Miss Pym and a Friend

Miss Pym and a Friend

Saturday, April 4, 2020

The Class that Began this Blog

These are my lesson plans that started this blog:


B.   the Brontë Sisters: Bronte Juvenilia

The Brontës, Rebel Angels of the House
Ellen M. Tsagaris, J.D., Ph.D.
Week 1




I. Course Introduction.
II.                Background women’s housework and women’s lives v. women’s writing lives:
    • Plato
    • Sor Juana Ines de la Cruz
    • John Donne and Barbara Pym on Excellent Women
    • Pym on Housework in Less than Angels
    • Bronte Sisters
    • Coventry Patmore and his Angel of the House
    • The Marquis and the Customs House Agent; Hawthorne and his unfortunate comment about “That Damned Mob of Scribbling Women” which included Harriet Beecher Stowe and E.D.E.N Southworth
    • Southey and Charlotte; Ironic in light of Charlotte’s hero worship of Lord Byron [Byron’s “dry bob” comment in Don Juan].
    • The Feminine Mystique
    • Poets and chapbooks
    • Juvenilia and Politics including The Duke of Wellington and Byron

III.             Brief Bios:

A. Charlotte/married name Mrs. Arthur Bell Nicholls , pseudonym Currer Bell/(1816-1855)Writer. Born April 21, 1816 in Yorkshire, England. Said to be the most dominant and ambitious of the Brontës, Charlotte was raised in a strict Anglican home by her clergyman father and a religious aunt after her mother and two eldest siblings died. She and her sister Emily attended the Clergy Daughter's School at Cowan Bridge, but were largely educated at home. Though she tried to earn a living as both a governess and a teacher, Charlotte missed her sisters and eventually returned home.

A writer all her life, Charlotte published her first novel, Jane Eyre, in 1847 under the manly pseudonym Currer Bell. Though controversial in its criticism of society’s treatment of impoverished women, the book was an immediate hit. She followed the success with Shirley in 1848 and Vilette in 1853.

The deaths of the Brontës are almost as notable as their literary legacy. Her brother, Branwell, and Emily died in 1848, and Anne died the following year. In 1854, Charlotte married Arthur Bell Nicholls, but died the following year during her pregnancy. The first novel she ever wrote, The Professor, was published posthumously in 1857. biography.com.

B.  Emily: Emily Brontë Biography: pseudonym Ellis Bell, in full Emily Jane Brontë-(1818–1848). (born July 30, 1818,  [both mine and my parents’ wedding anniversary!] Thornton, Yorkshire, Eng.—died Dec. 19, 1848, Haworth, Yorkshire) English novelist and poet who produced but one novel, Wuthering Heights (1847), a highly imaginative novel of passion and hate set on the Yorkshire moors. Emily was perhaps the greatest of the three Brontë sisters, but the record of her life is extremely meagre, for she was silent and reserved and left no correspondence of interest, and her single novel darkens rather than solves the mystery of her spiritual existence.

Her father, Patrick Brontë (1777–1861), an Irishman, held a number of curacies: Hartshead-cum-Clifton, Yorkshire, was the birthplace of his elder daughters, Maria and Elizabeth (who died young), and nearby Thornton that of Emily and her siblings Charlotte, Patrick Branwell, and Anne. In 1820 the father became rector of Haworth, remaining there for the rest of his life.

After the death of their mother in 1821, the children were left very much to themselves in the bleak moorland rectory. The children were educated, during their early life, at home, except for a single year that Charlotte and Emily spent at the Clergy Daughters' School at Cowan Bridge in Lancashire. In 1835, when Charlotte secured a teaching position at Miss Wooler's school at Roe Head, Emily accompanied her as a pupil but suffered from homesickness and remained only three months. In 1838 Emily spent six exhausting months as a teacher in Miss Patchett's school at Law Hill, near Halifax, and then resigned.

To keep the family together at home, Charlotte planned to keep a school for girls at Haworth. In February 1842 she and Emily went to Brussels to learn foreign languages and school management at the Pension Héger. Although Emily pined for home and for the wild moorlands, it seems that in Brussels she was better appreciated than Charlotte. Her passionate nature was more easily understood than Charlotte's decorous temperament. In October, however, when her aunt died, Emily returned permanently to Haworth.

