By Elizabeth Langland
A learn of Anne Bronte facing her lifestyles and affects, this article varieties a part of a chain that is designed to aid within the reassessment of women's writing within the mild of modern-day knowing.
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Extra resources for Anne Brontë: The Other One
S? In the Victorian era, conceptions of a woman's sexuality were tied to ideas of her moral nature and were most fully articulated within the framework of the fallen woman and the prostitute. The patriarchal ideology that professes to explain the social event of a woman's fall has recourse to woman's nature rather than her nurture. The fallen woman, then, is a daughter of Eve, innately corrupt. This ideological construction was so powerful that 'fallen' girls of nine or ten (whom we would now recognise as innocent victims of child abuse) could be comprehended within it.
Bronte's fiction is distinctive in its yoking of a strong moral end with an absolute fidelity to representing reality as she saw it. This moral emphasis, so different from her sisters', may partially account for her less favourable reception. And, again, it links her with the eighteenth century in its insistence that art should both instruct and entertain, should contain the dulce and the utile. But if this moral focus links Bronte with earlier writers, her particular execution of these ends (with the strong insistence on 'less .
I've felt its icy clasp; And shuddering I remember still That stony-hearted grasp Thine eye bids love and joy depart, o turn its gaze from me! It presses down my sinking heart;I will not walk with thee! Charlotte Bronte has described St John as 'hard' , 'a cold, hard man', a 'glacier', 'icy'; he is also stone and metal, a 'rock firmset in the depths of a restless sea', 'chiselled marble' , 'no longer flesh, but marble', a man dispensing 'marble kisses, or ice kisses' , 'inexorable as death'. He asks that Jane relinquish her will and follow him.