Showing posts with label Anne Brontë. Show all posts
Showing posts with label Anne Brontë. Show all posts

Saturday, 29 February 2020

The Anne Stone

Poetry Pilgrimage
On a Spring day last year we made it to Haworth by 10:30am and, though the weather was warm and sunny, it was not too hot, which was a relief given the pilgrimage we had planned: seven miles tramping north of Haworth with views over the Worth Valley. A seven mile walk is not a stretch for many people but given the ups and downs –  more ups than downs – it certainly got the heart beating and the back sweating….
Circular walk
The walk, designed by Michael Stewart, begins (and ends) at the Brontë Parsonage and partly follows what has become known as “The Railway Children Walk.” The views were part West Yorkshire industrial landscape, part forest, part fields, part moors, part paths, part roads, a series of stiles, a packhorse bridge and an ancient stone bridge, one view after another changing and ever changing.  We drank coffee overlooking a small valley; and had our picnic lunch sitting on a stone wall. Yorkshire placenames in the area are typically evocative: Bridgehouse Beck, Holden Park, Race Moor Lane, True Well Hall, Dean Bridge, Turkey Inn, Pickles Hill, Lumb Beck, Oldfield Gate.
"Take Courage"
The final destination was Parson’s Field near the Parsonage where the wonderful Jackie Kay has penned a tribute to Anne. Charlotte’s and Emily’s stones are elsewhere in the area, but I am very pleased that Anne’s Stone is here because of course her mortal remains lie in Scarborough where she was taken in 1849 whilst suffering from tuberculosis. Contemporary accounts say that her final words to Charlotte were “Take Courage.”
Anne by Jackie Kay
These plain dark sober clothes
Are my disguise. No, I was not preparing
For an early death, yours or mine.
You got me all wrong, all the time.
But sisters, I will have the last word,
Write the last line. I am still at sea.
But if I can do some good in this world
I will right the wrong. I am still young.
And the moor’s winds lift my light-dark hair.
I am still here when the sun goes up,
Still here when the moon drops down.
I do not now stand alone.


Saturday, 13 April 2019

Shall Earth No More Inspire Thee

Mother's Day at the Bronte Parsonage Museum

Mother's Day 2019
We chose to be in Haworth on Mother’s Day. It may seem counterintuitive since the Brontë Parsonage was a home bereft of a mother. Mother Maria died soon after the famous family moved to the town of Haworth from Thornton in Bradford. Therefore, the Parsonage (during the years 1820 to 1861) relied for maternal influences on Aunt Branwell for 21 years, on home helps Tabby Aykroyd and Martha Brown and the sisterly love and mutual support of Charlotte, Emily and Anne.
When imagination once runs riot
Every time I walk round the Brontë Parsonage Museum (and I have done it over 20 times now, including the times I took students there) I spot something new or feel something different. This time I found myself imagining the love, rivalry and intensity of the sibling relationships; how they must have been constantly aware of where each other was in the house, the changing dynamics when each of them left for a time, the circumstances that brought each of them back. And the changing atmosphere when, one by one, they died.
Shall Earth No More Inspire Thee
The extra incentive to visit on Mother’s Day was the opportunity to enjoy a unique audio-hiking experience. The Parsonage Museum have commissioned composer Adrian McNally to set to music a selection of Emily Brontë’s poems. Adrian composed by day at Ponden Hall (historically a place that sheltered Branwell, Emily and Anne along with servant Sarah Garrs during the Crow Hill Bog Burst, a thunderstorm and mudslide in 1824.) Adrian then practised and performed the music on the piano you can see today in Mr Brontë’s study (played by Emily during her lifetime, also by Anne.) Rachel and Becky Unthank (folk group, The Unthanks) have performed and recorded the poems and the Parsonage have devised a walk up onto Penistone Hill so you can listen to the songs/poems as you follow a 45-minute climb and descent onto the nearby moor.
Song Cycle in order of audio experience in Haworth
1. Deep deep down in the silent grave
With no-one to mourn above
Here with my knee upon thy stone
I bid adieu to feelings gone
I leave with thee my tears and pain
And rush into the world again

O come again what chains withhold
The steps that used so fleet to be
Come leave thy dwelling dark and cold
Once more to visit me

Was it with the fields of green
Blowing flower and budding tree
With the summer heaven serene
That thou didst visit me?