In 1845 Charlotte came across some poems by Emily, and this led to the discovery that all three sisters—Charlotte, Emily, and Anne—had written verse. A year later they published jointly a volume of verse, Poems by Currer, Ellis and Acton Bell, the initials of these pseudonyms being those of the sisters; it contained 21 of Emily's poems, and a consensus of later criticism has accepted the fact that Emily's verse alone reveals true poetic genius. The venture cost the sisters about £50 in all, and only two copies were sold.

By midsummer of 1847 Emily's Wuthering Heights and Anne's Agnes Grey had been accepted for joint publication by J. Cautley Newby of London, but publication of the three volumes was delayed until the appearance of their sister Charlotte's Jane Eyre, which was immediately and hugely successful. Wuthering Heights, when published in December 1847, did not fare well; critics were hostile, calling it too savage, too animal-like, and clumsy in construction. Only later did it come to be considered one of the finest novels in the English language.

Soon after the publication of her novel, Emily's health began to fail rapidly. She had been ill for some time, but now her breathing became difficult, and she suffered great pain. She died of tuberculosis in December 1848.

Wuthering Heights: Emily Brontë's work on Wuthering Heights cannot be dated, and she may well have spent a long time on this intense, solidly imagined novel. It is distinguished from other novels of the period by its dramatic and poetic presentation, its abstention from all comment by the author, and its unusual structure. It recounts in the retrospective narrative of an onlooker, which in turn includes shorter narratives, the impact of the waif Heathcliff on the two families of Earnshaw and Linton in a remote Yorkshire district at the end of the 18th century. Embittered by abuse and by the marriage of Cathy Earnshaw—who shares his stormy nature and whom he loves—to the gentle and prosperous Edgar Linton, Heathcliff plans a revenge on both families, extending into the second generation. Cathy's death in childbirth fails to set him free from his love-hate relationship with her, and the obsessive haunting persists until his death; the marriage of the surviving heirs of Earnshaw and Linton restores peace.

Sharing her sisters' dry humor and Charlotte's violent imagination, Emily diverges from them in making no use of the events of her own life and showing no preoccupation with a spinster's state or a governess's position. Working, like them, within a confined scene and with a small group of characters, she constructs an action, based on profound and primitive energies of love and hate, which proceeds logically and economically, making no use of such coincidences as Charlotte relies on, requiring no rich romantic similes or rhetorical patterns, and confining the superb dialogue to what is immediately relevant to the subject. The somber power of the book and the elements of brutality in the characters affronted some 19th-century opinion. Its supposed masculine quality was adduced to support the claim, based on the memories of her brother Branwell's friends long after his death, that he was author or part author of it. While it is not possible to clear up all the minor puzzles, neither the external nor the internal evidence offered is substantial enough to weigh against Charlotte's plain statement that Emily was the author.

Biography.com. Joyce M. Tompkins, ed.

C. Anne- (1820-1849). Writer. Born January 17, 1820 in Yorkshire, England. Said to be the meeker and less talented Bronte sister, Anne was raised in a strict Anglican home by her clergyman father and a religious aunt after her mother and two eldest siblings died.

Largely educated at home, Anne worked as a governess for a several years before publishing her first novel, Agnes Grey, in 1847. Her second novel, The Tenant of Wildfell Hall, was published in 1848 and sold well despite the fact that both books were considered more conservative than those of her sisters.


D.Branwell:   Branwell Bronte was born on June 26th 1817 at Thornton, Bradford in Yorkshire, fourth child of the six Bronte children. His mother died in 1821.

Branwell Bronte received no formal education, partly due to financial restrictions as his father was struggling to keep the family together after his wife's death. Branwell does not appear to have suffered as he was a very capable scholar with an enthusiastic desire to learn. He indulged in the Gondal stories and enjoyed writing with Charlotte.

In February 1836 at the age of 19 Branwell was proposed a freemason, and later became secretary of the Lodge. Meetings were held at the Black Bull until 1833 where they were held at Lodge St.

From June 1838 to May 1839 Branwell was working as a portrait painter in Bradford. In January 1840 he took up position as tutor for the Postlethwaite family at Broughton-In-Furness, in June 1840 he is dismissed. In April 1841 he was employed as Clerk in Charge of Luddenden Foot station near Hebden Bridge. While there he was known to frequent the Lord Nelson Tavern. In March 1842 he is dismissed from his post as there was found to be a deficit in the station accounts, attributed to Branwell Bronte's incompetence rather than theft. January 1843 Anne has managed to secure post of tutor for Branwell with the Robinson family at Thorp Green. In July 1845 he is dismissed from his post as tutor, It was discovered that he had an affair with Mrs Robinson.

