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Emily Brontë's poetry is more often celebrated than read. This book seeks to reinstate her poems at the heart of Victorian writing while underlining their relevance. For admirers of 'Wuthering Heights', this work brings the concerns and methods of the novel into focus by relating them to the poems.
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Readers of Emily Brontë's poetry and of Wuthering Heights have seen in their author, variously, a devout if somewhat unorthodox Christian, a heretic, or a visionary "mystic of the moors". Rather than seeking to resolve this matter, Emily Brontë and the Religious Imagination suggests that such conflicting readings are the product of tensions, conflicts and ambiguities within the texts themselves. Rejecting the idea that a single, coherent set of religious doctrines are to be found in Brontë's work, this book argues that Wuthering Heights and the poems dramatise individual experiences of faith in the context of a world in which such faith is always conflicted, always threatened. Brontë's work dramatises the experience of imaginative faith that is always contested by the presence of other voices, other worldviews. Her characters cling to visionary faith in the face of death and mortality, awaiting and anticipating a final vindication, an eschatological fulfilment that always lies in a future beyond the scope of the text.
In The Birth of Wuthering Heights , Edward Chitham explores the sources of Emily Brontë's inspiration and the ways in which she composed her poetry and her one major novel This key study discusses the probable content of her unfinished second novel and also makes use of new discoveries to show that Emily Brontë was not only well-read in the classics, but that she had also made her own translations of Virgil and Horace. It also foregrounds the publishing history of Wuthering Heights , revealing how the original text was almost doubled in size from its first submission to a publishers and its final acceptance. This book, published for the first time in paperback, provides a fascinating insight into Emily Brontë's mind and working methods.
This new edition of Emily Bronte's poetryóthe first for 50 yearsócontains all those poems which she herself chose to keep. It is based on the texts of the three notebooks into which she transcribed her poems supplemented by others on single sheets scattered in various collections, and the versions published in Poems by Currer, Ellis and Acton Bell and in Charlotte's 1850 edition of the novels. Variants between the Notebooks and the latter are listed in the Notes. The majority of the poems stand without need of explanation. However, it is helpful to be aware of the context in which they were written, and especially their relationship to the imaginary world of "gondal" shared by Emily and Anne. This and the history are explained fully in the Introduction and Notes.
Emily Bront%'s writings explore, expand, and transgress limited nineteenth-century ideas of the nature of the female lot and of women's creativity. This study offers an extensive rereading of the poems which focuses on Emily Bront%'s problematic relationship to the Romantic tradition in which they were produced, and to the critical tradition in which they have been reproduced. Using recent feminist work on gender and genre Lyn Pykett throws fresh light on the complexities of Wuthering Heights, and suggests that much of this novel's distinctiveness may be attributed to the particular ways in which it both combines and explores Female Gothic and the emerging realist domestic novel, a genre also widely used and read by women. Contents: Emily Bront%: A Life Hidden from History; The Writings of Ellis Bell; 'Not at all like the poetry women generally write' Emily Bront% and the Problem of the Woman Poet; Death Dreams and Prison Songs; Gender and Genre in^R Wuthering Heights; Changing the Names: The Two Catherines; Nelly Dean: Memoirs of a Survivor; The Male Part of the Poem; Reading Women's Writing: Emily Bront% and the Critics
Emily Bront is known as a novelist, but she was first and equally a poet. Before during and after writing Wuthering Heights, she wrote poetry. Indeed, she wrote virtually nothing else for us to read no other work of fiction or correspondence. Her poems, however, fill this void. They are varied, lyrical, intriguing, and innovative, yet they ...