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Hebe: a very ... Miss Nancy: make a ... of him Cupid: ...’s arrows Caroline: generic term for sweetheart Places Linden-Car: This wooded valley, with its corn-fields and meadow lands, is the home of the Markhams. It is 2 miles from Wildfell Hall. Linden-hope: This is the nearby village where Richard Wilson became vicar. Wildfell Hall: This was the birthplace of Helen and later her refuge as the tenant of her brother. It is 2 miles from Linden-Car and 4 miles from the sea. It is near the top of a hill. It is described as a superannuated Elizabethan mansion of dark, grey stone. It is picturesque but dull and gloomy. It has thick stone mullions and little latticed panes. It is surrounded by Scotch firs, half blighted by the storms. Behind lie a few desolate fields leading up to a heath-clad summit. In front there is a garden, abandoned for many years. It is enclosed by stone walls and is entered by an iron gate with balls of grey granite surmounting the gate-posts. Woodford: The home of Frederick Lawrence. Ryecote Farm: The home of the Wilsons. Staningley Hall: This is home of the Maxwells, later inherited by Helen. Grassdale Manor: This is the home of Helen and Arthur Huntingdon. Years later, when young Arthur grew up and was married he took it over. Fernley Manor, Cumberland: name given by Helen to her painting of Wildfell Hall Real Places England, London, Cambridge, Dover, Scotland, France, Paris, Italy, Rome, Berlin, Atlantic - 42 -
Music and the Brontës Michael Links Adapted from a talk given to the ABA on 24th July 2010 Music in the 19th century was heavily influenced by the socio-political environment. In the middle of the 18th century, Europe began to move toward a new style of architecture, literature, and the arts in a movement generally known as Classicism. This sought to emulate the ideals of classical antiquity and especially those of classical Greece. The remarkable development of ideas in ‘natural philosophy’ had established itself in the public consciousness with Newton’s physics. This taste for structural clarity worked its way into the world of music, moving away from the layered polyphony of the Baroque period, towards a style where a melody over a subordinate harmony was preferred. This meant that the playing of chords, even if they interrupted the melodic smoothness of a single part, became a much more prevalent feature of music. This, in turn, made the tonal structure of works more audible. The new style was also pushed forward by changes in the economic order and in social structure. As the 18th century progressed, the nobility became the primary patrons of instrumental music, and there was a rise in the public taste for comic opera. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the harmonic fill beneath the music, often played by several instruments. Musician/Composer/Performers such as Paganini, Liszt and Chopin were the pop stars of their day. They were enormously popular. Paganini, having started playing without formal instruction at age of five, was suspected of being in league with the devil. Superstitious patrons would cross themselves when he looked at them. Liszt was wowing audiences on stage at age of nine. As an adult, he had such a heavy touch that often one or two pianos would break down under his touch. The poorer classes were to be found enjoying music in taverns and music halls. The middle to upper classes were entertained at expensive concerts and in their homes at private functions. Society demanded that eligible young - 43 -
Page 1 and 2: The Brontë Th under er The Journal
Page 3 and 4: Portraiture and the Art of Branwell
Page 5 and 6: But rather than speculate on the ve
Page 7 and 8: which was regarded as study for wha
Page 9 and 10: Branwell’s portrait of his friend
Page 11 and 12: But to return to happier days. It w
Page 13 and 14: into the area of engraving, which w
Page 15 and 16: demonstration in London of the proc
Page 17 and 18: Charlotte Brontë and Christianity
Page 19 and 20: of free thinkers as a result of sci
Page 21 and 22: called godly deprivations. Charlott
Page 23 and 24: agony. In her poetry she yearns for
Page 25 and 26: must combat the temptation to live
Page 27 and 28: The Plot & Characters of The Tenant
Page 29 and 30: CHAP 6: GILBERT’S GROWING INTERES
Page 31 and 32: CHAP 21: CONSENT Helen’s father g
Page 33 and 34: alone to confide something of impor
Page 35 and 36: CHAP 46: GILBERT’S ADVICE TO LAWR
Page 37 and 38: wedding. He arrives too late but di
Page 39 and 40: that his visits were rather more fr
Page 41 and 42: Rose: Rose is Gilbert’s sister. S
Page 43: Lord Lowborough, Ralph Hattersley a
Page 47 and 48: Emily began studying the piano at H
Page 49 and 50: Music is also used to comfort. Hele
Page 51 and 52: This is an advantage, as live music
Page 53 and 54: allad-one of those you promised to
Page 55 and 56: 2010. The pianist was Maya Irgalina
Page 57 and 58: ...The time is 1812, the place is Y
Page 59 and 60: Here’s the first line: Of late ye
Page 61 and 62: progressed through the book. Right
Page 63 and 64: The Australian Brontë Association

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