
4603:(1848)
4595:(1847)
4567:(1847)
4502:(1857)
4494:(1853)
4486:(1849)
4478:(1847)
4391:second
4316:
4248:
4213:
4191:
4172:
4153:
4121:
4072:
4051:
4020:
3986:
3956:
3934:
3832:25 May
3496:
3414:
2934:
2926:
2882:
2779:
2771:
2720:
2712:
2632:
2588:377662
2586:
2542:
2534:
2453:eNotes
2365:
2339:
2285:
2112:: "In
2020:Sydney
1937:. The
1628:Balzac
1318:morals
1151:Gondal
783:Themes
730:squire
720:Benson
703:Rachel
467:faith.
183:
57:Author
4931:Emily
4529:Lines
4520:Emily
4395:third
4387:first
2932:S2CID
2924:JSTOR
2880:JSTOR
2777:S2CID
2769:JSTOR
2718:S2CID
2710:JSTOR
2584:JSTOR
2540:S2CID
2532:JSTOR
2337:JSTOR
2156:Notes
1659:, an
1533:, in
1460:from
1395:'
1225:Genre
1185:'
909:Bible
853:with
716:flee.
159:823.8
130:Pages
76:Genre
4576:Anne
4422:IMDb
4411:IMDb
4393:and
4314:ISBN
4246:ISBN
4235:Ltd.
4211:ISBN
4189:ISBN
4170:ISBN
4151:ISBN
4119:ISBN
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