Books with title Emily Bronte

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"Emily Brontë" by A. Mary F. Robinson. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

"Emily Brontë" by A. Mary F. Robinson. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

This illustrated biography examines the life and legacy of Emily Bronte. The enigma that a young woman from such a closed and protected environment as a Yorkshire rectory could write the wildly romantic and complex "Wuthering Heights" has long been a source of fascination. Largely self-educated, Emily spent most of her life at the rectory in Haworth. Her solitary instincts are well-known, and the biographer's task has been made no easier by her refusal to give anything of herself away to anyone during her lifetime. Robert Barnard examines her insulated childhood, and the stories of Gondal and Angria, leading to the lyrical poems of her twenties which prefigure the raw intensity of "Wuthering Heights". He demonstrates that many aspects of "Wuthering Heights" were shaped or stimulated by her own experiences, many of which can be traced to real examples. He also refers extensively to other critical sources, from early reviews of "Wuthering Heights" to Mrs. Gaskell's appraisal of Emily's "stern selfishness", to Juliet Barker's recent biography of the Bronte family.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

There are, perhaps, few tests of excellence so sure as the popular verdict on a work of art a hundred years after its accomplishment. So much time must be allowed for the swing and rebound of taste, for the despoiling of tawdry splendours and to permit the work of art itself to form a public capable of appreciating it. Such marvellous fragments reach us of Elizabethan praises; and we cannot help recalling the number of copies of 'Prometheus Unbound' sold in the lifetime of the poet. We know too well "what porridge had John Keats," and remember with misgiving the turtle to which we treated Hobbs and Nobbs at dinner, and how complacently we watched them put on their laurels afterwards. Let us, then, by all means distrust our own and the public estimation of all heroes dead within a hundred years. Let us, in laying claim to an infallible verdict, remember how oddly our decisions sound at the other side of Time's whispering gallery. Shall we therefore pronounce only on Chaucer and Shakespeare, on Gower and our learned Ben? Alas! we are too sure of their relative merits; we stake our reputations with no qualms, no battle-ardours. These we reserve to them for whom the future is not yet secure, for whom a timely word may still be spoken, for whom we yet may feel that lancing out of enthusiasm only possible when the cast of fate is still unknown, and, as we fight, we fancy that the glory of our hero is in our hands. But very gradually the victory is gained. A taste is unconsciously formed for the qualities necessary to the next development of art—qualities which Blake in his garret, Millet without the sou, set down in immortal work. At last, when the time is ripe, some connoisseur sees the picture, blows the dust from the book, and straightway blazons his discovery. Mr. Swinburne, so to speak, blew the dust from 'Wuthering Heights'; and now it keeps its proper rank in the shelf where Coleridge and Webster, Hofmann and Leopardi have their place. Until then, a few brave lines of welcome from Sydney Dobell, one fine verse of Mr. Arnold's, one notice from Mr. Reid, was all the praise that had been given to the book by those in authority. Here and there a mill-girl in the West Riding factories read and re-read the tattered copy from the lending library; here and there some eager, unsatisfied, passionate child came upon the book and loved it, in spite of chiding, finding in it an imagination that satisfied, and a storm that cleared the air; or some strong-fibred heart felt without a shudder the justice of that stern vision of inevitable, inherited ruin following the chance-found child of foreign sailor and seaport mother. But these readers were not many; even yet the book is not popular.

Largely self-educated, Emily Bronte (1818-1848) was her father's favorite daughter and spent most of her life at the rectory in Haworth, on the edge of the Yorkshire moors. She lead a protected, uneventful existence, with almost no social contacts. Robert Barnard examines her insulated childhood, peculiarities, social boorishness, and aversion to relationships. He includes excerpts of Emily's lyrical poems of her twenties which presage the raw intensity of Wuthering Heights. Many aspects of her only novel are shaped by her own experiences, and the author traces the real-life counterparts of characters, landscape, and buildings. He draws extensively from critical sources varying from early reviews of Wuthering Heights to Gaskell's appraisal of Emily's "stern selfishness," to Juliet Barker's recent biography of the Bronte family.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Excerpt from Emily BronteThere are, perhaps, few tests of excellence so sure as the popular verdict on a work of art a hundred years after its accomplishment. So much time must be allowed for the swing and rebound of taste, for the de spoiling of tawdry splendours and to permit the work of art itself to form a public capable of appreciating it. Such marvellous fragments reach us of Elizabethan praises; and we cannot help recalling the number of copies of Prometheus Unbound sold in the lifetime of the poet. We know too well what porridge had John Keats, and remember with misgiving the turtle to which we treated Hobbs and Nobbs at dinner, and how complacently we watched them put on their laurels afterwards.Let us, then, by all means distrust our own and the public estimation of all heroes dead within a hundred years. Let us, in laying claim to an infallible verdict, remember how oddly our decisions sound at the other side of Time's whispering gallery. Shall we therefore pronounce only on Chaucer and Shakespeare, on Gower and our learned Ben? Alas! We are too sure of their relative merits we stake our reputations with no qualms.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.