No ‘t was not the flowery plain
No ‘t was not the fragrant air
Summer skies will come again
But thou wilt not be there

2. She dried her tears and they did smile
To see her cheeks' returning glow
How little dreaming all the while
That full heart throbbed to overflow.

With that sweet look and lively tone
And bright eye shining all the day
They could not guess at midnight lone
How she would weep the time away.

3. I’m happiest when most away
I can bear my soul from its home of clay
On a windy night when the moon is bright
And the eye can wander through worlds of light—

When I am not and none beside—
Nor earth nor sea nor cloudless sky—
But only spirit wandering wide
Through infinite immensity.

4. Shall Earth no more inspire thee,
Thou lonely dreamer now?
Since passion may not fire thee
Shall nature cease to bow?

Thy mind is ever moving
In regions dark to thee;
Recall its useless roving -
Come back and dwell with me.

I know my mountain breezes
Enchant and soothe thee still -
I know my sunshine pleases
Despite thy wayward will.

When day with evening blending
Sinks from the summer sky,
I've seen thy spirit bending
In fond idolatry.

I've watched thee every hour;
I know my mighty sway,
I know my magic power
To drive thy griefs away.

Few hearts to mortals given
On earth so wildly pine;
Yet few would ask a Heaven
More like this Earth than thine.

Then let my winds caress thee;
Thy comrade let me be -
Since nought beside can bless thee
Return and dwell with me.

5. O evening, why is thy light so sad
Why is the sun's last ray so cold?
Hush our smile is as ever glad
But thy heart is growing old.

It's over now; I've known it all;
I'll hide it in my heart no more,
But back again that night recall,
And think the fearful vision o'er.

The evening sun in cloudless shine
Has passed from summer's heaven divine,
And dark the shades of twilight grew,
And stars were in the depth of blue,
And in the heath or mountains far
From human eye and human care,
With thoughtful heart and tearful eye,
I sadly watched that solemn sky.
6. High waving heather 'neath stormy blasts bending,
Midnight and moonlight and bright shining stars;
Darkness and glory rejoicingly blending,
Earth rising to heaven and heaven descending,
Man's spirit away from its drear dungeon sending,
Bursting the fetters and breaking the bars.

All down the mountain sides wild forests lending
One mighty voice to the life-giving wind;
Rivers their banks in their jubilee rending,
Fast through the valleys a reckless course wending,
Wider and deeper their waters extending,
Leaving a desolate desert behind.

Shining and lowering and swelling and dying,
Changing forever from midnight to noon;
Roaring like thunder, like soft music sighing,
Shadows on shadows advancing and flying,
Lightning-bright flashes the deep gloom defying,
Coming as swiftly and fading as soon.

7. Lines
The soft unclouded blue of air,
The earth as golden, green, and fair,
And bright as Eden's used to be,
That air and earth have rested me,

Laid on the grass I lapsed away,
Sank back again to childhood's day;
All harsh thoughts perished, memory mild
Subdued both grief and passion wild.

But did the sunshine even now
That bathed his stern and swarthy brow,
Oh did it wake—I long to know—
One whisper, one sweet dream in him,
One lingering joy that years ago
Had faded—lost in distance dim?

That iron man was born like me,
⁠And he was once an ardent boy;
He must have felt in infancy
⁠The glory of a summer sky.

Though storms untold his mind has tossed,
He cannot utterly have lost
Remembrance of his early home—
So lost that not a gleam may come.

No vision of his mother's face
⁠When she so fondly mild set free
Her darling child from her embrace
⁠To roam till eve at liberty.

Nor of his haunts, nor of the flowers,
⁠His tiny hand would grateful bear,
Returning from the darkening bowers,
⁠To weave into her glossy hair.

