11-20-2019, 04:45 PM | #76 | |
Wizard
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I think Brontë’s book is definitely concerned with women’s rights. However, that doesn’t mean contemporary readers, or even Brontë herself (I don’t know) consciously thought in terms of and used the language of women’s rights. But even if people said the book was about alcohol abuse, they recognized that many women were trapped in the situation Brontë was portraying, and that the heroine’s actions defied convention and the law. The book apparently caused a sensation. |
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11-20-2019, 05:06 PM | #77 |
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astrangerhere, thanks for the insights into the behaviour of abused women returning to the abuser. To those not caught up in that terrible situation it seems unbelievable, but I can see that psychologically it could well happen.
Victoria, excellent point about the strong link between the women's movement and the temperance movement, which were clearly linked in the 19th and early 20th centuries. It is still very much an issue in Australia, particularly (but certainly not exclusively) in connection with indigenous communities. |
11-20-2019, 07:08 PM | #78 |
o saeclum infacetum
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I was thinking about this and realized it was another theme Anne shared with her sisters. Especially with Wuthering Heights, and it seems obvious that Wildfell Hall has most in common with that book. Heathcliff physically abused Isabella Linton, who did end up leaving him with their son. As for Jane Eyre, it's not as direct, but I can read abuse into Rochester's treatment of Bertha, keeping her locked in the attic in the care of a drunken woman (notably the woman is the drunkard here).
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11-20-2019, 07:41 PM | #79 |
cacoethes scribendi
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Victoria, that was very well put, thank you.
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11-20-2019, 08:27 PM | #80 | |
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https://www.theguardian.com/books/bo...harlotte-emily And, here is some background on Branwell. https://www.independent.co.uk/news/l...-a7940396.html |
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11-20-2019, 11:25 PM | #81 |
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Thanks for these two articles, Bookworm-Girl. I see in the first one the writer made the same error as I did about the younger Catherine in Wuthering Heights, but at least I had the excuse of not having read it for ages!
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11-20-2019, 11:30 PM | #82 |
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Interesting article, Bookworm_Girl, thanks. I did notice, however, that the article says: "Gilbert Markham helps Helen flee from her abusive husband", which isn't true. For me one of the most strongly feminist things about this story is that Helen manages it on her own.
She did need Benson to help her sneak the luggage out of the house, and her brother prepared Wildfell Hall for her - but it's not like Lawrence came riding in on his white charger and whisked her away. There is no falling back helplessly while a man rescues her. No rich uncle loaned her the funds necessary to live. There was no man there urging her forward, and no lover on the side lines inciting her to rebel - indeed such offers were explicitly rejected. Her escape was entirely her own. |
11-21-2019, 02:28 AM | #83 |
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Yes, you are absolutely right there, gmw. I did notice the comment about Gilbert helping her and thinking "Not in the version I read!", but then forgot to comment on that.
And Helen was the one to manage her own escape. Indeed, I wonder just how abused she was in the sense of being in thrall to Arthur. She seems fiercely independent to me, though of course she could be full of self-doubt and recriminations to which we are not privy. |
11-21-2019, 08:18 AM | #84 | |
o saeclum infacetum
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The Guardian article is thought provoking, but really, the author needed to reread the books first - or at least get the article vetted. A lot of errors there, which I won't go into; I've spent too much time talking about Jane Eyre and Wuthering Heights already.
Helen was gaslighted by Arthur for a long time and I do think that constitutes abuse. However, I think this is only partially true and isn't just to Helen: Quote:
But I know that's individual. For at that, I do not believe that a Helen would have put her son at risk by returning when her freedom had been achieved with such difficulty. The entire legal apparatus was against her; if Arthur had survived, who knows what might have happened? His signed statement was worthless, even if a moral victory of sorts. But what price moral victory if her son was indoctrinated early into a life of dissipation and vice? |
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11-21-2019, 06:08 PM | #85 | |
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On the other hand Gilbert does have certain virtues. He realises clearly that Helen is a very superior person and shows an affection for little Arthur (though he is rather nasty when he loses faith in Helen). He works hard, is honest, reliable, respectable and respectful. I am quite far behind most everyone else and have not reached section 3 yet but I suspect that Brontë will in some manner create a method by which Gilbert will redeem himself and be worthy of Helen. Some other thoughts I have at the moment follow. Helen, herself, strikes me in section 1 as a well developed character with a strength that has come from the suffering she underwent in part 2. Throughout the latter we see her developing a moral strength even as we see her girlish love change to bitterness. The young Helen is far too sure of herself and her ability to reform Huntingdon. Thus she rejects the quite sensible advice (given the times) of her aunt in chapter 17. “Oh, Helen, Helen! You little know the misery of uniting your fortunes to such a man!” In chapter 23 she gives a religious harangue that would turn anybody off—not least a young husband. Helen may well love Huntingdon but her lack of experience and limited knowledge of basic human nature ensure her failure. By chapters 31 & 32 Helen has not only become aware of the base qualities of her husband and his companions but she is forced to witness the horrifying degradation of her gentle friend Milicent by her brutal husband Ralph Hattersley. The horror of the scenes come from the way the husband treats his wife—not as a loving fellow adult—but as a property, an infantilised slave whom he can use as he pleases. Throughout thiese episodes Helen bravely asserts Millicent’s human dignity but there is no possibility of making any impact on the mind-set of a man like Hattersley—and his would be the default position. This powerful proto-feminism conveys anguish and fury and is quite moving. It is the finest section of the book I have so far read and I look forward to more. Last edited by fantasyfan; 11-22-2019 at 01:08 AM. |
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11-22-2019, 01:49 AM | #86 | |
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WELL! I have gone on to chapter 33 and things have certainly developed. Obviously I am approaching a new section of the book. I’ll comment later when I finish. Last edited by issybird; 11-22-2019 at 05:54 AM. Reason: Fixed tags. |
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11-22-2019, 06:13 AM | #87 | |
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11-22-2019, 12:55 PM | #88 |
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Thanks for those insights, Issybird. I would agree completely that pain is needed for growth and we can see that in this novel especially in Helen’s religiosity.
She begins with a theoretical type of belief which doesn’t take the practicalities of human nature into account. We see that with her argument with her aunt and in Ch 23 which I referenced above. And as you say “some are broken.” Helen goes very near to the edge of the cliff of cynical anger after Huntington’s betrayal. And she knows what is happening to her. The love is being replaced by Hate. “I hate him tenfold more for having brought me to this!— . . . Instead of being humbled and purified by my afflictions, I feel that they are turning my nature into gall.” Hatred and wrath now consume her and she feels that her future is a “rough dark road.” This is why Brontë now brings in the Hargrave episode and spends some time on it. It is to be a test for Helen. She is filled with such fury that Hargrave believes her vulnerable to seduction. The chess game is a striking image of his view of her situation and the relationship that he thinks he can achieve. Passing the test strengthens Helen and helps her to focus her energies in a positive way. Last edited by fantasyfan; 11-22-2019 at 01:07 PM. |
11-22-2019, 01:07 PM | #89 | |
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11-22-2019, 09:43 PM | #90 |
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Funny the different reactions. I thought the chess scene felt awkward and out of place; tacked on. My thought at the time was something like: I think the scene was inserted because one of Anne's early beta readers complained that Hargrave's villainy at this point was too subtle. To me it felt like a bludgeon when Anne had managed more subtle character evolution everywhere else.
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