Bronte Society Spring Walk

It happened on Sunday 14 May.

It started at St Peter's Church in Birstall and ended at Rydings, once the home of Ellen Nussey. Margaret Berry, the walk leader, explained just about everything that needed to be explained, and participants went home tired, happy and slightly damp.

The weather was of the Pennine variety - grey and showery. Nobody minded.

The full itinerary can be found in the blog archive for February. A longer account will appear in the next Gazette, which comes out in September.

Meanwhile, here are some pictures:






Miss Wooler's grave, St Peter's churchyard, Birstall












Outside Oakwell Hall







Front







Back
























One of the displays inside.

Vote for the little book

One of the earliest known books written by one of the Brontë sisters will feature in a BBC2 programme which has gathered together some of the most quirky and unusual museum items from across the UK to create an online 'People’s Museum' voted for by the general public.

The programme, designed to coincide with Museums and Galleries Month, will feature Charlotte Brontë’s ‘little book’ of writings which makes up part of the Museum collection at the Parsonage. The People’s Museum programme will invite viewers to vote on their favourite museum artefact featured in the twenty-part series which will go out on BBC2 at 3.30pm five days a week - commencing on 15 May 2006.

Charlotte's little book will be featured on 30 May. The object with the most votes will be proclaimed the winner on 9 June 2006, although featured objects will have a place in a virtual museum on the BBC’s history website.

Competition was fierce for inclusion in the programme as the producers, Reef TV, struggled through the enormous pile of entries from around Britain. The Parsonage is delighted to have been chosen and hopes that Brontë fans across the UK and from overseas will register their affection for the Brontës by voting on the day.

The tiny book, no bigger than the palm of a hand and measuring 42 x 64 mm, was believed to have been written by Charlotte between 1826 and 1829 when she was aged between 10 and 13, for her sister Anne. The book, bound in leather at a later date, is in immaculate condition and includes beautiful watercolour pictures and the original covers, which were made from tiny pieces of grey-flowered wallpaper.



















Filming took place at the Parsonage earlier in the year with presenter Jules Hudson interviewing Librarian Ann Dinsdale, who explained to viewers the origin of the tiny book: how it was made, what it was made of and more importantly how Charlotte’s early writings influenced her most famous works:

"This little book is the earliest surviving manuscript by Charlotte Brontë and marks the beginning of her long apprenticeship in literature. It was an apprenticeship that would culminate twenty years later with the writing of Jane Eyre - one of the most popular books ever written.�

The presenter, Jules Hudson, is an historian and archaeologist who has presented Channel 4’s Time Team and the BBC’s Horizon programmes. He was fascinated by the little book whose writing is hardly readable. It is now rather fragile and delicate. Visitors to the Museum will be able to see the book on display at the Parsonage from June 2006.

This post is by Diane Benn



Further notes about the 'little book':

The Brontë sisters are famous for their literary works, including Jane Eyre and Wuthering Heights; however their interest in writing had begun many years before during their childhood.

The siblings conjured up plays and imaginative stories, inspired by a set of toy soldiers given to Branwell by Mr Brontë in 1826. The children each named the soldiers after famous heroes of the time such as the Duke of Wellington and Napoleon, and from these toys they created their imaginary worlds and stories about Gondal and Angria now known as Brontë Juvenilia. From this period onwards the Brontë children produced ‘little books,’ written in tiny writing and supposedly created small enough for the toy soldiers to read.

It is also believed that many years of writing these ‘little books’ could have contributed to Charlotte’s degenerative eyesight. The minuscule script can be seen as part of a secret imaginary world that was shared between the siblings and hidden from prying adult eyes.

This ‘little book’ originally belonged to Arthur Bell Nicholls, the husband of Charlotte Brontë. After his death most of his Brontë collection was sold in an auction in 1907. Unfortunately for the Brontë Society at the time the ‘little book’ was sold to a private American collector called Henry H. Bonnell. It resided with him until his death in 1926, finally ‘returning home’ in 1927 when it was kindly donated by Henry Bonnell’s family to the Parsonage, the place where it was written.


Please see the Brontë website for further details - use the link on the right.

Anna in Haworth

This is a reminder that Anna Calder-Marshall, Cathy with Timothy Dalton's Heathcliff in the much-loved 1970 version of Wuthering Heights, is to make an appearance on the Friday evening ( 2 June 2006) of the annual Brontë Society June weekend in Haworth.

She will be acting in Charlotte, Emily and Anne, a moving play by Douglas Verrall. Anna is part of an ensemble of five women who each play a family member and other parts. Other cast members are Helen Ayres, Yvonne Bonnamy, Christine King and Catherine Harvey.

The play is directed by Valerie Doulton, who launched her Live Literature Company in 2003.

Visiting Italy?

Member of the Brontë Society?

The Italian Section cordially invites you to get in touch before you go.

Email: info@bronteitalia.it

Bronte Boats

The Verdopolis leaves a lock in the picture above.


Tourists visiting the Parsonage can now sample the beauties of Yorkshire’s waterways thanks to a new initiative between the Museum and Brontë Boats based at the newly refurbished Hebden Bridge Marina.

The partnership will offer visitors the chance to take a one-hour canal trip with an all-inclusive ticket of £12.00. The price includes return canal cruise and entry to the Parsonage.

Brontë Parsonage Museum Director, Alan Bentley said, “We are delighted to announce the new initiative with Brontë Boats. The visitor experience will be greatly enhanced with the addition of the canal cruise which gives tourists the chance to relax on board whilst taking in some of the wonderful countryside that the Brontës wrote about and experienced for themselves."

Brontë Boats launched its new 53 passenger canal cruiser Verdopolis to cater for the increasing number of visitors to the area. Passengers also have the option to book private parties for their guests who can tuck into a three course carvery meal, Indian, Greek or buffet food and listen to music of their choice. The boat has a bar, conference facilities and toilets.








For further information about Brontë Boats canal cruises please telephone 01422 845557 or email Sharon.bronteboats@virgin.net. The Brontë Boats website can be found at www.bronteboats.co.uk. Address is - The Marina, New Road, Hebden Bridge, West Yorkshire, HX7 8AD

For further information on events and exhibitions at the Brontë Parsonage Museum please telephone 01535 642323 or visit the link on the right.

Posted by Diane Benn

Latest from the BBC

A BBC Press Release:

Jane Eyre by Charlotte Bronte - a new drama adaptation for BBC ONE

Category: TV Drama; BBC ONE
Date: 18.04.2006
Printable version

Newcomer Ruth Wilson (Jane Eyre) and Toby Stephens (Edward Rochester) head up an all-star cast in a passionate new version of the much-adored classic Jane Eyre for BBC ONE.