I saw the light breeze kiss his cheek,
⁠His fingers 'mid the roses twined;
I watched to mark one transient streak
⁠Of pensive softness shade his mind.

The open window showed around
⁠A glowing park and glorious sky,
And thick woods swelling with the sound
⁠Of nature's mingled harmony.

Silent he sat. That stormy breast
At length I said has deigned to rest;
At length above that spirit flows
The waveless ocean of repose.

Let me draw near, 'twill soothe to view
His dark eyes dimmed with holy dew;
Remorse even now may wake within
And half unchain his soul from sin.

Perhaps this is the destined hour
When Hell shall lose its fatal power,
And Heaven itself shall bend above
To hail the soul redeemed by love.

Unmarked I gazed, my idle thought
Passed with the ray whose shine it caught;
One glance revealed how little care
He felt for all the beauty there.

Oh! crime can make the heart grow old
⁠Sooner than years of wearing woe,
Can turn the warmest bosom cold
⁠As winter wind or polar snow.
8. Remembrance
Cold in the earth - and the deep snow piled above thee.
Far, far removed, cold in the dreary grave!
Have I forgot, my only Love, to love thee,
Severed at last by Time's all-severing wave?

Now, when alone, do my thoughts no longer hover
Over the mountains on that northern shore;
Resting their wings where heath and fern-leaves cover
That noble heart for ever, ever more?

Cold in the earth - and fifteen wild Decembers,
From those brown hills, have melted into spring:
Faithful, indeed, is the spirit that remembers
After such years of change and suffering!

Sweet Love of youth, forgive, if I forget thee
While the world's tide is bearing me along;
Other desires and other hopes beset me,
Hopes which obscure but cannot do thee wrong!

No later light has lightened up my heaven;
No second morn has ever shone for me:
All my life's bliss from thy dear life was given,
All my life's bliss is in the grave with thee.

But when the days of golden dreams had perished
And even Despair was powerless to destroy,
Then did I learn how existence could be cherished,
Strengthened, and fed without the aid of joy.

Then did I check the tears of useless passion -
Weaned my young soul from yearning after thine;
Sternly denied its burning wish to hasten
Down to that tomb already more than mine.

And even yet, I dare not let it languish,
Dare not indulge in Memory's rapturous pain;
Once drinking deep of that divinest anguish,
How could I seek the empty world again?

9. The night is darkening round me
The wild winds coldly blow;
But a tyrant spell has bound me
And I cannot, cannot go.

The giant trees are bending
Their bare boughs weighed with snow.
And the storm is fast descending,
And yet I cannot go.

Clouds beyond clouds above me,
Wastes beyond wastes below;
But nothing drear can move me;
I will not, cannot go.

I'll come when thou art saddest,
Laid alone in the darkened room,
When the mad day's mirth has vanished,
And the smile of joy is banished
From evening's chilly gloom.

I'll come when the heart's real feeling
Has entire, unbiased sway,
And my influence o'er thee stealing,
Grief deepening, joy congealing,
Shall bear thy soul away.

Listen! 'tis just the hour,
The awful time for thee.
Dost thou not feel upon thy soul
A flood of strange sensations roll,
Forerunners of a sterner power,
Heralds of me?

I would have touched the heavenly key
That spoke alike of bliss and thee;
I would have woke the entrancing song,
But its words died upon my tongue.
And then I knew that hallowed strain
Would never speak of joy again,
And then I felt . . .

The night is darkening round me
The wild winds coldly blow;
But a tyrant spell has bound me
And I cannot, cannot go.
And I cannot, cannot go.
And I cannot, cannot go.