For the next three years Branwell's state physically and mentally take a rapid decline due to his dependence on drink and opium and an increased state of self pity and worthlessness. He hears of the death of Mr. Robinson and attempts to try to rekindle his relationship with Mrs Robinson which fails.

On the 24th September 1848 Branwell died of chronic bronchitis / consumption, aged 31. On 28th September he was laid to rest in the family vault at Haworth church. The service was conducted by William Morgan.

www.haworth-village.org.

E.       Maria:
Birth: 
1813
Yorkshire, England
Death: 
May 6, 1825
Yorkshire, England

First of the six children born to the Rev. Patrick Bronte and his wife, the former Maria Branwell, 12-year-old Maria Bronte was the model for the character Helen Burns in "Jane Eyre", the classic novel written by her celebrated younger sister Charlotte. Born in Hartshead, Yorkshire in 1813, Maria was a toddler when her parents moved their growing family to the town of Thornton, where her more famous siblings--Charlotte, Branwell, Emily, and Anne--were born in quick succession. The young Brontës enjoyed a loving and creatively stimulating childhood, although in 1821, when Maria was seven years old, they suffered the loss of their mother to cancer. By this time the family had come to the parsonage at Haworth, on the Yorkshire moors, and Maria and three of her sisters had lived there happily until 1824, when they were sent away to Cowan Bridge School, a semi-charitable institution for the daughters of clergymen. Life at the school, which provided the model for "Lowood" in "Jane Eyre", proved miserable for the Bronte girls, and ultimately lethal for the two eldest, Maria and Elizabeth. Underfed and undernourished, exposed to extreme cold and disease, and continually subjected to fire-and-brimstone harangues by the staff and bullying by older girls, they became consumptive. Patrick Bronte withdrew all four by the year's end, but Maria's and Elizabeth's health had been irreparably damaged. They both died of tuberculosis--the disease which would eventually claim the lives of all six Bronte siblings--in the spring of 1825, Maria predeceasing Elizabeth by six weeks.  

Burial:
St Michael and All Angels Churchyard
Haworth
West Yorkshire, England

Created by: Nikita Barlow
Record added: Feb 19, 2007
Find A Grave Memorial# 17994336


F.       Elizabeth:

Birth: 
Feb. 8, 1815
Yorkshire, England
Death: 
Jun. 15, 1825
Yorkshire, England

The second of six children born to the Rev. Patrick Bronte and his wife, the former Maria Branwell, 10-year-old Elizabeth suffered a fate similar to that of the character Helen Burns in "Jane Eyre", the classic novel written by her celebrated sister Charlotte. Born in Hartshead, Yorkshire in 1815, Elizabeth and her elder sister Maria were babies when their parents moved to Thornton, which in short time became the birthplace of their more famous younger siblings: Charlotte, Branwell, Emily, and Anne. Raised in a loving, creatively stimulating atmosphere, the young Brontës' happy childhood had been saddened only by their mother's death from cancer in 1821, an event which occurred soon after the family had moved to the Haworth parsonage on the Yorkshire moors. Elizabeth was then six years old. Three years later, in 1824, she and her sisters Maria, Charlotte, and Emily were sent away to Cowan Bridge School for clergymen's daughters, a semi-charitable institution which inspired the miserable "Lowood" of "Jane Eyre". Girls at Cowan Bridge were underfed, malnourished, exposed to extreme cold and disease, and routinely subjected to bullying by older students and fire-and-brimstone harangues by the staff. Both Elizabeth and her elder sister Maria became consumptive, and the Rev. Bronte withdrew them, along with Emily and Charlotte, before the year was out. The elder girls' health had been irreparably damaged, however. Both Elizabeth and 12-year-old Maria died of tuberculosis--the disease which eventually claimed the lives of all six Bronte siblings--in the spring of 1825, Maria having predeceased Elizabeth by six weeks.  

Burial:
St Michael and All Angels Churchyard
Haworth
West Yorkshire, England

Created by: Nikita Barlow
Record added: Feb 19, 2007
Find A Grave Memorial# 17994492

IV. Chronology:

April of 1814: Maria Bronte (daughter of Patrick and Maria) born

February 8, 1815: Elizabeth Bronte born

1815: Patrick becomes curate at Thornton

April 21, 1816: Charlotte Bronte born

June 26, 1817: Patrick Branwell Bronte born

July 30, 1818: Emily Jane Bronte born

January 17, 1820: Anne Bronte born

April 20, 1820: Patrick becomes Reverend of Haworth; family moves

September 15, 1821: Maria Bronte (wife of Patrick) dies of tuberculosis



1824: Maria and Elizabeth attend Cowan Bridge school. Charlotte and Emily follow later in the year.