The four-part serial also stars Francesca Annis as Lady Ingram, Christina Cole as Blanche Ingram, Lorraine Ashbourne as Mrs Fairfax, Pam Ferris as Grace Poole and Tara Fitzgerald as Mrs Reed.

Georgie Henley, who recently starred in the Christmas blockbuster The Chronicles of Narnia plays young Jane while Aidan McArdle plays the visionary John Eshton. The drama is currently filming entirely on location in Derbyshire.

Jane Tranter, BBC Controller of Drama Commissioning says: "Sandy Welch's wonderful version of Jane Eyre for BBC ONE will add that special ingredient to the mix of dramas due for transmission this autumn, which includes the new series of Robin Hood; Lizzie Mickery and Dan Percival's conspiracy thriller, State Within; Sally Wainwright's heart-warming series The Amazing Mrs Pritchard plus Russell T Davies's Torchwood for BBC THREE."

The sustainability and appeal of Jane Eyre lies in her universality and the audience's appetite for a well-told romantic tale.

Orphaned at a young age, Jane (Ruth Wilson) is placed with her wealthy aunt Mrs Reed (Tara Fitzgerald) who neglects Jane in favour of her own three spoiled children.

Mrs Reed's spitefulness leads her to withhold news that could change Jane's life for the better.

Instead she brands her a liar and sends Jane to Lowood School where she remains until the age of 19.

When she finally leaves the dark memories of Lowood behind, she embarks on a career as a governess and her first position is at Thornfield Hall, the home of the alluring and unpredictable Edward Rochester.

Jane's journey into the world and as a woman begins.

Producer Diederick Santer adds: "In her brand new adaptation of Jane Eyre, Sandy Welch has mined Bronte's novel for every ounce of passion, drama, colour, madness and horror available, bringing to life Jane's inner world with beauty, humour and at times great sadness.

"The locations we have chosen are stormy and majestic and I hope that Sandy's original take on the story will be enjoyed as much by long-term fans of the book as by those who have never read it."

Filming is underway until June at the historical medieval castle Haddon Hall, owned by Lord Edward Manners, and other locations across Derbyshire.

Jane Eyre is adapted by Sandy Welch (North and South, Magnificent Seven), directed by Susanna White (Bleak House) and the Executive Producer is Phillippa Giles.

Muriel Spark

Muriel Spark, aged 88, died on 14 April 2006 in hospital in Florence, Italy. Her funeral was held on 15th April in the church of Oliveto, a suburb of Civitella della Chiana, a delightful little place in Tuscany where she had been living for 26 years.

In September 2005 Muriel Spark had received the honorary Citizenship and the keys of the Town.

With her novel Invidia (Envy), published by Adelphi, she won the 2005 edition of the Literary Prize Isola d'Elba. In the photo we see her while receiving the prize from the Italian actress Maria Grazia Cucinotta.

Posted by Maddalena de Leo


Dame Muriel's first novel was published in 1957 but it was the 1962 classic, The Prime of Miss Jean Brodie, that brought her to the public’s attention following good reviews from critics.

The book was turned into a movie starring Dame Maggie Smith, bringing her a best actress Oscar in 1969.

In the course of her career Dame Muriel wrote over 20 books, which included not only novels but also critical studies of Mary Shelley and Emily Brontë.

Talli's Secret

Brontë Society Gazette is the news magazine of the Brontë Society. It is sent to members three times a year, and is not to be confused with Brontë Studies, which is an academic journal - see the link on the right.

Below is a book review from the most recent issue, which follows on from an article in the January issue by the book’s author, Julie Noble (pictured above), entitled Was Maria dyspraxic?

Please contact the blog (email address on the right) if you wish to make a comment.


Talli's Secret

A psychotherapist’s view

Talli's Secret or Cassie's story by Julie Noble is dedicated to 'all who know what it is to struggle' It is inspired by children who have lots to contribute and express but for whom the school system, with its structures and emphasis on the written word, thwarts and disables.

Julie Noble's own son, like my own, has struggled this way. The inspiration for the book came when studying Jane Eyre and learning that Helen Burns was based on Charlotte's eldest sister Maria, and that Helen was arguably literature's first dyspraxic.

Cassie's class are studying the Brontes. Like Helen Burns at Lowood, Cassie struggles at school and is berated by her teacher. She is misunderstood as defiant and mocking. Mrs Harrison uses 'hardened' and 'slatternly', the same words that Helen's teacher uses on her.

The life-threatening physical conditions which Charlotte Bronte fictionalised in Jane Eyre are unimaginable to Cassie but we discover that the misery and frustration experienced by Cassie is uncannily similar to that of Helen.

What stood out for me over and above the struggle of children with dyspraxia or dyslexia is the magic of creativity and the therapeutic value of story telling..

Charlotte Brontë saw that children can feel but can't analyse their feelings. As a Psychotherapist I would say that children need relational experiences with those close to them to express and process their feelings and to develop a sense of themselves and their life story that matures and develops with them.

Talli's Secret is a wonderful account of how trauma and loss can rupture the coherence and meaning of individual stories. Better still it goes on to describe a process of transformation and the bringing together of those involved, their individual and overlapping stories to replace brokenness and despair with hope.

Cassie survived the road accident which killed her sister Lizzie and disabled her father. The family is stuck, barely living, futilely going through the motions of daily life. There is a heaviness and poignancy about her parents' mutual estrangement. Their communication is as tight as the matchstick house her father labours over. They have no space in themselves for Cassie and her difficulties. Cassie is in a daze, preoccupied but unable to bring into focus the impressions that fuel her silent vigil.

A school trip to the Parsonage sets her off working it all out. But not on her own. She makes two new friends, a new girl at school and Talli (Charlotte Brontë) who both become important in sharing and witnessing her experience.

I found the encounters with Talli confusing but the message is clear. Cassie's experience is recognised by Talli. They share the loss of their sisters and Cassie learns that Maria, 'the most talented of us all' had struggled at school like her.

Talli encourages Cassie to talk about her dead sister Lizzie. Cassie asks what Talli did with her grief. The secret is Scribblemania, the compulsion to write. Talli/Charlotte had put Maria into Jane Eyre. Writing works for Charlotte as a way of making something of the unbearable.

Cassie discovers the delights of reading and steams through Jane Eyre. Later, when asked to explain the mess she's in with her teacher and the bullying school girl Savannah; Cassie remembers Miss Temple's imperative to Jane, to tell her story, to add and exaggerate nothing. She tells it and everything starts to shift. The teacher understands.

Her homework that weekend is making books as the Brontes did. Cassie can't wait. She finds words 'whispering in her brain', and her fingers itching to write them. She writes her book 'Talli's Secret'. The parents are approached and awoken, unwillingly at first, out of their deadly retreat. Cassie frees herself and becomes a catalyst for change in those around her, her family, her teachers and her bully.

