By Ian Ward (auth.)
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And anyway, Helen was convinced he could be redeemed, recalled to the ‘path of virtue’ (141–2, 165–7). The fact that Arthur seemed to take particular pride in expressing contempt for all matters religious simply made the challenge all the more compelling (163, 166–7). 9 Glimpses of Huntingdon v Huntingdon 29 the kind of behaviour that was likely to beset her imagined domestic bliss did not deter; at least not until it was too late. Helen’s diary betrayed early doubts as to whether her affianced was quite as ‘warm and generous’ as she liked to think, whilst his enthusiasm for the ‘orgies’ and ‘high festivals’ of drink and gambling did nothing to settle her anxieties (175–6, 187–91).
It is, he continued, ‘a compound of vulgar depravity and unnatural horrors, such as we might suppose a person, inspired by a mixture of brandy and gunpowder, might write for the edification of fifth-rate blackguards’ (Allott, 1974, pp. 242–3). P. Whipple concluded, in the North American Review, presents a ‘Pandemonium’ of familial and human ‘depravity’ (Allott, 1974, p. 247). Charlotte took the opportunity to provide some kind of excuse, if not apology, in the 1850 Preface. It was, she urged, a figment of metaphysical ‘imagination’ (Brontë, 2009, p.
No one will pretend there is not vicious love beneath the surface of our society’, Howells advised, and ‘if he did, the fetid explosions of the divorce court would refute him’ (Leckie, 1999, p. 64). It was the kind that, Sarah Stickney Ellis agreed, was best kept out of sight, if not out of mind. 12). The Tenant was written in defiance of this vain hope. The cold brutality of tone, devoid of the Gothic gloss that covered sister Emily’s account of life at Wuthering Heights, cut no compromises. This brutality of tone troubled contemporary reviewers, even broadly sympathetic ones such as the reviewer in the Athenaeum who regrettably felt bound to concede that the Tenant was the ‘most interesting novel which we have read for some time’ (Allott, 1974, p.
