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CORDONS OF PROTECTION: THE STAGE OF SPECTATORSHIP IN CHARLOTTE BRONTË'S VILLETTE

Published online by Cambridge University Press:  25 October 2013

Meghan Freeman
Meghan Freeman*
Affiliation:
Oregon State University
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Extract

In the years following the publication of Jane Eyre, Charlotte Brontë's social circle expanded rapidly, extending far beyond the narrow circumference of Haworth Parsonage. The later letters attest to personal acquaintance with many prominent literary contemporaries, including Elizabeth Gaskell, Harriet Martineau, George Henry Lewes, and William Thackeray. Yet, second perhaps only to Thackeray, the writer that Brontë credits as most influential to her thinking about art and narrative is one that she never did meet: John Ruskin. Brontë's initial exposure to Ruskin's work came through the channel of their shared publisher, George Smith, who in 1848 sent her a copy of the first two volumes of Modern Painters.

Type
Research Article
Information
Victorian Literature and Culture , Volume 41 , Issue 4 , December 2013 , pp. 643 - 675
Copyright
Copyright © Cambridge University Press 2013 

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