The book holds several paradoxes for me. We have in Cassie the learning difficulties dyspraxia and dyslexia and the emotional befuddlement associated with trauma and loss which can make learning difficult.

Did Cassie have these problems before? If so, she would be likely to need more than understanding and inspiration to take to the written word with fluency.

The book, like Cassie, has rather too much going on. There is a lot to hold on to and digest as I read it and a lot I'm puzzled about. Having said that I could also say that this is a book with a lot going on of which there is much to mull over. The readers that engage with it will find it a meaty read, others might find it confusing and a bit much.


Sally Rose.


Talli’s Secret, recently long-listed for the Whitbread Book Awards, is available from the Parsonage shop - please use the link on the top right.

The Brontës in Lahore

Wali Aslam spoke to Richard Wilcocks:
"I fell in love with the Brontës when I was still in high school back in Lahore. It was Wuthering Heights which did it.


"I was fascinated by the novels of Thomas Hardy as well, so I was well motivated to go on to take a degree in English Literature at the University of Lahore.


"Currently I am a third-year postgraduate at the University of Leeds putting the finishing touches to my PhD in the Politics department. I was very excited when I found I was coming to Leeds in Yorkshire because I knew I would be close to Haworth and the moors.


"I have done plenty of walking in the area, but I have not yet managed to get up as far as Top Withins. I intend to put that right soon. I am fascinated by the connections between human emotions and physical surroundings, by the special atmosphere around the Parsonage.


"I was photographed and interviewed by the BBC recently. There was a kind of advertisement on the university website for volunteers with a knowledge of Urdu, which of course I have. It was my suggestion that we did something on the Brontës, so now my voice will be heard on the World Service talking about them in Pakistan.


"The Brontës are popular in Pakistan, I think. They are loved there, partly because we live in a 'Victorian' society there, in which women have limited opportunities, where health care is poor and where social status matters a lot. So we relate to the world of the Brontës.


"I am now going to become more involved with the Brontë Society. I have already offered to translate the Parsonage guide into Urdu, which should be helpful because it is a language spoken by many people of Pakistani origin in Keighley and Bradford.


"I am going to speak in more depth about the Brontës in Pakistan and my opinions in the future, in Brontë Society Gazette."

Parsonage People: Ann Dinsdale

Ann Dinsdale spoke to Richard Wilcocks:


I think I have to be classed as one of the longest-serving members of staff because I started in 1989, as a part-time museum assistant. I did a few hours in the library then became a full-timer there, assistant to Kathryn White.


At the moment I am librarian. I am at work on the catalogue project, but usually my work involves sourcing and cataloguing materials, running the picture library, looking after readers, dealing with hundreds of enquiries every year and working on the exhibitions.


The collections assistant, Linda Proctor-Mackley, is dealing with the bulk of the enquiries at the moment. Email has made things much faster and easier and we are receiving more and more of them each year because of it.


Pictures from the library for publications are now sent as jpgs by email to people who always want them right now!


Although I have lived most of my life in the Haworth area, I was born just over the border in Colne, Lancashire. The Brontës first cast their spell over me when I came to the Parsonage as a child on a school visit in the late 1960s. Haworth and the Parsonage quickly became special places for me. Little did I know that one day I would be lucky enough to work there.


If I had to name one favourite author apart from the Brontës I would choose Daphne du Maurier, but I read books by many different authors. I spend a lot of my time reading.


My leisure time is often taken up with visiting other museums and stately homes because I can concentrate on the exhibits rather than looking with a professional eye all the time. I like old towns too - like Whitby.


Our leads for the missing film of Wuthering Heights which was featured on the front page of the last Brontë Society Gazette seem to have dried up. It generated so much interest: if it does turn up, a man from the Royal Philharmonic Orchestra would be interested in writing a score for it. A BBC documentary team and someone from the Culture Show rang me about the search, too.


One of my ambitions is to visit Italy again, because of its association with the Fine Arts. Perhaps I will be able to learn some Italian for the occasion. I have been to Venice fairly recently. Perhaps it will be Siena next time.


Whilst working at the Parsonage I have met many interesting people, for example Sally Wainwright, who wrote the play about Emily's supposed lover which was on the radio. She's terrific, a very down-to-earth person. Then there's Simon Warner the photographer. I am working with him at the moment on a book to be called The Brontës at Haworth, to be published in September by Frances Lincoln.




The spotlight will be on other members of staff at the Parsonage in future postings.

Barker v Fermi

Check that you have RealPlayer (if you haven't, download it free from www.real.com), then go to http://www.bbc.co.uk/radio4/womanshour/02/2006_10_thu.shtml to find an interesting conflict of opinions.

Wherever you are, you should be able to listen to this, broadcast earlier today on BBC Radio 4. Sarah Fermi explains why she thinks it possible that Emily could have had a dangerous liaison with a weaver's son on the moors, with references to her research and her belief in the power of the circumstantial evidence.

Juliet Barker faces her across the studio, with her belief that Fermi has got it all wrong. For Barker, Wuthering Heights is not so much about love as about power, control and revenge : "I find it extraordinary that in this day and age we can't accept that a woman had the ability, intelligence and the imagination to write a book like Wuthering Heights without having to find a real-life lover!"

Your comments are welcome.

Saturday Play

If you can receive BBC Radio 4, stand by to record this on Saturday afternoon. If you can't, go to Listen Again on http://www.bbc.co.uk/radio4/arts/

This is from the BBC website:

14:30
Saturday Play
Cold in the Earth and Fifteen Wild Decembers

By Sally Wainwright, based on a theory by Sarah Fermi.

Why did Emily Jane Brontë write Wuthering Heights? And how was she able to do it? In spite of the massive amount of material published about the Brontë sisters over the last 150 years, these two questions still remain unanswered. Yet given the large amount of autobiographical material in the novels of Charlotte and Anne Brontë, it is almost unthinkable that Emily would not have also used her own experience in the creation of her great book. How could she write so vividly about love, grief and hatred without having known these emotions in her own life?

This is a compelling drama about the story of Emily Brontë's socially transgressive love affair with a weaver's son.



This is a media release from Diane Benn:

A member of the Brontë Society who researched and wrote several papers on the life of Emily Brontë will have her work broadcast on Radio 4’s Saturday Play on Saturday 11 March 2006 at 2.30 pm until 3.30 pm

Sarah Fermi, who is in the process of writing a speculative biography entitled ‘Emily’s Journal’ has been working with writer Sally Wainwright who created and wrote TV programmes such as ‘Canterbury Tales’ and ‘At Home with the Braithwaites’. Sally has taken Sarah Fermi’s research and constructed a play about Emily Brontë’s romance with a weaver’s son.

