THE BRONTE MYTH勃朗特神话 英文原版 mobi 下载 网盘 caj lrf pdf txt 阿里云

　　In a brilliant combination of biography, li***ry criticism,

and history, The Bronté Myth shows how Charlotte, Emily, and Anne

Bronté became cultural ic*** whose ever-changing reputati***

reflected the obsessi*** of various eras.

When li***ry London learned that Jane Eyre and Wuthering Heights

had been written by young rural spinsters, the Brontés instantly

became as famous as their shockingly passionate books. Soon after

their deaths, their first biographer spun the sisters into a

picturesque myth of family tragedies and Yorkshire moors. Ever

since, these enigmatic figures have tempted generati*** of

readers–Victorian, Freudian, feminist–to reinterpret them, casting

them as everything from domestic saints to ***-starved hysterics.

In her bewitching “metabiography,” Lucasta Miller follows the

twists and turns of the phenomenon of Bront-mania and rescues these

three fiercely original geniuses from the distorti*** of

legend.

List of Illustrati***

Preface and Acknowledgments

ONE To Be for Ever Known

Two Poor Miss Bront

THREE Life into Li***ture

FOVR The Angel in the House

FIVE Secrets and Psychobiography

sIx Fiction and Feminism

SEVEN Interpreting Emily

EIGHT A Woman,Worthy of Being Avoided

NINE The Mystic of the Moors

Notes

Select Bibliography

Index

　　Lucasta Mille***as educated at Oxford. She was the deputy

li***ry editor of The Independent. Her articles and

critcism have appeared in The Times, The Times Li***ry

Supplement, The Independent, and The Sunday

Telegraph.

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他们也许会失望地发现她的气质和***澎湃、直言不讳的简·爱是那样大相径庭。她先前拒绝受邀前往伦敦，部分原因就在于她担心自己迂腐守旧的举止会使自己难堪。

美国诗人艾米莉·狄金森（1830-1886）是另一位终其一生对勃朗特姐妹感到无比亲切的作家。十九世纪六十年代初，狄金森写给“主人”的信中随处可见《简·爱》和《维莱特》的影子。她的信与夏洛蒂写给埃热的信相仿，但诡异的是，信直到一九一三年才全部出版。

一八六零年，狄金森已经读过了盖斯凯尔的夏洛蒂·勃朗特传，她创作了一首诗悼念夏洛蒂，提出了自己对作者柯勒·贝尔与女人夏洛蒂·勃朗特之间的关系的理解。她在诗的开篇将柯勒·贝尔描写为死去的夜莺，再也不会回来：

在上述版本中，柯勒·贝尔一去不复返。但狄金森还为诗歌写下备选的第二和第三两节。在这两节中，她宣布“勃朗特”死后得到永生，幻想她升入天堂：

夏洛蒂试图把妹妹之死理想化，竞称那首题为“我的灵魂绝不懦弱”的诗是艾米莉生前绝笔。夏洛蒂恳请读者们相信艾米莉是在鬼门关前写下了她直面死亡的勇气和信念。实际上，这首诗写于一八四六年一月二日一艾米莉去世前近三年。马修·阿诺德读到这首诗时写道，艾米莉“勇敢的临终曲/如号角一般震撼着我的灵魂”。斯温伯恩说：“没有任何一位诗人、英雄或古圣先贤的绝笔遗书值得被铭记得更久。”如果此二人得知这不是艾米莉的临终绝唱，他们是否还会那样为之动容呢？

夏洛蒂创造性地利用对艾米莉诗歌的编辑来寄托自己的哀思。艾米莉原本的意图让步于姐姐的悲恸。

一首题为《夜风》的诗，是风和一个来历不明的人之间的对话。夜风尝试劝说话者跟随它，并在诗歌的最后一节称，只有死亡才能将他们分开。艾米莉原诗如下：

当你的心不再跳动

长眠在教堂庭院的青石坟茔

我将有足够的时间哀悼

你也有足够的时间独钓孤影——

夏洛蒂在她修改过的最后一节中借由自己的丧亲之痛将该诗重新诠释了一番，并用自己的声音代替夜风的声音。“我”和“你”变成了她与艾米莉两人。她将“教堂庭院”改为了“教堂过道”，因为艾米莉葬在教堂里而不是教堂外的墓地中。她用艾米莉的诗歌表达自己的失落，抛却了该诗原本的创作背景。哪怕是很小的变化都能把哀伤化作夏洛蒂自己的情感。夏洛蒂将代词“你”“我”变体，这是她强调艾米莉散漫和不加标点的风格时惯用的手段。

死亡不再是一个有限的事件，而变成了一种永恒的状态，反映出哀悼者挥之不去的失落感。艾米莉以破折号作为这首诗歌的结尾。夏洛蒂兴许觉得与她阴阳两隔的艾米莉再也无法完成这首诗，于是自己为这首诗添了最后一笔，因而将破折号改为了句号。但这首诗的不完整是典型的浪漫主义手法，艾米莉或许有意给它加上了一个开放式的结尾，且无意再回过头来将它完成。

媒体评论

　　“A wonderfully entertaining and often spellbinding account of

. . . the process of mythification.” —The New York Times Book

Review

　　[SPINE]

　　Title: The Bront‘ Myth

　　Author: Lucasta Miller

　　Imprint: Anchor Books

　　[BACK AD]

　　Biography/Li***ry Criticism

　　“Absorbing. . . . Ms. Mille***rites with such lucidity, wit and

plain common sense that she is able to shed new light on the

Bront‘s. . . . [An erudite and clearheaded book.” —The New York

Times

　　In a brilliant combination of biography, li***ry criticism, and

history, The Bront‘ Myth shows how Charlotte, Emily, and Anne

Bront‘ became cultural ic*** whose ever-changing reputati***

reflected the obsessi*** of various eras.