Saturday, 15 July 2017

Bradford Literature Festival 2017

Bradford Literature Festival 2017
The cover of the booklet proclaimed 400 writers, 300 events, 10 days, 1 city
I listened to 28 speakers in 10 events over 4 days
I felt insanely proud of the city where I live for hosting such an event – the fourth year now and getting stronger each time. A thousand congratulations to the driving forces: Syima Aslam, Irna Qureshi and their superb team.
Bradford Waterstones in the old Wool Exchange

Inclusive, surprising, chock-a-block with surprising juxtapositions
I’ve been to a number of literary and writing festivals during my lifetime but I haven’t experienced one with such a variety: from Harry Potter spell-making to Pakistani politics, from Jane Austen to Rebel Girls, from Star Wars to Cricket, from LGBTIQ events to J B Priestley, from Waris Shah’s epic love love poem to lessons on how to avoid writing bad sex scenes. The organisers seem to be fearless and determined to put in something for everyone. And everyone, it seemed, turned out.
Bradford: City Square, City Hall, R C Bridgestock in the Victorian courtroom (see below)

City square in the sun
I found something on both weekends to intrigue and pull me in. But my abiding memory of the festival might be sitting in City Square watching the fountains play and being astonished (and moved) by the smiling crowds going in and out of the book tent, by the individuals, friends, strangers, families, young, old, all ethnicities, all backgrounds and all types watching the pop-up entertainments. Many, I’m sure, were as equally contented as me that, after all the metaphorical earthquakes in the political world in recent years, the evidence of people congregating at the Bradford Literature Festival shows that the human race is overwhelmingly peaceful, loving, investigative and open-hearted. Culture and the arts celebrate communities, spread ideas and, yes, it’s true, they advance civilisation. Much to learn. Much to debate. Much to ponder. Much to love.
Samantha Ellis's book, the Arabian Nights event (Abdul-Rheman Malik, Robert Irwin and S F Said); the Arthurian legends (Kirsty Logan, Reluca Radulescu and Remona Aly); and Game of Thrones: Myths and History (Tom Huddleston and Carolyne Larrington)

So what did I learn, debate, ponder and love?

Book Bidding Wars

  • Inside City Hall is as jaw-dropping as the outside, inspired as it is by the Palazzo Vecchio in Florence
  • The women from the publishing industry who spoke at this event were inspiring, funny and encouraging (thank you Ailah Ahmed, Danuta Kean, Lisa Milton and Kate Nash)
  • Update on my Rhenium Tales efforts: the arc of my second book is laid out with some material already dumped there because I’ve cut it out of Book One
  • Book One, Raydan Wakes, is in the final stretch of complete first draft at 111,000 words split into 15 chunky chapters, each divided into three sections….
  • Nothing at this event made me think I should stop writing and editing, writing and editing….

The Arthurian Legend and its Enduring Appeal

  • Remona Aly (journalist and broadcaster) was an endearing and enthusiastic chair whose expressions of her fandom articulated exactly my own Arthurian obsessions (and that's what's great about the festival: where the internal worlds of a white Roman Catholic in his 50s and a young Muslim woman can meet in an unlikely space....)
  • Kirsty Logan inspired me to buy her book The Gracekeepers 
  • I wish I’d been taught at university by Professor Reluca Radulescu
  • The three women debated the crux of the Arthurian canon: the fruitful jostle between the imaginative, the scholarly, the historical, the gender-focused, the patriotic, the European and the romantic approaches
  • The Tag “King Arthur” in the list to the right will demonstrate how much I wallowed in this event

Arabian Nights: the Original Science Fiction

  • There are way more stories in the Arabian Nights collection than I knew of
  • From oral tradition to the printed collection(s) on shelves now, the journey of The Arabian Nights is fraught with cultural, political and linguistic complexities
  • There are some wild and wonderful stories I never knew containing prophetic imaginings and leaps of technology
  • The Arabian Nights is more mind-boggling and enticing than I thought before
  • I need a new translation (thank you Abdul-Rehman Malik, Robert Irwin and S F Said)