Sarah’s research focused on the theory that Emily Brontë probably had a tragic romantic relationship with a young working-class lad, Robert Clayton, who died when they were both 18 years old. Questions were asked as to how Emily Brontë was able to write such a powerful love story which turned into the classic ‘Wuthering Heights’ novel without experiencing such strong emotions herself.

Sarah Fermi says “I learned all I could about Emily, and carefully examined the chronological development of her poetry. There are quite a few aspects of her life which present interesting questions. Why did Emily change from a charming and outgoing child to a solitary and reserved young woman? Why was she sent away to Roe Head School in 1835 and what was the real reason for Emily’s near-fatal illness there?�

Parsonage Guide in Chinese

Chinese visitors to the Parsonage in Haworth can now "read all about it" quite literally with the publication of a Museum guide translated into Chinese by bilingual University of Leeds students.


The guides, already published in 9 different languages, are increasingly in demand by overseas visitors who make up around 20% of the overall visitor figures at the Museum. Plans are underway to introduce a broader range of translated guides to include Russian, Arabic and Polish versions.


Alan Bentley, the Director of the Brontë Parsonage Museum said, "We are receiving ever increasing numbers of visitors from China and Eastern Europe and we feel it is important to respond to the demand for information in visitors' native languages. The production of the guides by University of Leeds students will go a long way to ensuring our visitors receive the information that they need, in a format they can understand".


With foreign school children, tourists and intellectuals all eager to see the home of one of the most famous literary families in the world, the guides are a welcome resource to assist foreign travellers in their quest for in-depth knowledge about the Brontë family, their surroundings and conditions in Haworth in the Nineteenth Century.


A Chinese film crew recently spent days filming in and around the Parsonage to give the Chinese people a flavour of the home and surrounding countryside where the Brontës lived. The results will be included in a 100-part TV series to be broadcast in China in December 2006. The crew have spent 5 years filming the documentary which is entitled A History of the World.

Milan meeting

Here is the official notice of the meeting in Milan. Greetings to all friends and members in Italy!

Three Quartets

Richard Wilcocks writes:
"It's strange to be talking about the Mendelssohns and the Rossettis in the cellar of the Brontë Parsonage Museum," said artist and poet Ian Emberson (pictured) at the beginning of his talk Three Quartets on 3 November. "I am going to take a wider look at three gifted families, look at their lives, then compare them. Each family was close-knit and each had within it four children who were gifted in various ways."


For the next hour, we were treated to the results of Ian's extensive research, our attention was drawn to some illuminating and sometimes startling coincidences, and many interesting parallels were made.


All three of the significant ancestors of the families were exiles in some way, for example. Moses Mendelssohn, grandfather of Felix, was a partner in a silk firm and a writer on the theme of the Immortality of the Soul, who achieved the status of "protected Jew", which made an enormous difference at a time when Jews were subject to frequent restrictions and humiliations. Gabriel Rossetti was a political agitator and a museum curator who sought asylum in England, where he taught Italian at London University, and of course Patrick Brontë escaped a life of poverty in Ireland to go to Cambridge. All three brought something beautiful, fresh and new from the outside to their country of settlement.


In all three families, formal schooling played little part in the nurture of young talent. The privileged Mendelssohn children - Fanny, Felix, Rebecca and Paul - were accustomed to mingling with distinguished artists and scientists (Goethe included) in their sumptuous residence in Berlin, and private tutors (drawing, painting and languages as well as music) were no problem for their banker father. Felix became an outstanding fencer, gymnast and mathematician as well as a pianist and composer.


The bilingual Rossettis were another self-contained family, not mixing much with the locals, their house packed with Italian visitors (like Paganini), emigres and asylum-seekers. The children were constantly writing, producing their own newspaper (The Hotch Potch), printed on a press conveniently situated in their back garden. Ian picked out the fact that the Brontës were interested in all branches of the arts, that Emily's piano playing was much admired by Ellen Nussey and that Branwell played the flute, the church organ and the piano.


Ian compared the differing expectations of males and females in the three families. Fanny Mendelssohn was possibly as talented as her brother, but her father Abraham wrote to her in a letter that "only what is truly feminine is an ornament to your sex", with music being the ornament, not the career, of course. It was rather like saying that literature can not be the business of a woman's life.


The talk reminded me that it is not just the Brontës who must always be kept in our hearts and minds. After all, Christina Rossetti did write one of the most memorable Christmas Carols, and Felix Mendelssohn has for too long been wrongly associated with the odour of mildewed hymn books.

Meeting in Milan

The Brontë and the Rosetti families have been compared and contrasted before, not least by Ian Emberson, who grouped them with the Mendelssohns in a lecture in the Parsonage cellar in November 2004. This could be a good moment to acquaint readers with some of his main points, because Rafaella Pazzaia from the Brontë Society Italian Section has sent this notice of a meeting in Milan, together with the cover of the new translation of Elizabeth Gaskell's Life of Charlotte Brontë:

Lirica e misticismo nella poesia di Anne Brontë, Christina Rosetti

relatore Silvio Raffo

Milano 25 marzo 2006
via Manzoni 38 - ore 15.30 - tel 02 77222202

Tabitha Aykroyd

Thanks for your many enquiries. If you are researching Tabitha Aykroyd, we would love to hear from you, however briefly. Leave a comment below, or email us at heveliusx1@yahoo.co.uk


Many visitors find the graveyard as fascinating as the Parsonage itself. Buried there are two of the domestic servants of the Brontës - Tabitha Aykroyd and Martha Brown.


Here is a focus on "Tabby", who died on 17th February 1855 aged 85, two and a half weeks after Charlotte Brontë was examined by Doctor McTurk and found to be pregnant, and six weeks before Charlotte's death at the age of 38.


The main Parsonage website carries the following information:


Tabitha Aykroyd


Domestic servant in the Brontë household.


Born Haworth c.1771. Died Haworth 17th February 1855.

Background Almost nothing is known of Tabitha's life before she entered the Parsonage in 1824 aged 53. She was almost certainly a native of Haworth, and we know of two sisters; Rose, who married a Bingley man called Bower, and Susannah, who married a Haworth man called Wood. Tabitha never married, and while there is no record of her life before she entered the Parsonage, it is thought that she had worked in domestic service and on farms.


Living at the Parsonage 'Tabby' was the Cook/Housekeeper and for the first 15 of her 31 years at the Parsonage, she was the only servant living in, although the Brontë sisters themselves also cooked, cleaned and washed clothes. In December 1836 Tabby slipped on ice in Haworth's main street, badly breaking her leg. Aunt Branwell suggested that she leave the Parsonage to be nursed by her sister Susannah, but the Brontë children objected, even going on hunger strike, and Tabby stayed in the Parsonage nursed by the children. The leg never fully healed however, and over the next 3 years many of Tabby's duties were taken up by Emily.