May 6, 1825: Maria dies of tuberculosis

June 15, 1825: Elizabeth dies of tuberculosis

June of 1825: Charlotte and Emily return home

January of 1831: Charlotte attends Roe Head School

May 1832: Charlotte returns home

1835: Branwell goes to Royal Academy Schools in London, never gets to the schools, and returns home

July of 1835: Charlotte becomes a teacher at Roe Head School. Emily becomes a student there.

October of 1835: Emily returns home. Anne takes her place.

September of 1837: Emily becomes teacher at Law Hill School

December of 1837: Charlotte and Anne return home after Anne becomes ill. Charlotte resigns her position.

1838: Branwell goes to Bradford to become a portrait painter

March of 1838: Emily returns home from Law Hill School

April of 1839: Anne becomes governess to Ingham family

December of 1839: Anne is dismissed by the Ingham family

May of 1840: Anne becomes governess to Robinson family

August of 1840: Branwell works as assistant clerk in Sowerby Bridge Railway Station

February of 1842: Charlotte and Emily go to Brussels as pupils at the Pensionnat Héger

October 29, 1842: Aunt Branwell dies

November of 1842: Charlotte and Emily return home

January of 1843: Charlotte returns to Brussels as a teacher in the Pensionnat Héger. Branwell becomes tutor in Robinson family

January of 1844: Charlotte comes home

June 11, 1845: Anne resigns from position as governess to Robinson family

July of 1845: Branwell is dismissed from Robinson family for having an affair with Mrs. Robinson

May of 1846: Publication of Poems by Currer, Ellis, and Acton Bell

October 19, 1847: Charlotte's Jane Eyre published

December of 1847: Anne's Agnes Grey and Emily's Wuthering Heights published

June of 1848: Anne's The Tenant of Wildfell Hall published

September 24, 1848: Branwell dies of tuberculosis

December 19, 1848: Emily dies of tuberculosis

May 28, 1849: Anne dies of tuberculosis

1849: Charlotte's Shirley is published

1853: Charlotte's Villette is published

June 29, 1854: Charlotte marries Arthur Bell Nicholls

March 31, 1855: Charlotte dies of tuberculosis and complications in pregnancy

1857: Charlotte's The Professor is published

June 7, 1861: Rev. Patrick Bronte dies

V.     Brief documentary, if time, from Biography.

VI. Books and artifacts brought:

A.    1848 edition of Jane Eyre.

B.     Illustrated Jane Eyre and Wuthering Heights

C.     Ann Parker Doll

D.    Greek Wuthering Heights

E.     Films, tapes

F.      Biographies, criticism and other books

G.    Branwell shot glasses and j

Week II – will be expanded as we get to second week

A.     Jane Eyre

a.       Virginia Woolf on “The Continuing Appeal of Jane Eyre”

b.      Barbara Hardy “Dogmatic Form: Charlotte Bronte” this and above essay from

Norton Critical Edition

c.       Plot

d.      Main Characters

e.       Estate issues, Bertha, and Mr. Rochester as second son

f.       Unsuitable attachments and Barbara Pym; could this love story really have come true

g.      Bertha’s POV; is Jane really that nice?

h.      Fraser and biographical elements in the novel

 

B.     Wide Sargasso Sea- novel by Jean Rhys and Film

C.     Life of Charlotte Bronte and Mrs. Gaskell


Week III - will be expanded as we get to third week

A.     Wuthering Heights

a.       Plot

b.      History and photos of the real houses; Emily’s historical sources

c.       Major characters


d.  Searching for Charlotte Brontë in Her Juvenilia    Themes

                          i.      Destructiveness of love

                        ii.      Estate and real estate issues and Heathcliff

                      iii.      Nature v. culture

                      iv.      Moors [Deanna Raybourn and Silent on the Moor]

                        v.      Ghosts

e.       Questions to ponder:

                          i.      Given the similarity of many of the names in the novel, what role do you think names play in Wuthering Heights?

                        ii.      Compare Edgar to Heathcliff; do you think Catherine can really love Edgar?

                      iii.      Describe the personality of Nellie Dean, aka, Ellen.

                      iv.      Contrast Wuthering Heights and Thrushcross Grange.