Game of Thrones: Myths & History

  • Tom Huddleston (author and film journalist) and Professor Carolyne Larrington (Oxford) made a brilliant double act with well-prepared questions (Tom) and authoritative answers (Carolyne) and conversation that was mesmerisingly entertaining (both of them, thank you)
  • Another event, like the King Arthur session, that explored how history, geography, politics, gender studies, fiction and the imagination can work together to brew sci-fi and fantasy
  • They revelled in the North-South divide of York/Lancaster and Stark/Lannister which tickled me to bits
  • They revealed some crazy medieval anecdotes and prompted me to make four pages of notes

The Books they don’t want you to read

  • Kevin Duffy helps run Bluemoose books which published STOP! Don’t read this by Leonora Rustamova and her students, a story which is worth researching if you don’t know it (click here)
  • Melvin Burgess (who wrote two of my favourite “Young Adult” books Bloodtide and Bloodsong) is much more genial than I expected
  • Tariq Mehmood is a funny guy – and sometimes scary in his emphatic challenges – but whose book You’re not proper is one I’m looking forward to reading
  • All three men wrangled around the subject of banning books and acknowledged the empty chair reserved for Juno Dawson who had withdrawn from the festival for reasons which could be seen as ironic given the topic of this event – complex times – so I hope one day I’ll be able to hear Juno talking about her work; she would, I think, have had a different perspective to the three men on the panel, all of whom were interesting....
Branwell Brontë, Juliet Barker, the Bidding Wars panel (Lisa Milton, Ailah Ahmed, Kate Nash, Danuta Kean), Samantha Ellis, Michael Stewart, Louise Doughty and Robert Edric

And on the second weekend?

The Missing Brontë

  • Juliet Barker really is the best speaker about the Brontës on the circuit
  • She showed us extraordinary images of the Haworth Parsonage and analysed the ‘gun portrait’ in a fresh way
  • She painted a picture of Branwell that was complicated and sympathetic, believable and sad
  • She made a strong case for Branwell’s role in pushing the imaginative lives of the sisters when they were children

Inspired by the Brontës

  • Samantha Ellis, author of Take Courage (about Anne Brontë) and How to be a heroine, is an absolute delight and would be a great dinner party guest
  • Louise Doughty, author of Apple Tree Yard, won a place to be at the same dinner party; both she and Samantha Ellis spoke with humour and passion about the Brontës and how their writing had influenced their work
  • I tried to ignore Robert Edric who seemed to be there under false pretences; and Michael Stewart (writer) asked some good questions and some rubbish questions; but luckily the two women had enough to say and illuminated the theme of the event
Boyd Tonkin and Germaine Greer

Gender Expectations in the Lives of the Brontës

  • Boyd Tonkin (writer, journalist, editor) commented intelligently and asked pertinent questions
  • Germaine Greer (academic, environmentalist) said a lot, often wittily, always memorably, frequently debatable
  • On signing “To Tony” inside one of her Shakespeare books for me at the end, formidable Germaine looked me in the eye and said “I have a cousin called Tony who exposed himself to my little sister.” Which meant I forgot just about everything else she’d said earlier, except I remember that she admitted she didn’t know Wuthering Heights well, even though she was happy to deliver strong opinions about it.
  • Greer’s book Shakespeare’s Wife is a brilliant account of Elizabethan/Jacobean social history so I’ll always be a Germaine fan because of it. But I’ll avoid listening to her talking about the Brontës in the future. She ain’t got nothing useful to say about them. Entertaining. Thought-provoking. Occasionally stubbornly wrong. Juliet Barker beats her hands down. Not that it’s a competition…

A Man’s Game

  • Ross Raisin (ex Bradford Grammar School, award-winning author) is a thoughtful and philosophical speaker; his first novel God’s Own Country was (imho) an absorbing and poetic read; I got a copy of his latest A Natural signed at this event
  • David Park is a Belfast-born writer whose words inspired me to buy his collection of short stories, Gods and Angels, so I’ll look forward to reading that
  • Ellis Cashmore (sociologist and cultural critic) moderated, intervened, provoked and enjoyed his own thought processes awfully much
  • Will women’s sport ever (again) receive as much media attention and financial investment as male sport?
  • I was interested to learn how in the early part of the 20th Century women’s football flourished and was then banned by the FA….
  • Is there a modern crisis of masculinity?
  • Do fiction writers have any responsibility in attempting to portray an ‘ideal’ man?
Ellis Cashmore, Ross Raisin, David Park, A Natural, Melvin Burgess and the Banned Book event (Kevin Duffy, Melvin Burgess and Tariq Mehmood)