In 1839 Tabby seems to have retired temporarily, moving into a house in Newell Hill that she had bought with her now-widowed sister Susannah. Mr. Brontë engaged Martha Brown, the 11 year old daughter of his Sexton, John Brown, but the greater part of the skilled and the heavy work fell upon the Brontë girls, with Emily becoming Housekeeper. In 1842, Tabby moved back into the Parsonage where she stayed, sharing the little servants' bedroom with young Martha, for the next 13 years. Tabby died in February 1855 and she is buried with her sister Susannah, and a George Aykroyd who may be a brother, just over the wall from the Parsonage garden.

Personality; Influence According to Mrs. Gaskell, Tabby "abounded in strong practical sense and shrewdness. Her words were far from flattery; but she would spare no deeds in the cause of those whom she kindly regarded"(The Life of Charlotte Brontë 1857). Mrs. Brontë had been dead for 3 years when Tabby came to the Parsonage and the children were looked after by their mother's sister, Elizabeth Branwell. A year after Tabby's arrival, the two eldest children, Maria and Elizabeth, died of consumption. Charlotte and Emily were only nine and seven years old at the time, and as they at least had only a formal relationship with their Aunt Branwell, they found physical and emotional warmth in the kitchen. Tabby was fond of her "childers" and they were fond of her. As Charlotte later wrote, "she was like one of our own family". Tabby took the girls for their walks on the moors, and, with her old-fashioned ways and broad Haworth accent, she was sometimes the butt of their boisterous games.


Tabby was a great storyteller. She knew all the local families, all their complex inter-relationships and disputes, and, despite her belief in the Christian teachings of divine reward and retribution, she held also to the ancient anthropomorphic traditions of the countryside, claiming (according to Mrs. Gaskell) to have known people who had seen the fairies. Emily, who spent more time working in the kitchen than either of her sisters, was particularly close to Tabby, and Tabby's influence permeates the landscape of Wuthering Heights. Tabby has also been identified as the model for Nelly Dean in Wuthering Heights, and for the housekeeper Martha in Charlotte's novel Shirley.




Read about a dramatic version of Tabby in Blake Morrison's play We Are Three Sisters by clicking on


 http://www.blogger.com/blogger.g?blogID=20896212#editor/target=post;postID=8814422635659652113

































Tabby's Haworth dialect


Thanks to American member Randall Grimsley for sending the following. Brenda Scott did the translation and added the dialect notes.




Tabby: Aye up, childer - is yon cat deard?


Chorus of children: Nay, Tabby, 'e's just restin'


Translation: Hello! Is that cat dead, kids?
No, Tabby, he's just resting

Dialect note: 'deard' rhymes with 'beard'




Tabby: Nah sithee, me barns, tha's nur 'aving a candle, so tha mun do wi'art. If I can see ter fettle this 'ere pair o' Branwell's britches, tha can all see well enough to mek up thi daft tales. If tha wants more leet, shuv yon cat on't' fireback, 'e's fat enou' to gi' a reight gradely blaze!


Translation: Now look here, my children, you're not having a candle, so you must do without. If I can see to mend this here pair of Branwell's breeches, you can all see well enough to make up your silly tales. If you want more light, shove that cat on the back of the fire, he's fat enough to give a right good blaze!


Dialect note: 'bairns' is pronounced as written in Scotland, to rhyme with 'cairns' but in Yorkshire the pron. is usually 'barns'. Sithee is pron. 'sitha' ( singular ) or sithi  (plural )...in this case, sithi. on't' ( on the ) is usually pron. with the glottal stop for which the county is noted! The 't' is not so much enunciated as swallowed! reight is pron 'reyt', and frequently 'reet'








Remember - your comments and contributions are welcome!

The Wind on the Moor

Diane Benn writes:
Primary school children from four Bradford schools are gearing up for the performance of a lifetime when they perform their very own Brontë Opera at Haworth church on Thursday 30 March 2006 at 1.30 p.m. and 6.30 p.m. in front of an invited audience.

The opera, entitled The Wind on the Moor is the result of a nine month project managed by the Parsonage in partnership with Operahouse, an organisation comprising a team of established professionals who offer music based creative projects for primary schools across the country.

The opera project, which has been made possible with funding from the Arts Council, Yorkshire Museums Libraries and Archives Council and the Paul Hamlyn Foundation, is based on the early lives of the Brontës, in particular their childhoods. Children have taken part in various activities focusing on the Parsonage, its collection, the village of Haworth and the surrounding landscape. They were encouraged to explore the Brontë story and respond to it, imaginatively, emotionally, and creatively through musical composition, writing and singing, dance, drama and mime.

Taking part in the project are Frizinghall Primary School in Bradford, Myrtle Park Primary School in Bingley, Lees Primary School in Haworth and Margaret McMillan Primary School in Bradford.  

Virginia Rushton, Project Director and Operahouse Artistic Director, said the process had been "...exhilarating and exhausting! The journey from blank page to performance is always exciting for a composer, but on this project we have had 120 young composer-performers and their teachers so we are off the scale in terms of excitement!"

She added, "As the journey has progressed, it has gathered pace and is now racing towards the premiere. Harnessing all the energy and ideas, keeping the creative process on track, supporting the class teachers as they came to grips with techniques for writing songs, and simply managing such a large group of children has been a challenge. But we knew what we were aiming for, and I think we have achieved something unique for each of us and for our audience"

Andrew McCarthy, Audience Development Manager at the Parsonage, said, "We have focused on the Brontë experience of childhood in Haworth and the contrast between this industrial village in which they grew up and the extraordinary imaginary worlds they created in their early writing... The children and teachers involved have enjoyed themselves immensely and have totally engaged with the project. They are looking forward to the final performance on 30 March with much anticipation!"

The team of professionals who have guided the children throughout the project with Andrew McCarthy are:

Alison Prince - renowned author who created Trumpton and The Sherwood Hero and who has won many children's literary awards for her work on over 40 books

Virginia Rushton -  Project Director and the founder of the Operahouse organisation in London

Mark Robinson - Musical Director who has worked extensively with the Northern Sinfonia, London Festival Orchestra and is a Fellow in Music at the University of Bradford

Andrew Keeling - composer who has worked with the BBC Philharmonic Orchestra, the Metropole Orchestra of Amsterdam and whose work has been performed and broadcast throughout the world.

Final rehearsals for the performance were held at West Lane Baptist Chapel in Haworth on Wednesday 1 March 2006 where pupils perfected their new found skills and put the finishing touches to their production.

Cornelia Parker

In response to questions about when the DNA samples will be taken, it is necessary to put the whole thing into context, as the situation develops. You get the breaking news on this site.