                        v.      Would it change your view of Heathcliff if he turned out to be an elder son of Mr. Earnshaw?  Why or why not?

 

 the Brontë Sisters: Bronte Juvenilia

Week IV – will be expanded as we get to fourth week

A.     Tenant of Wildfell Hall

a.      Plot

b.      Characters

c.       The live of a governess


B.     Agnes Grey

a.      Plot

b.      Characters

c.       Bronte influence on the Romance Novel; my book on Pym


C.     Masterpiece Theater version

D.   

 

 


 

 

Wednesday, April 1, 2020

In our Isolation; Some Good Reading! Bronte style

Here is a great article I found, but did not write, on Bronte and Burnett.  It is something to help entertain us in our isolation.  Picture Charlotte, Emily, and Anne pouring over it as Burnett explains:


++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


© Connotations 12.1 (2002/2003): 61-66
N.B. For purposes of citation, page numbers of the printed version are inserted in square brackets.
Brontë and Burnett: A Response to Susan E. James
LISA TYLER
Reference:
The Romantic influences on Frances Hodgson Burnett’s 1911 children’s novel The Secret Garden are evident and have been well documented. These influences include the attention and prominence given to child characters, 1 Burnett’s use of the Western tradition of the literary pastoral, 2 and what Burnett critics identify as the Wordsworthian notion that children are closer to nature, 3 —a notion perhaps more accurately attributed to Rousseau and Goethe. In her 1974 biography of Frances Hodgson Burnett, Ann Thwaite devotes a paragraph to the parallels between The Secret Garden and Jane Eyre (220-21), which she describes as too close to be coincidental, and in a 1975 bibliographical survey of Burnett’s work, Francis J. Molson called for critics to establish the “extent of Burnett’s debt to Mrs. Gaskell and Charlotte Brontë” (41). Phyllis Bixler, the best authority on Burnett’s writings, has devoted several paragraphs to spelling out that debt and its significance (Frances 99), as well as briefly alluding to the possible influence of Jane Eyre on Burnett’s other writings (Frances 125).
“More than one scholar has identified and described ‘the echoes of Jane Eyre in The Secret Garden’ but the contribution of Wuthering Heights has been less recognized,” Susan E. James accurately observes in explaining her own project. Typical is Humphrey Carpenter’s mention, in passing, that “there is a good deal of allusion to the wind ‘wuthering’ round the manor; the country lad Dickon, who becomes Mary’s friend and helper, is a kind of Heathcliff-gone-right” (188-89). Elizabeth Lennox Keyser went a bit farther, albeit in a footnote, mentioning [page 62] first similarities of setting, and then adding, “Mary has elements of Jane Eyre and both Catherines, Dickon resembles a more benign little Heathcliff, and Colin seems a blend of Rochester, Linton Heathcliff, and Hareton Earnshaw” (13n10). The comparison between Dickon and Heathcliff may admittedly seem a bit farfetched, but Mary certainly is an orphan, like Jane Eyre, and shares that character’s courage and inquisitiveness. Like the first Catherine, she loves the freedom of being outdoors, and like the second, she willingly socializes the young man who needs her help because of parental neglect. Colin has Rochester’s temper, Linton Heathcliff’s sickliness, and Hareton Earnshaw’s willingness to be tutored. While the characters and plot developments differ dramatically, certain themes from the Brontës’ novels do seem to recur in Burnett’s. Anna Krugovoy Silver has done the most extensive work comparing Wuthering Heights and The Secret Garden, suggesting that Burnett replaces the purely nominal mother-and-child relationship of Catherine and her daughter with “the primacy of the maternal bond” (193). Noting the parallels to Lady Chatterley’s Lover developed by earlier critics (e.g. Verduin and Plotz), Bixler comments on the sexual undercurrents of Burnett’s novel in The Secret Garden: Nature’s Magic:
A heroine who divides her attention between an eroticized lower-class male and an attenuated upper-class male has occurred elsewhere in British fiction.  An earlier example of this character triad had been provided by Catherine, Heathcliff, and Edgar, who, along with their Yorkshire moors in Emily Brontë’s Wuthering Heights (1847), doubtless influenced Burnett consciously or unconsciously in writing The Secret Garden. (56)
In her delightful essay, James develops our understanding of this influence. The most surprising and convincing element of her argument lies in her persuasive comparisons of characters in both novels:  the hot-tempered orphans Mary Lennox and Heathcliff, the brooding adult Heathcliff and the grief-tormented Archibald Craven, and the sickly and effete aristocratic children, Linton Heathcliff and Colin Craven. [page 63]