Realism in Crime Fiction & Tour of the Bradford Police Museum

  • Who knew there was a fascinating Police Museum housed in City Hall? I know now.
  • Who knew there were Victorian police cells to visit and an astonishing Victorian courtroom, often hired by film and TV production companies? I know now.
  • R C Bridgestock (aka husband-and-wife team Bob and Carol) gave an entertaining account of their careers in the police force, their transition to writing crime fiction and their forays into consulting on series’ like Sally Wainwright’s Happy Valley 
  • Bob and Carol were generous in their enouragement and writing tips
  • Pamela Clare, make-up artist, showed astonishing skill in demonstrating gruesome facial injuries on audience members
  • Martin Baines was an informative, entertaining and thoughtful guide round the fascinating bowels of City Hall and revealing insights into the past (and present) practices of police custody
I’m already anticipating Bradford Literature Festival 2018
The founders of the BLF: Syima Aslam and Irna Quresh


Saturday, 24 June 2017

Half agony, half hope

Foam party
Attending a production of Jane Austen’s Persuasion at Manchester’s Royal Exchange I didn’t anticipate foam falling from the gantry, Louisa Musgrave in a bikini and Captain Wentworth in swimming shorts and the pair of them doing body slides through the foam. And who’s this strutting in speedos? None other than Mr William Walter Elliot. This was the scene at Lyme Regis. Anne Elliot, naturally, kept her top clothes on. To be fair to the director/designer, the original text refers to swimming so there is purist justification. But what the production did, I think, was capture the spirit of the scene by the seaside – unbridled joy ending in the famous fall from The Cobb by the impetuous Louisa.
Much needed injection of Austen
It was after being moved at the floral/balloon tribute to the Manchester arena victims in St Ann’s Square (blog here) that we had a meal at one of my favourite places, the Royal Exchange, and attended press night for this visually updated but linguistically intact adaptation of Jane Austen’s final novel, the title of which was provided by her loving brother, Henry. The adaptation by James Yeatman and all the performances captured the novel intelligently and exuberantly in my opinion. The satire of romantic attitudes was present, the economic brutality of the position for women was in-built into the plot, the feminist anchor of the differences between women and men was laid bare by the interactions. And through it all Lara Rossi as Anne ploughed a road, a lonely road, a fierce road, a determined road towards a final resolution standing together with Frederick Wentworth, their future road not necessarily happy but hopeful and honest. Great companion piece in my theatrical memories of the production we saw at Bolton Octagon of The Tenant of Wildfell Hall which may have been less theatrically inventive but was definitely in the same vein of hard-won love conquering all.

Jeff James – Director
Alex Lowde – Designer
Lucy Carter – Lighting Design
Ben and Max Ringham – Music and Sound Design
Dramaturg – James Yeatman

Geraldine Alexander – Lady Russell/Mrs Croft
Antony Bunsee – Sir Walter Elliot/Admiral Croft
Helen Cripps – Mary Musgrove (née Elliot)
Samuel Edward-Cook – Captain Frederick Wentworth
Cassie Layton – Elizabeth Elliot/Louisa Musgrove
Caroline Moroney – Mrs Clay/Henrietta Musgrove
Lara Rossi – Anne Elliot
Dorian Simpson – Charles Musgrove
Arthur Wilson – Edmund Hayter/Captain Benwick/Mr WW Elliot


Rehearsal photographer: Johan Persson; all photographs in collages from the website of The Royal Exchange Theatre Manchester

