MuleSkinner Book Recommendation #13:

The Life of Charlotte Bronte

by Elizabeth C. Gaskell (orig. p 1857)

Penguin Classics 1997 ^{Edited with introduction and notes by Elisabeth Jay}

(494 pages.)

"We only suffer reality to suggest,
never to dictate.
The heroines are abstractions,
and the heroes also."

- Charlotte Bronte(CB), stating in letter
that one shouldn't seek any literary portraits
from her novel Shirley (1849)
(quote from biography)

Mentioned in the forewords – which also contain more detailed and many-sided discussion from the social and historical backgrounds than our afterthoughts and conclusions presented here – is that Elizabeth Gaskell (1810-1865) is often accounted from almost single-handedly creating the renown Bronte-myth with her book. What may have been the reasons for that view to form is difficult to estimate on the basis of reading just The Life of Charlotte Bronte; However, when comparing to many other popular biographies of the time (19^th century), creating or been of aid in creation of renown personnel 'myths', like fx. William F. Cody (1846-1917) and similar, this literary myth at least seems far less exaggerating in detail and more intended to present versatile view from its subject. In spite of that, from introductory words we also learn that the portrait of CB in biography was actually romanticed one, and an idealization.

Familiar with these remarks, it then somewhat makes us also suppose Gaskell probably(?) had become acquainted with CB not until around 1850s, just five years before the death of the latter. Nevertheless, she was chosen for the task of writing the biography by Charlotte's father, Patrick Bronte. This may have had various reasons, one of the most obvious perhaps that Gaskell also was married to a clergyman (PB a reverend and preacher himself). And so, the first 'full-length biography of female novelist, written by sister-novelist' was wrote down.

It is renown that Gaskell's book helped in formation of portrait, that as such "easily took on a life of its own", mentioned also in the forewords of the 1997 edition. According to Jay, Gaskell may also have hit the popular formula contemporary readers were searching from biographies and novels by successfully mixing Gothic ghost stories atmospheres to the Bronte family's story (ao) of setting on Haworth Parsonage later followed by the deaths of all Patrick Bronte's children at quite early age(even considering the regular circumstances of the time). Also Gaskell's manner of presenting the isolated provincial living-hoods as ideal places to stay for the 'true literary genius' may have fuelled story's popular success.

In spite of previous remarks given, it still would be overstatement to conclude this story presented by Gaskell as an intentional myth-making. Instead, in addition to mentioned popular demand of the 19^th century readers her efforts were likely as well originating from simply the aim to create an appreciated portrait of a woman author (that was post mortem more apt to be accepted as such in popular imagination). The (Bronte) myth of course had started to form earlier, originating from the decision to publish their writings under pseudonyms Currer, Ellis and Acton Bell (which further gained from the fact of younger sisters having died even earlier age, Charlotte as only one having reached wider acclaim as author during her lifetime). Then again, one also notices that CB's successful novel Jane Eyre(1847), was not just popular reading in its times, but also commonly considered as important literary work; often mentioned - with actual basis or not - it having been often seen as first novel by woman author describing heroine's emotions and tensions from such ever-lasting (literary) subject as love (or, socially forbidden relationship). Compared to these days, this could perhaps mean something similar as (some) Christian priest announcing of not seeing anything particularly troublesome in marriages of the three-some (not the best comparison, but I couldn't invent anything better at the moment...). And it still even makes some sense to speculate if this 19^th century book may have really presented a more conflicting case for the accepted social consensus and order. Feminist literary studies later have also stressed fx the gothic influences in novels plot in related to previous mentioned themes. Anyway, for the reading public of the time, perhaps because complete title for Jane Eyre also included in its subtitle the words 'An autobiography', book was also to some level received as been based on CB's (and other siblings) earlier experiences and fates in local school at childhood. Not having read a single page from Charlotte's novels it's not quite possible here to make any further conclusions from all this in background of the Bronte-myth, but nevertheless, along with novels popularity she gained recognization as author in the literary circles of the time.

Gaskell herself was not obedient angel either, however faithful to manners and literary canons she may have liked to remain. After all, she had started writing after having bore children and worked among the poor in her early days and youth. Having then carried out the womanly duties and expectations (of the time), she may have had more space and margins for fulfilling her literary ambitions. She was regular figurine in literary worlds of the time and had also received some place as an acknowledged writer fx with her first novel Mary Barton (1848). Also, another of her main works was published in Dickens magazine as periodical texts (from Sep. 1854 to Jan. 1855) with the name Margaret Hale. Gaskell is then described having been resistant to the editorial demands of the creator of the magazine, that '19th century literary genius' (Charles Dickens 1812-1870). The final version of the novel, North and South (1855), was published with notions (by Gaskell) that "several passaged were inserted and new chapters added" because these had been earlier eluded due to "restrictions of magazine form". As comparison, that sister-novelist, CB then was taking part (at least occasionally) in lectures of that other respected author of the time, satirist William Makepeace Thackeray(1811-1863), whom she considered as (fx in letters cited at biography) far more magnificent talent compared to others she having met in literary circles. Nevertheless, that didn't prevent her from also making criticism from Thackeray's views and recent works in her letters. CB was also changing letters with some other male authors of the time, but all this actually belongs to(and is likely to be found more properly discussed in) the literary studies from history and legacy of this.