Perhaps the least compelling elements of James’s essay are her textual comparisons, in which passages from both works are placed side by side. While the language is at times similar, the parallels she develops between the characters and situations in the two novels are ultimately more effective. Also troubling is her dismissal of the moors as a setting in the later writer’s work. “For Burnett in The Secret Garden, the moors are a place described but never experienced first-hand,” writes James (61). But elsewhere Burnett did show a heroine with personal experience of the moors, albeit Scottish ones—in The White People, her 1917 novella of the supernatural at least partly inspired by her sense that her beloved son Lionel, dead of tuberculosis at 15, was still with her in spirit. In that work as well, however, “Burnett sentimentalizes the otherworldly,” as James observes of The Secret Garden (69).
As is typical of the best literary criticism, James’s article stimulates thought and suggests further parallels to develop. It would be interesting to compare both novels as what Barbara and Richard Almond term “therapeutic narratives.” Claudia Marquis, who offers a psychoanalytic reading of Burnett’s novel, has suggested that Mary acts “as analyst to Colin’s analysand” (178). The Almonds have demonstrated that The Secret Garden is an insightful portrayal of psychological healing, Gillian Adams has looked at the healing power of secrets, and Madelon S. Gohlke has written movingly of the novel’s contribution to her own recovery from grief after her father’s sudden accidental death. Similarly, William A. Madden has offered an analysis of Wuthering Heights in terms of Freudian trauma theory, contending “the double drama of Wuthering Heights has provided the powerful experience of living through the same potentially traumatic circumstances, once ending in tragedy, but the second time with the energy bound and channeled into human wholeness and love through the transforming power of a love that both understands and forgives” (154).
Trysh Travis has noted (with some dismay) her students’ uncritical adoption of the pop-psychology terminology of what Travis calls the [page 64] “recovery movement” to understand Wuthering Heights; the title of her article is “Heathcliff and Cathy, the Dysfunctional Couple.” More persuasively than Travis’s students, Eric P. Levy suggests that the characters of Brontë’s novel were all either neglected or spoiled, and that their adult behaviors reflect their childhood experiences of being either starved for love or lavished with excessive attention: “In one family, the implied message transmitted to the child might be rendered as ‘You don’t belong here’; in the other, ‘You’re too weak ever to leave’” (159). In The Secret Garden, Mary has received the first message, Colin the second.
The disturbing eclipse of Mary in favor of Colin in The Secret Garden, a switch that bothers many of the novel’s women readers, 4 bears certain parallels to Catherine’s death and Heathcliff’s domination of the remaining family members in Wuthering Heights. Consider Danielle E. Price’s observation: “Mary is forgotten in what becomes a story of father and son, and we remember, if we had ever forgotten, who owns and who will own all the gardens on the estate” (11). The class dynamics of both works might also merit comparison. Both works contrast the emotional honesty, passionate warmth, and powerful personalities of characters associated with Yorkshire and the chilly, unhealthy characters who circulate in the society beyond—although in Brontë’s novel, only the Yorkshire gentry are attractive; the servants, unlike the idealized Sowerbys of The Secret Garden, can be frightening in their malevolence. It would be interesting to analyze Wuthering Heights in light of Jerry Phillips’s essay on the class politics of The Secret Garden.
It has been suggested that in her novel Brontë draws on the “primitive energies of childhood” (Oates 65), and thus that our own perhaps subconscious memories of childhood rage and the other primal emotions of the nursery account for at least part of the intensity and impact of Wuthering Heights. Yet, although appropriately drawing on those same intense emotions in a work of children’s literature, Burnett mutes their impact, showing the children in rages and tantrums that are comic rather than frightening. Unlike Brontë, Burnett was ultimately [page 65] less interested in ugly emotions than in socially acceptable and aesthetically pleasing ones. One senses that she wished to evade the feelings invoked by the more painful experiences in her own life—her two unhappy marriages, and the loss of her son Lionel to tuberculosis, diagnosed just nine months before his death. Perhaps because of such deeply painful experiences, she seems primarily interested in people who were successfully able to achieve self-control. As she once told her son, “with the best that was in me, I have tried to write more happiness into the world” (Bixler, Frances 71).
Sinclair Community College
Dayton, Ohio

NOTES

1. Bixler, Frances 1, Secret 3; Phillips 176-77.
2. Bixler, Secret 17; Evans 20-24.
3. Bixler, Secret 6; Phillips 175-80.
4. Bixler, “Misread” 110; Keyser 2-3, 12; Knoepflmacher 24-25.