Saturday, 13 May 2017

Walking firmly over stones

Brontë birth anniversaries
I am living in a time of Brontëphilia. The Brontë Parsonage at Haworth begun a slew of anniversaries last year with the bicentenary of Charlotte’s birth and is continuing to celebrate milestones over the next few years.
  • 2016 – 200 years since Charlotte’s birth 
  • 2017 – 200 years since Branwell’s birth 
  • 2018 – 200 years since Emily’s birth 
  • 2019 – 200 years since the Reverend Patrick took up the role of pastor in Haworth 
  • 2020 – 200 years since Anne’s birth
The number of labels on the right link to earlier blogs I’ve written about the Brontës. Like Shakespeare, their works and lives, are bottomless pits of fascination. Sally and I went to see Bolton Octagon’s production of The Tenant of Wildfell Hall, adapted by Deborah McAndrew and directed by Elizabeth Newman. The set was beautifully versatile, designed by Amanda Stoodley and the lighting and sound wutheringly atmospheric. Helen Graham, the tenant of the title, prompts malicious gossip in the nearby town. Will the town ever come to understand the headstrong tenant? Is she truly a widow? Who is the father of her son? What is her relationship with her landlord? Like the novel, the adaptation used the bold narrative device of the truth pouring out of the pages of Helen’s journal that, in a theatrical flourish, appeared just before the interval. Any road up, the production was so enjoyable we booked again to see it at the Theatre Royal in York where we were even closer to the actors’ expressions – and Sancho the eager dog!

Subversive work

Published in 1848 (under the male pseudonym Acton Bell) The Tenant of Wildfell Hall was an instant and scandalous success. One contemporary reviewer proclaimed it “revolting, coarse, disgusting” and Anne’s own sister, Charlotte, prevented its re-publication after Anne’s untimely death. Is it the vivid portrayal of the lecherous and drunken husband and the debauchery of the aristocrats that offended? Or the issues surrounding the morality of bringing up a child in abusive circumstances? Or the blatant refusal of Helen to be a meek dutiful wife? Or the portrayal of a woman who refuses to compromise her principles? Or the class-upsetting thought of a “rich widow” attracting the admiration of a working class Yorkshire farmer and she going after him as an equal? Does the novel deserve its reputation as an early feminist tract? (Probably yes in answer to all these questions, in my view, and a masterpiece in consequence.)


A uniformly superb cast, beautifully choreographed, skillfully distinguished
Elizabeth Newman coaxed terrific performances out of the cast, some of whom played two roles effectively:
  • Pheobe Pryce as the complicated, religious, determined, straight-talking Helen Graham/Huntingdon
  • Michael Peavoy as the hard-working, steadfast, jealous, dogged, stubborn but lovable Gilbert Markham
  • Nicôle Lecky as Rose Markham, loyal and industrious, sometimes susceptible to gossip; and as the dazzling and amoral Lady Lowborough
  • Susan Twist as Mrs Markham, Yorkshire mother, blind to her own son’s faults and eager to be hospitable to all; and as courageous servant, Rachel
  • Marc Small as the charismatic, authoritative but doomed drunken rake Arthur Huntingdon
  • Colin Connor as the hypocritical pastor Reverend Millward; and as the hapless toff Lord Lowborough
  • Natasha Davidson as the flighty Eliza Millward; and as the abused Millicent Hattersley
  • Philip Starnier as the enigmatic landlord Lawrence; and as the weak-willed Ralph Hattersley
  • + a variety of child actors as the younger Arthur, crucial in scenes showing the contrast between Arthur Huntingdom and Gilbert Markham
  • + a variety of canine performers as Sancho the dog (woof!)

My favourite quotations
The Tenant of Wildfell Hall doesn’t contain some of the rock-hewn language of the works of Charlotte and Emily, but Deborah McAndrew’s adaptation included a couple of my favourite quotations from Anne's magnificent novel:
I maintain that if she were more perfect, she would be less interesting.
If you would have your son to walk honourably through the world, you must not attempt to clear the stones from his path, but teach him to walk firmly over them - not insist upon leading him by the hand, but let him learn to go alone.
I would rather have your friendship than the love of any other woman in the world.

