By Robert Bernard MARTIN
First released in 1966, Robert Bernard Martin's The Accents of Persuasion is a consummate severe examine of Charlotte Brontë's 4 novels: The Professor, Jane Eyre, Shirley and Villette.
'The naked evidence are so actually inconceivable as to tease one into contemplating the lives of the Brontes themselves as a few wild metaphorical assertion of the Romantic perception of the world...Even the simplest of biography, in spite of the fact that, might are likely to serve background instead of literature, and one can be forgiven for wishing to come back from their lives to the works of the sisters Bronte... the next learn, then, is an try and seek out the topics that occupied [Charlotte] Bronte in her novels and to illustrate how they're given inventive existence; briefly, to teach how Charlotte Brontë tried to talk 'the language of conviction' within the 'accents of persuasion'.' (Robert Bernard Martin, from his Introduction.)
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Additional info for The Accents of Persuasion. Charlotte Brontë's Novels
Example text
The true unity of a work of art eluded her at the very time she sought to find it by emphasis on a single aspect of perception. Paradoxically, it was when she was most eclectic in her choice of material that her work was most unified in effect, and the more literally improbable those materials the greater the sense of reality she achieved. ’2 The world of Charlotte Brontë’s novels is, to be sure, a circumscribed one when compared to the worlds of Shakespeare or Chaucer or Milton or even that of her admired master, Thackeray, but the breadth of the world the artist dreams has little relationship to our sense of fulfilment in it.
However necessary reason may be to curb passion, the man deficient in the proper passion was a poor man to Charlotte Brontë. Nor did she attempt to put a Victorian disguise on the fact that a controlled sexual passion is the normal manifestation of the well-adjusted personality. Hunsden, in spite of the coolness with which he can diagnose Crimsworth’s failures in self-analysis, fails himself to understand half of life. Overt sensuality he can comprehend intellectually, but the sexuality that shares a happy tenancy of man’s body, mind, and emotions with the intellect, he cannot understand.
Perhaps even greater flaws, however, are some of the very aspects that make the novel fascinating to lovers of the later books: the subjects that so absorbed Charlotte Brontë that she was unable to leave them out, in spite of not yet knowing how to integrate them into the plot and the themes of the novel. Awkward, intrusive, they are unassimilated diversions that impede the course of the central narrative but show clearly and naïvely the preoccupations that she was subsequently to handle with assurance.