WORKS CITED
Adams, Gillian. “Secrets and Healing Magic in The Secret Garden.” Triumphs of the Spirit in Children’s Literature. Eds. Francelia Butler and Richard Rotert.  Hamden, Connecticut: Shoe String Press, 1986. 42-54.
Almond, Barbara and Richard Almond. The Therapeutic Narrative: Fictional Relationships and the Process of Psychological Change. Westport, Connecticut: Praeger, 1996.
Bixler, Phyllis. Frances Hodgson Burnett. Boston: G. K. Hall, 1984.
——. The Secret Garden ‘Misread’: The Broadway Musical as Creative Adaptation.” Children’s Literature 22 (1994): 101-21.
——. The Secret Garden: Nature’s Magic. New York: Twayne, 1996.
Carpenter, Humphrey. Secret Gardens: A Study of the Golden Age of Children’s Literature. Boston: Houghton Mifflin, 1985. [page 66]
Evans, Gwyneth. “The Girl in the Garden: Variations on a Feminine Pastoral.” Children’s Literature Association Quarterly 19 (1994): 20-24.
Gohlke, Madelon S. “Re-reading The Secret Garden.” College English 41 (1980): 894-902.
Keyser, Elizabeth Lennox. “‘Quite Contrary’: Frances Hodgson Burnett’s The Secret Garden.Children’s Literature 11 (1983): 1-13.
Knoepflmacher, U. C. “Little Girls without their Curls: Female Aggression in Victorian Children’s Literature.” Children’s Literature 11 (1983): 14-31.
Levy, Eric P. “The Psychology of Loneliness in Wuthering Heights.” Studies in the Novel 28.2 (1996): 158-77.
Madden, William A. “Wuthering Heights: The Binding of Passion.” Nineteenth-Century Fiction 27 (1972): 127-54.
Marquis, Claudia. “The Power of Speech: Life in The Secret Garden.”AUMLA 67 (May 1987): 163-87.
Molson, Francis J. “Frances Hodgson Burnett (1848-1924).” American Literary Realism 8 (1974): 35-42.
Oates, Joyce Carol. “The Magnanimity of Wuthering Heights.The Profane Art: Essays and Reviews. New York: Persea Books, 1983. 63-81.
Phillips, Jerry. “The Mem Sahib, the Worthy, the Rajah and His Minions: Some Reflections on the Class Politics of The Secret Garden.” The Lion and the Unicorn 17 (1993): 168-94.
Plotz, Judith. “Secret Garden II: Lady Chatterley’s Lover as Palimpsest.” Children’s Literature Association Quarterly 19 (1994): 15-19.
Price, Danielle E. “Cultivating Mary: The Victorian Secret Garden.” Children’s Literature Association Quarterly 26 (2001): 4-14.
Silver, Anna Krugovoy. “Domesticating Brontë’s Moors: Motherhood in The Secret Garden.” The Lion and the Unicorn 21 (1997): 193-203.
Thwaite, Ann. Waiting for the Party: The Life of Frances Hodgson Burnett. Boston: David R. Godine, 1991.
Travis, Trysh. “Heathcliff and Cathy, the Dysfunctional Couple.” Chronicle of Higher Education 11 May 2001: B13-14.
Verduin, Kathleen. “Lady Chatterley and the Secret Garden: Lawrence’s Homage to Mrs. Hodgson Burnett.” D. H. Lawrence Review 17 (1984): 61-66.

Further Response to this discussion:

Readers are invited to submit their responses to the editors at editors@connotations.de.


Monday, March 30, 2020

Pym and Covid-19

I have to wonder how Pym would have handled self isolation and the Corona Virus.  I'm sure she would have taken to her pen and shared her observations.  She would have looked to her home and her cats, and made sure she was well stocked.

If anything, she'd handle shortages the ways she did World War II rations and shortages in her novels, i.e., serving whale  in restaurants, the inevitable cauliflower cheese and baked beans on toast, the collected tins for a rainy day. 

We could all learn some tips for coping with this crisis by reading her work.

She'd make entire novels out of toilet paper shortages and lack of hand sanitizer.  She'd write them with a chuckle or two as well.

Pym new how to lighten one's load; even when she was ill and facing death, she wrote and wrote in A Very Private Eye.