Saturday, 11 March 2017

No coward soul is mine


Invading a sister’s privacy….

According to contemporary accounts it was the discovery of her sister Emily’s poems that first prompted Charlotte Brontë to push the girls into sending some of their writing for publication. Charlotte, apparently, “accidentally lighted on a (manuscript) volume of verse, in my sister Emily’s handwriting” and thought them “nor at all like the poetry women generally write. I thought them condensed and terse, vigorous and genuine. To my ear they had also a peculiar music, wild, melancholy and elevating.” Emily was furious and, at first, refused consent but relented after a few days when Anne supplied some of her own verses and a plot was hatched for the sisters to remain anonymous.

Currer, Ellis and Acton Bell

In the biographical notice that Charlotte wrote for the 1850 edition of Wuthering Heights and Agnes Grey she explained:
“Averse to personal publicity we veiled our own names under those of Currer, Ellis and Acton Bell; the ambiguous choice being dictated by a sort of conscientious scruple at assuming Christian names positively masculine, while we did not like to declare ourselves women, because – without at the time suspecting that our mode of writing and thinking was not what is called “feminine,” – we had a vague impression that authoresses are liable to be looked on with prejudice….”

Fine quaint spirit

In the first review of the Brontë’s poems, published in the July 4th Athenaeum, the reviewer thinks Ellis (Emily) is the best writer of the “three brothers” being “a fine, quaint spirit” and who possesses “an evident power of wing that may reach heights not here attempted.” The poems of Ellis “convey an impression of originality beyond what his contributions to these volumes embody.” Sadly, several magazines that received copies did not bother to review the volume and only two copies were sold. Less than 10 copies of the original 1846 print-run survive, but a reprinting in 1850 with additional poems curated by Charlotte fared better (cashing-in on the success of Jane Eyre and Wuthering Heights.) Emily’s poetry has certainly stood the test of time.
Emily Dickinson apparently requested that No coward soul is mine be read at her funeral

The steadfast rock of immortality

Emily’s most famous poem is probably the following, published after her death and containing an elemental and mind-expanding account of “universes” (cheeky plural!) that exist inside and outside the imagination. Apparently Emily Dickinson asked for this poem to be read at her funeral. I can understand why – it is technically perfect with its formal patterns and rhymes but it is audacious, too, with its wild use of verbs (shine, arming, anchored, animates, pervades, broods, changes, sustains, dissolves, creates, rears, render) with a glut of verbs in stanza 5. What does it mean? The voice in the poem is courageous at facing the world with a grounded self-defining confidence in the face of life’s uncertainties and trivial concerns. The voice embraces doubt, embraces nature, embraces death, and embraces immortality. God in this poem seems to be inside Emily Brontë, inside in the form of her own self-worth, her mother, her dead sisters, her brother, the Yorkshire landscape. The key phrase in this poem for me is “creates and rears” – the creation and the rearing of life, the actions of a mother; the creation and rearing of works of art that will “never be destroyed.”
Though earth and man were gone / And suns and universes ceased to be....

If Charlotte is to be believed, this is Emily’s final piece of writing

No coward soul is mine,
No trembler in the world’s storm-troubled sphere:
I see Heaven’s glories shine,
And faith shines equal, arming me from fear.

O God within my breast,
Almighty, ever-present Deity!
Life that in me has rest,
As I undying Life have power in thee!

Vain are the thousand creeds
That move men’s hearts: unutterably vain;
Worthless as withered weeds,
Or idle froth amid the boundless main,

To waken doubt in one
Holding so fast by thine infinity;
So surely anchored on
The steadfast rock of immortality.

With wide-embracing love
Thy spirit animates eternal years,
Pervades and broods above,
Changes, sustains, dissolves, creates, and rears.

Though earth and man were gone,
And suns and universes ceased to be,
And thou were left alone,
Every existence would exist in thee.

There is not room for Death,
Nor atom that his might could render void:
Thou thou art Being and Breath,
And what thou art may never be destroyed.
Art work by Chrissie Freeth, Tapestry Weaver