Titlebook: Brontë Facts and Brontë Problems; Edward Chitham,Tom Winnifrith Book 1983 Palgrave Macmillan, a division of Macmillan Publishers Limited 1

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,The Development of ‘Vision’ in Emily Brontë’s Poems,featured, taking into account some passages in late poems, a major function of which seems to be to explore such visionary and imaginary gifts. This exploration will supplement that of the previous chapter.

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,Ellen Nussey and the Brontës, in the 1890s with both the letters themselves and the permission to publish them in the hands of the incompetent and dishonest C. K. Shorter and T. J. Wise. Ellen Nussey’s own letters at this time make pathetic reading, and we cannot help feeling a great deal of sympathy for her.

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Schriften zur Unternehmensführung were as unscrupulous as they were inefficient. The task would indeed be quite impossible had it not been for the labours of one man, C. W. Hatfield, who apart from his edition of Emily’s poetry, is virtually unknown in Brontë circles.

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Texts and Transmission, were as unscrupulous as they were inefficient. The task would indeed be quite impossible had it not been for the labours of one man, C. W. Hatfield, who apart from his edition of Emily’s poetry, is virtually unknown in Brontë circles.

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,Emily Brontë and Shelley,d stanza. There follows a poem rich in Shelleyan concepts, ending in true platonic style with the soul separating from its imprisoning body:.That Emily Brontë was deeply attached to Shelleyan ideas is well known. There is, however, a tendency to ascribe this to coincidence. Winifred Gerin, for example, writing in 1971 says:

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Texts and Transmission, incompetent T. H. Newby. Good novelists like Mrs Gaskell and Mrs Humphry Ward saw the greatness of the Brontë sisters in spite of their faults, but their modern successors have been unable to distinguish between sense and sentimentality. The novels are now being properly edited in a scholarly editi

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,Early Brontë Chronology,e mystery of the three Bells (or were they all one?) and to understand the characters and motivation of writers who could produce such an unusual clutch of novels and poems. This public found its thirst quenched by the masterly Elizabeth Gaskell, yet a significant trickle of better-off enthusiasts c

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,The Inspiration for Emily’s Poetry,illuminates Anne more than Emily.. The paper is headed ‘Monday evening June 26 1837’, and it becomes clear later that ‘evening’ means about 4 o’clock. The text is written round the edge of a rough sketch of the sisters at work. We therefore have both a verbal and visual picture of the scene. However

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,Gondal’s Queen: Saga or Myth?,. It seems unlikely that we shall ever arrive at a firm and conclusive view of the relation between her poetic imagination and the part of her mind which created Gondal, but an exploration of the matter is surely desirable, if only because some rash generalisations have been made and stand in need o