The answer is, 'perhaps after a month or two" because the relevant person from Bradford University will be turning up in a month's time to make an assesment. A date for the results can not be given yet.


The next question is about whether or not it will actually happen, because it is not absolutely definite. It is all connected with the presence of artist Cornelia Parker, pictured above, who is also doing some preliminary research at the Parsonage in preparation for an exhibition which will open on 16 September this year and which as yet has only a provisional title - Cornelia Parker at the Brontë Parsonage Museum.


She was nominated for the 1999 Turner Prize and is widely exhibited worldwide. One of her themes is "relics" and she has stated that she is interested in the relationships between fiction, reality and fame. She has a particular interest in the Brontës.


In the last three years, she has had solo exhibitions at Galleria d'Arte Moderna e Contemporanea, Turin, Italy, ICA, Philadelphia, Pennsylvania, Aspen Museum of Art, Colorado, Chicago Arts Club and the ICA, Boston. Recent group exhibitions include Days Like These at Tate Britain.


Some of her installations can currently be viewed at Norwich Castle Museum and the Victoria and Albert Museum in London. Her work is represented in many international collections including The Arts Council of England, Tate Gallery, London and the Museum of Modern Art, New York.


More on Cornelia Parker soon.

More on DNA samples

Brontë Society Council gave the go-ahead for the DNA sampling at a meeting on Saturday. Here's some more information: the Parsonage has a relatively large quantity of hair, according to Director Alan Bentley, some of it of doubtful provenance. Some is genuine, some probably not.


Hair samples are connected to most of the family, with the exceptions of Emily and the young Elizabeth. Some of it was obtained through Ellen Nussey.


Apparently it is possible to find out about the time of the year, diet and pregnancy from a couple of hairs, and also about the presence of toxins.

Nora chooses Jane Eyre

Popular Romance writer Nora Roberts has selected Charlotte Brontës Jane Eyre as the most romantic Valentine's Day book. In her February 10-12, 2006 article in USA Weekend she wrote:


It's got it all. The brooding complicated hero with a secret, the forthright, intelligent heroine, compelling atmosphere, brilliant writing, the complicated and romantic meeting of two minds and hearts - and the mad woman in the attic.


Charlotte's 158 year-old yet timeless Victorian novel continues to speak to our hearts.


A waft of wind came sweeping down the laurel-walk, and trembled through the boughs of the chestnut: it wandered away - away - to an indefinite distance - it died. The nightingale's song was then the only voice of the hour: in listening to it, I again wept. Mr. Rochester sat quiet, looking at me gently and seriously. Some time passed before he spoke: he at last said:  "Come to my side, Jane, and let us explain and understand one another."




Posted by Randall Grimsley, Region 7 contact for the American Brontë Society




NB Nora Roberts is a publishing phenomenon, especially in the USA, with over 75 million copies of her books in print. Her work has been optioned and made into films, excerpted in national magazines and translated in over twenty-five different countries. She currently has over 130 published novels to her credit with more to come.

Ruth as Jane

Our congratulations to Ruth Wilson, fresh out of LAMDA, who will be Jane Eyre in a new BBC TV production directed by Susanna White. Shooting begins in a few weeks.

To date, Rochester is uncast.

Jolie and Depp?

Rumour has it that Angelina Jolie and Johnny Depp have been lined up to play Cathy and Heathcliff in a new movie version of Wuthering Heights.

We'll keep our ears open......

One Mighty Voice

The schools' opera project One Mighty Voice began last September and is now moving into its final phase. The project has been a huge challenge involving a hundred and twenty schoolchildren from diverse communities in Bradford.


The project has proved to be more complex and demanding than some of the Parsonage's previous special education initiatives and working in conjunction with a large artistic team, teaching staff and Heads from the participating schools and several departments from within Education Bradford has required considerable organisational skills.


The work which the children have done has been inspiring: everyone involved is gaining hugesly from participating. The children have now completed the libretto to an opera which will be called The Wind on the Moor and much of the score is also complete.


It is now a question of rehearsal prior to two public performances on 30 March. This will be a fitting culmination to a fascinating creative process which should raise the profile of the Parsonage not only as a provider of innovative education services but also as a suporter of contemporary creativity.


More about the project will be posted on this blog in the next few weeks.

Virtual Parsonage

Interactive 3D Virtual Reality Tour of the Brontë Parsonage Museum £14.99

Explore the fascinating home of the Brontë family. Walk through their home in your own home! This expertly prepared computer program will run on on most PCs.

Minimum requirements:

Windows 95 or higher
Pentium 1 GHz or higher
64Mb RAM
Graphics card: 8Mb AGP or PCI graphics card or better
4X CD ROM drive
32 bit Color Monitor
640 x 480 Resolution
Soundcard

To purchase the above, or to see what else the Museum Shop has in stock, go to http://www.bronte.org.uk/gifts/store.asp

The Museum shop sells a wide range of books, gifts and other material about the Brontës and these are now available to purchase online or by mail order. For mail order enquiries simply use the shopping basket as normal. You will then be given the choice to either order online via a secure connection or print out the completed order form.

Branwell the Mason

It’s Mozart’s 250th of course, and there’s plenty on him in the media. I was reading about the strong Masonic influences on his music recently.

For example, Wilfred Mellors (distinguished musicologist and composer) wrote:

The final trilogy of symphonies is the grandest possible Masonic credo: no 39, in the Masonic ritual key of E flat major, almost always associated with healing grace, and sometimes majesty; no 40 in tragically purgatorial G minor; and no 41 in ‘white’ C major, representing the triumph of light, and in the process embracing a synthesis of homophonic and polyphonic principles (sonata and fugue).

Now I am one of many who has tried to delve into the background to The Magic Flute, with limited success. I can see that Pamina is the object of conflict between the forces of light and darkness and light and so on, but not an enormous amount beyond that. Perhaps my disadvantage is that I am not one of the brethren.

So what were the Masonic influences on Branwell? What did he get up to at the Lodge of the Three Graces (currently number 408) in Haworth, which is still operating and which can date itself back to 1792? This apparently had plenty of ups and downs one and a half centuries ago (the members met irregularly and there were often financial problems) but there were connections with the Brontës in the 1830s

The official history of the lodge records:

Between 1825 and 1831 Meetings are recorded and purport to be regular and were
always closed in perfect harmony. Candidates were initiated, but obviously the
irregularity of the meetings indicate that all was not well. In 1825, three meetings were recorded, 1826 (1), 1827 (2), 1828 (2), 1829 (1), 1830 (7) and 1831 (12). In June 1831 it was proposed at a Lodge of Emergency, that a new warrant be applied for
immediately, and that five guineas for the warrant, and all incidental expenses, be paid out of the surplus of the Lodge, and that every member pays for his register fee, and Grand Lodge certificate, at his own expense.