　　When li***ry London learned that Jane Eyre and Wuthering Heights

had been written by young rural spinsters, the Bront‘s instantly

became as famous as their shockingly passionate books. Soon after

their deaths, their first biographer spun the sisters into a

picturesque myth of family tragedies and Yorkshire moors. Ever

since, these enigmatic figures have tempted generati*** of

readers–Victorian, Freudian, feminist–to reinterpret them, casting

them as everything from domestic saints to ***-starved hysterics.

In her bewitching “metabiography,” Lucasta Miller follows the

twists and turns of the phenomenon of Bront‘-mania and rescues

these three fiercely original geniuses from the distorti*** of

legend.

　　“A juicy new biography of the Bront‘ sisters. . . . Miller ticks

off [the] dizzying shifts in the Bront‘ Zeitgeist with great

erudition and wit. . . . Miller’s own scholarship is formidable,

her voice informal and fresh.” —The Washington Post

　　“A brilliant, wide-ranging study?meticulously researched, written

with wit and relish, and packed with irresistible detail.” —The

Times (London)

　　“Miller unravels the Bront‘ myth with tenacity, detail, and

grace–from souvenir tea towels and Haworth Parsonage mugs to

Hollywood visi*** of wind-swept moors. In the process, she restores

life to Emily and Anne, and especially to Charlotte.” —The

Christian Science Monitor

　　“Provocative The Bront‘ Myth is a first-rate work of scholarship

and criticism, and a surprisingly entertaining read. Thanks to

Miller’s clearheadedness, it seems unlikely that the Bront‘s will

ever again be marginalized into the spooky spinsters of the myth.”

—San Jose Mercury News

　　“[An] ingenious book.” —The New Yorker

　　“Brilliant and riveting?.Miller’s unputdownable and erudite book

has not only left us with a clearer picture and greater

understanding of the Bront‘s and the nature of biography, but tells

us a lot about ourselves.” —Daily Mail (London)

　　“Sharply intelligent, original and witty?Li***ry history is

seldom related with such a pleasant combination of brio and

erudition.” —The Sunday Times (London)

　　“Excellent. . . . Lucasta Miller strips away all those inaccurate

accreti*** which have turned Charlotte, Emily and Anne into

uncanny, coughing geniuses. . . . Miller’s book is so good, clever

and necessary that, far from *** biographical writing redundant,

it shows us just how wonderful it can occasionally be. The Bront‘

Myth is essential reading.” —Sunday Telegraph (London)

　　“A witty dec***truction of Bront‘mania?done with a deft, light

touch..” —Guardian (UK)

书籍介绍

Since 1857, hardly a year has gone by without a book or play or monograph or film about the Brontës. Each generation has reimagined Charlotte, Emily, and Anne in ways that reflect changing visi***—of the role of the woman writer or of ***uality or of the very concept of personality. Charlotte Brontë has been seen as domestic saint, as ***-starved hysteric, as ambitious li***ry careerist. Her sister Emily has been furnished with apocryphal lovers of both ***es; has even been denied the authorship of Wuthering Heights by c***piracy theorists who attribute it to her brother, Branwell.

Now Lucasta Miller, in The Brontë Myth, shows us how the Brontës became cultural symbols almost as soon as their novels were published; how they became notorious even before the veil dropped from their carefully chosen pseudonyms, as Charlotte’s Jane Eyre and Emily’s Wuthering Heights, appearing out of nowhere, instantly fascinated, inspired, and scandalized English readers.

The subsequent discovery that Currer, Ellis, and Acton Bell were three youngish spinsters— parson’s daughters—living rural lives of utmost propriety made interest in the sisters obsessive. Add a supposedly ferocious father and untimely death, to say nothing of the Victorian penchant for seeing noble sacrifice in every possible situation, and the production of legends multiplied.

Lucasta Miller provides fascinating insight into the manufacture of cultural myth and how it can distort our memory of the artist even as it obscures the art. She traces the reinterpretati***, indeed re-creati***, of the Brontës, from Charlotte’s own efforts to soften her dead sisters’ reputati*** and Mrs. Gaskell’s classic portrait of the artists as exemplary Christian ladies to the fashionably Freudian psychobiographies of the 1920s and ’30s, from counterfeit memorabilia and the promotion of li***ry tourism to Hollywood representati*** of gloomy heroines on savage windswept moors. She rescues the Brontës from their admirers and attackers, giving us back three vivid women who, with little formal education, were writing in the days when few women dared to try: geniuses and sisters who, in the words of a household witness in the late 1850s, were “as cheerful and full of spirits as possible.... full of fun and merriment.”