From Gaskell it is mentioned that the (created) picture of CB in biography reflects many of the characteristics of the female personnel from her fictional writing, especially when eventually reaching the marriage as some kind of ultimate relieve from moral and social struggles. Much of the same, also pointed in the forewords, can be said from the (Bronte) sisters portraits presented as alternatives for that ideal heroine; a feature which was common and typical in novels faithful to patriarchal narratives of the time. As Jay points out, this probably shows in Gaskells characterization from the Bronte-sisters temperaments; if Charlotte was to be raised for the socially fitting level, the other sisters portraits were to reflect the opposite, especially Emily's. Also, seems likely if Gaskell also hadn't met the other sisters before their deaths.

Just for the interest, let us in the end then also remind ourselves that Gaskell was a talented writer herself and also capable of adding some intensifying details in the story. In the earliest chapters of the book her descriptions show a professional novelist that apparently had no difficulties in weaving together the 'moor pastorals' within the colourful descriptions from backwardness of Haworth and its surroundings. Also the old legends she takes in use, like the earlier mentioned 'ghostie-stories' from 17^th century, that may have been felt as distant and romantic in the 1850s than the time of writing The Life of Charlotte Bronte now feels to us. In a more religious and at the same time superstitious time than ours when fx spiritisism was more or less a common practice (like psychology today) these may also been felt more emotionally and connected to the actual facts in the story. But, Gaskells fictional output seems also to contain works with depictions from the fates and social conditions of the poor in the early industrialized towns and – and as it is mentioned in the forewords – the Haworth Parsonage was situated in a small industrializing town and not the distant rural as the later popular idea persistently has kept (Also Gaskell's text in biography give some view from the Keighley and Haworth areas being well under the process of industrialism and its impacts). Perhaps it is quite just guessing her particular reasons, but all this anyway was meddled into those colourful and quite pointing descriptions from country-side, probably intended to raise curiosity in middle-class readers imagination. The biography also sometimes shows occasional social critique, like remarks from the governesses subordinate situation under service of the engaging family, though all that is generally not much prevailing in the text.

The biography is divided in two volumes (as was popular manner at the time).

The first part consists roughly from Bronte family setting on Haworth, explaining the early years of siblings and their play and prose writing in childhood, and also (mostly) CBs plans to start a school, for which reason Charlotte and Emily Bronte were for a while studying French in Belgium. The second part focuses (fx) on CB's efforts to publish sisters writings from 1846 onwards and continues with snap-shots from her life until the end. Especially latter volume mostly comprises from excerpts of Charlotte's letters, with some explanatory paragraphs inserted in-between by Gaskell. The letters were also of interest by readers of the time, a thing that the biographer probably very well understood. Book also had its controversies and sensations when published. Quite secondary of importance, so we're just mention that the Penguin edition contains the original text as and also an appendix from changes Gaskell was obliged to make to the later editions (in addit to extensive list of explanatory notes within the text).

All in all the book very well comprises and presents the biography and it's histories (and also something from that myth). The excerts from CB's letters give a basic understanding from her opinions and character, even knowing those being selected parts. The language used by Gaskell still feels rather fluent reading today and if the terms or places appear as odd or problematic the end-notes usually offer an explanation. As downside, one can mention that typical for these pocket-editions, typing is with such small letters that it easily starts to exhaust. Also to mention, several more biographies of CB have appeared in during the over 150 years since Gaskell's, probably also post this Penguin edition from the original one. If wishing to study further the subject(Bronte myth), as well as the 19^th century social and religious conditions and other such things, the biography is probably among the first sources to familiarize with. So lastly, we're including here some selections from books/sources recommended in the Penguin edition, that seem to be of interesting kind (considering the above discussed):

J. Barker: The Brontes (1994); A. Easson (ed.): Elizabeth Gaskell: The Critical Heritage (1991); J.Uglow: Elizabeth Gaskell: A Habit of Stories (1993); C.L.Kruger: Women Preachers, Women Writers and Nineteenth Century Social Discourse (1992).

(These are of course purely random picks from books presenting also selections from apparently vast number of related contemporary literature and later studies. Not to mention the more recently published stuff. Also the CB's and other Bronte-letters are often recommended and probably nowadays available as some complete volume.)

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