No further mention is made of the new warrant or of the reinitiation of members.
The new warrant was granted on the 24th August, 1831, the Lodge No. being 862. A
regular meeting 19th September, 1831 is recorded and also in October as if nothing of
any moment had occurred. Here the Minutes end. But there is recorded in the back
pages of the first minute book reference to a Meeting of Emergency when it was
resolved to have a public procession on the 2nd September,1833, and that John Brown
and Joseph Redman (whose Grand Lodge Certificates are now displayed in the
Lodge) should attend Mr. Bronte who would preach a sermon in the Church to the
Brethren at 12 o'clock. The concluding resolution is that the Committee should meet
at the Black Bull, Haworth, on Monday, 2nd September, 1833, at eight o'clock in the
morning. The total cost incurred was:


Rev P Bronte preaching - ten shillings
Band wages - One pound and ten shillings
Ringers and singers - four shillings
Eating and drinking and band - one pound and ten shillings
Beer etc Band - one pound and fourteen shillings
Cheese and bread visitors - two shillings and eight pence
Beer at dinner - thirteen shillings and four pence
Writing letters - three shillings and sixpence


So, I can well imagine Branwell listening to a sermon, enjoying the band and supping ale in the Black bull….but what else was there?

I would be grateful if someone out there is more clued in than me and can supply specific details.

Richard Wilcocks

New from Parsonage Shop

Authors in Context: The Brontës by Patricia Ingham, Oxford University Press, 2006, 273pp, paperback, ISBN 0-19-284035-5 £7.99

Authors in Context examines the work of major writers in relation to their own time and to the present day. Combining history with lively literary discussion, each volume provides comprehensive insights


The Brontë Society Conference 2004: The Brontës and Education, edited by Bob Duckett, The Brontë Society, 2005, 100pp, paperback, ISBN 1-9030076-09-7 £9.95

Contributors and contents are as follows:

Tom Winnifrith The Brontës weren’t very good teachers but had the right ideas.

Coreen Turner “With what eagerness…� Patrick Brontë’s education and his influence on his children.

Carolyne Van Der Meer Education in Wuthering Heights, Jane Eyre and Villette.

Margaret Hulmes The Brontë heroines as disciplinarians.

Yukuri Oda Wuthering Heights: education as an intermediary factor.

Mary Summers Parents beware! Anne Brontë’s message on education

Richard Wilcocks Education, Education, Education: the Brontës today.

Andrew McCarthy Education at the Parsonage Museum.

Marianne Thormählen Where we are today: issue resolved and issues outstanding.

Live in Belgium or the Netherlands?

You don't have to live there to send for a copy of Selina's book, though...


Brussels in Brontë Times
A Historic Picture Album
by
Selina Busch

Available from the author price £20

Write to: Selina Busch
Kerkstraat 7
4001 MA Tiel
Netherlands


Appeal to kindred spirits......

I am a lifelong Brontë admirer who has recently moved to Brussels, as a result of which I have become interested in the Brontë Brussels connection. After re-reading Villette and The Professor, it was enlightening to read the books on the Pensionnat Heger and other Brussels places produced by my neighbours in the Netherlands, Eric Ruijssenaars and Selina Busch.

In the glow of my revived Brontë enthusiasm it occurred to me how fitting it would be to have some sort of branch of the Society based in Brussels, to enable members here to meet each other and perhaps organise the odd event. I know that the Society recently organised a trip to Brussels, but I don't know whether members living here have ever organised events on their own initiative.

Since there are not likely to be a large number of us, the kind of meeting I had in mind would be very informal and on a modest scale: maybe just a reading-club type discussion of one of the books, an informal talk perhaps given by one of the members, or even just viewing a film version of one of the works.

I originally thought of a branch for members in Belgium; I have contacted those I have been able to locate and some people have responded very positively. But although there may be more members here I haven't contacted, there are probably not quite enough to make it feasible to organise meetings, so it seems logical to include the Netherlands as well, particularly as Eric and Selina are interested in the idea.

Could any Belgian or Dutch members I haven't contacted, and anyone else who is interested, please get in touch with me? By “anyone else� I mean members in other countries who live near enough, or have the time and inclination to travel, to a central point convenient for all such as Brussels.


Helen MacEwan

Please contact me by email:

helen.macewan@cec.eu.int

New from the Parsonage Shop

My Mother’s Wedding Dress by Justine Picardie, Picador, 2005, 335pp, hardback, ISBN 0-330-41306-6 £12.99

Justine Picardie (who will be speaking as a guest of the Brontë Society in Haworth on the Friday of the annual June Weekend for members) is a fashion writer for Vogue and the Daily Telegraph. In this, her latest short story collection, she combines fashion with literature, adding her thoughts on the history of her family.

The history of the black wedding dress belonging to her mother is her starting point. She ends with her research into a family ring which once belonged to Charlotte Brontë.

Each chapter concentrates on a different item of fashion, some belonging to the author and some which are known to many in Western culture, like the “little black dress� or the school uniform.

Justine also examines how fashion is described in literature and how it influences the reader’s perception of the characters, quoting from a wide range of sources like CS Lewis’s The Lion The Witch And The Wardrobe and Daphne Du Maurier's Rebecca.

The Family of Blogs

Greetings to the moving forces behind the other blogs devoted to all aspects of the Brontës, especially to Cristina and the mysterious M, (Manuel?) the constantly energetic and well-informed people who put up such interesting material on Brontëblog. Thanks for linking to us - now we're linked to you.

The one you are reading is young: we are green and feeling our way a bit in this blogging game. Please be patient if we make mistakes because it could take a while before we find out about all the tricks which are available.

I currently edit the Brontë Society Gazette, true, but this blog is not supposed to be a substitute for it, not least because many members of the Brontë Society do not own a computer. The printed version of Gazette is an essential part of the membership.

We will probably end up with an eclectic style of operating in the coming weeks and months: you will read about events at the Parsonage of course, and news of happenings elsewhere connected to the Brontë Society, but hopefully we will be sent photographs, reviews and creative work as well. It will be easier to talk about our emphasis or our focus after we have been running for a month or two.

Feel free to use what you find here, but say where you found it. I am sure that your blog will be 'raided' now and then - take it as a compliment.

Richard Wilcocks

Two Poems

Photo taken in Milan 2005


Two of my poems inspired by Haworth and the Brontë atmosphere:


HAWORTH SKY


Grey thundering morning clouds
In a rainy August day
What a gloomy atmosphere
For this new happiness of mine

It was only some hours since
I saw the best of all dawns
An orange cloudy golden heaven
Mixed with violet shining spots

It’s incredible to have it so dark
On this huge heather-flowering moor;
It might only be a little Brontë spell
To let me feel somehow a part of them!