Laughter is the best medicine, and Pym knew it.  Humor was important to her, as it is to us.  If you need some cheer and a boost, reread Pym, or watch online Miss Pym's Day Out, with Patricia Routledge.  Above all, be well.

Tredynas Days - Page 20 of 46 - A Literary Blog by Simon Lavery

Tuesday, March 24, 2020

Memoir; Writing your Life Story: When Memories Serve Us

Memoir; Writing your Life Story: When Memories Serve Us: Good morning; warmer, sunny weather is coming! For today, think of ten good memories from this time of year, then write them down. If you ...

Sunday, March 22, 2020

American Doll and Toy Museum: Keep Smiling!

American Doll and Toy Museum: Keep Smiling!: If ever we needed Shirley Temple, we need her optimism and sunny smile, now.  Yet, we can remember her, and other friends and family no long...

Friday, January 24, 2020

Memoir; Writing your Life Story: What makes a book a success?

Memoir; Writing your Life Story: What makes a book a success?: Briefly, in fiction, poetry, drama, for a book to be a success the reader has to care about the characters.  Some beautifully written books ...

Thursday, December 12, 2019

Skyward by David Levy: Tennyson and Astronomy

Figure 1`:  Last [pril i photographed a small piece of Comet Thatcher
(C/1861 G1),.    These fragments encounter the Earth's orbit annually
as the Lyrid meteor shower.  Tennyson might have seen this comet, but
he certainly saw the next one which appeared as the ZGreat Comet of
1861.

.Skyward for December 2019

When poetry reaches the stars.

Long, long ago, when I was as student at Acadia University in the Canadian province of Nova Scotia, we studied the poems of Alfred, Lord Tennyson.  The English 360 course was taught by one of my favorite professors, Roger Lewis.  Tennyson remains one of the truly great English poets, and even in his lifetime he knew that.  In 1850, upon the death of William Wordsworth, he was appointed poet laureate by Queen Victoria.    In that same year he published In Memoriam, arguably his greatest work. 
More than a poet, Tennyson enriched his life with a passionate interest in science, particularly the night sky.  Did he own a telescope?  He surely did.  Although he used it often, particularly from his home on the Isle of Wight, he often enjoyed the use of big refractor telescopes in England.  He viewed some of the great comets of his time, like Donati in 1858 and Tebutt in 1861.     He also noticed the discovery of Neptune in 1846.  Not only was he aware of these developments, but he also incorporated them into one of the greatest poems ever written, the epic called In Memoriam.
In Memoriam grew out of Tennyson’s profound loss when his best friend, Arthur Hallam, died suddenly and unexpectedly in 1831.   His grief evolved into several quatrains of poetry, then many, and he completed the work in 1850.  But this poem is far more than an elegy.  He framed it as a massive commentary on the progress of science during his time, particularly with regard to organic evolution and astronomy.  From its dramatic opening line “Strong son of God, immortal love,”  he delves into what the great telescopes of his time could reveal as
“Nature stretches forth her arms, and gleans
Her secret from the latest moon?” (CXX)

Passing over his wonderful praise of Darwin’s theory of evolution and natural selection…
“And let the ape and tiger die.” …
we encounter the epic’s truly powerful ending.  To write that it is like a bald eagle about to soar in flight is just insufficient. Like a gigantic Saturn 5 as it roars off its launch complex to the Moon, the last two stanzas germinate, then erupt in a fiery tribute to creation itself.
The poem closes with a return to Hallam: “That fiend of mine who lives in God,” …
Tennyson then specifies God as being immortal and loving; “That God, which ever lives and loves,” 
And then he defines the Universe as an  ordered realm with a specific goal: “One God, one law, one element”.  In that one line Tennyspon summarizes the purpose of In Memoriam as a statement about the interplay between science and religion.  Finally, Tennyson predicts a goal for the Universe:

“and one far-off divine event”
In Tennyson’s time that goal was not understood.  But  a century later, understanding of Hubble’s constant opened the great question as to whether the Universe will end in a “big crunch” in which the Universe is condensed into a single point as it was 13.7 billion years ago. The other possibility is that the universe will continue to expand forever.  It is one of these two faroff events               
“To which the whole creation moves.  And thus, we reach the close of In Memoriam as it moves proudly among the stars:

That friend of mine, who lives in God,

That God, who ever lives and loves,
                One God, one law, one element,
                And one far-off divine event,
To which the whole creation moves.