By Diane Long Hoeveler, Deborah Denenholz Morse (eds.)
"A better half to the Brontës brings the newest literary study and thought to endure at the existence, paintings, and legacy of the Brontë family"--
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Extra resources for A companion to the Brontës
From the moment Branwell received his new set of toy soldiers, Charlotte seized upon the soldier she liked best, named him “Wellington” in opposition to Branwell’s “Bonaparte,” and began to construct the first narratives of the establishment of Glass Town, experimenting with different versions from different points of view. Her exclamation: “This is the Duke of Wellington! ” (Brontë 1987, 1: 5) denotes the sheer delight in the authority of her claim, not only over the life of her favorite character but also over the process of creation itself in opposition to Branwell.
Directed by Charlotte, with Emily’s support in particular, this rival play privileges fairy tale and the supernatural in opposition to Branwell’s insistence on war games and conquest of territory. Recorded by Charlotte in four miniature volumes over the course of a year, the play is chiefly presented as a series of adventures that couple as political allegory, told by Charlotte’s characters to a fictitious audience. Here she is developing narrative voice, especially that of Lord Charles Wellesley, who becomes her favorite persona.
Around it stood genii and fairies without, whose robes were of beaten gold sparkling with diamonds. ’ (Brontë 1987, 1: 14) The young authors are enthroned, wielding their narrative power. ” The mix of genres and styles seen in the hyperbolic language, Biblical resonance, elements of fairy tale, adventure, travel writing, romance, and current affairs witnessed in this tale becomes the hallmark of Charlotte’s early juvenilia. Of particular note is the way her version of events is constructed in opposition to Branwell’s conception of the play and narrative method.
A companion to the Brontës by Diane Long Hoeveler, Deborah Denenholz Morse (eds.)