MADDALENA DE LEO Haworth 5/8/1999



CAPTURED DREAM


Always was I haunted
By an urgent desire
It is now fulfilled
And found its way at last.

‘…To live in Haworth
As its real inhabitant
To ramble the moors
All over by daylight

To reach Top Withens
And see its ruins
To feel that atmosphere
And the Brontë world around’

And this I really saw
A sort of paradise
With nature at its best
And no contamination at all.

MADDALENA DE LEO

Haworth 12/7/2005

Sezione Italiana

The new website of the Brontë Society's Italian section is well worth a visit. It can be found at http://www.bronteitalia.it/

Creative Writing Weekend

This will take place at the Parsonage on Saturday 8 (10am - 4pm) and Sunday 9 April 2006. The weekend will include a unique opportunity to view some of the more unusual and rarely seen objects in the museum's collection.

These remarkable artefacts, along with the powerful atmosphere of the Parsonage and its surroundings, will be explored as starting points for writing.

Workshop leader will be poet and short story writer Sue Wood.

Booking in advance is essential. The fee for the whole weekend is £30 per person, £20 concessions.

To book, contact the Education Officer susan.newby@bronte.org.uk

Wild Workshops

Art and craft workshops for children between the ages of 5 and 11 will be held at the Parsonage on Friday 24 February. The price is £3.75 for each child. Contact the Education Officer by ringing 01535 640185 or by emailing susan.newby@bronte.org.uk

Reading this in the USA?

To join the American Brontë Society, email Theresa Connors: Tj7continents@aol.com

Scribblemania

The annual poetry competition for children sixteen years and under is now underway. The closing date for entries is 31 July. Entry is free.

Forms are available from the Education Officer - susan.newby@bronte.org.uk

Mythic Power

Shared Experience's play Brontë has received much attention and many positive reviews in the last few months. This one appears in the most recent Brontë Society Gazette, which is distributed to members:





Shared Experience’s Brontë goes beyond the surface of everyday life and makes visible what is hidden: this play successfully does just what director Polly Teale intends.

Ten years ago, with Nancy Meckler, she performed the same service with her Jane Eyre. At the West Yorkshire Playhouse one evening in September I was impressed to such an extent that I felt inadequate chatting about it on Radio Leeds the following day in a four minute slot between the music requests: I was just pulling out random raisins from a very rich cake. Brontë is significantly nutritious.

Along with Paula Rego, whose images appear on the set - the facade of a burned house - Polly Teale is intrigued “by the mythic power of the mad woman, by Charlotte Brontë’s repulsion and attraction to her creation, by the mad woman’s danger and eroticism.� A central character returning, she writhes into the action from the shadows whenever approriate, grovelling, growling, slithering and crouching on the floor. A Christian whore in the tradition of Mary Magdalene perhaps, her clothing is in shades of red, just as it was in Jane Eyre.

Her accent, when she manages to gasp out a few distinguishable words, has a strong Jamaican flavour. She is the Bertha in Wild Sargasso Sea, the creole removed from respectability, the poor ghost whose life was written for her by Jean Rhys.

From the start, it is made clear that we are watching make-believe. Diane Beck (Emily), Catherine Cusack (Anne) and Fenella Woolgar (Charlotte) come on to speak to us as themselves, becoming their characters only after they have put on their corsets and dresses. In the spirit of Brecht, Shared Experience believes that the audience will become a mass of mindlessness if there is too much immersion. We must remain sharp.

Yet there is still much of the supernatural about the production, as there must be. Cathy drifting on the moor is ectoplasmically white, scattering feathers; a young Jane sees herself as a spirit in the mirror of the Red Room at Gateshead Hall; the female beast is a recurrent nightmare; the denizens of the Parsonage are constantly haunted by their creations, the mysterious threatening the rational.

Charlotte definitely burns Emily’s unfinished and unknown novel, holding the pages over a bucket. There is a hasty mention of the fact that this remains unproven. Fenella Woolgar brings out Charlotte’s practical, organisational side brilliantly, her front against what is submerged.

If forced to prise an individual from such a powerful ensemble, I would choose Diane Beck as Emily. She reinforces the established view of Emily with her need to be alone and her contempt for convention, and adds much more. I was particularly interested in her relationship with Branwell, the bringer of knowledge, carnal and otherwise. The insight was in the empathy, the lack of recoil.

Matthew Thomas’s Branwell is a slightly lovable binge drinker, forgivable in spite of his abuse of Charlotte and his describing her as a weasel. When he stands on the table wearing a green sash and shouting “Land ahoy!� we immediately recognise his early inspirational qualities.

David Fielder is very professionally versatile as Patrick Brontë, Arthur Bell Nicholls, Rochester and Charlotte’s tutor. Nicholls comes across as creepy and clumsy, a pathetic extra on the turbulent scene, almost funny.

Brontë has been cut back to the essentials: the second part is a miracle of pruning and of timing, and the result is a triumph. The production’s first tour started at the Yvonne Arnaud Theatre, Guildford in September and ended at the Lowry, Salford in December, but we can be sure that it will run and run.

Richard Wilcocks

(Photo of Charlotte burning Emily’s novel by Mark Pennington)

Passages

Dappled dusty rays dance
On well-worn smoke-laden upholstery.
I lean back in the unforgiving oak chair,
a battered copy of Jane Eyre in hand,
overwhelmed by the passionate, witty exchanges
between her and the treacherous Rochester.
Flipping pages, madly scribbling notes,
I begin, in my warm solitude,
to hear the laughter of patrons,
their loud voices competing for the floor,
the publican drawing rounds
of foam-headed dark ale.
Branwell,
here at the Black Bull,
his own father’s church
looming powerfully beside,
watchful, judging.
And Branwell?
Did he feel it?
No, he felt only the drink,
I think to myself,
as I watch the steam from my cup
of richly-brewed coffee, two parts milk,
coil into the hazy view,
today and yesterday
melting into that brief moment
of sun on tired chintz-covered benches.

I walk decidedly
on the cobblestone path,
my bag slung loosely over my shoulder.
I hear a distant echo,
horses’ shod hooves
clattering unevenly.
The fog is held captive, a heavy
damp shroud possessed by the moors.
I perceive in the wandering light
a mossy gravestone, fungus-inhabited letters—
H E A T H C L I F F, it says,
and for a suspended interval,
it is wholly believable
that he should
occupy this ground.
I am stone still,
caught between the pages,
party to his desperate clawing at
Catherine’s coffin;
his meeting death without resignation,
joining her at last.

The loud voices at the Black Bull
fill my head;
Branwell returns to the frame.
The weak soul
of one
bound to the
savage cruelty
of the other—
and I mourn
their passing,
each one.


Carolyne Van Der Meer

(Pictured above in Haworth at the Brontë Society Education Conference in September 2004)