Friday, March 22, 2019

Essay --

Now that we have a bun in the oven demonstrated the medieval influence on the Brontes writings , now that we have identified the interest the Brontes had in the Gothic, it seems uniform to assume then that the lamia motif has been exploited not unless in Emily and Charlotte Brontes names, it is also exploited by Anne Bronte by dint ofout her second work The Tenant of Wildfell Hall.The creation of traditional supernatural vampires has no rhyme or reason. It has been like the galloping horse with no horse rider to control the race. ordinal century vampires of Gothic literature, by contrast, are literary tools serving approximately particular purpose. Carol A. Senf in her book The Vampire in 19th Century English Literature stresses the fact that nineteenth century writers capture use of the vampire as a tender metaphor in realistic fiction. She writes thusPolidoridoes provide however the merest suggestion of the ways that writers, such as the Brontes and George Eliot, wi ll use the vampire as a social metaphor when he gives the reader brief glimpses of a corrupt partnership where the wealthy, plagued by ennui, seek to alleviate their boredom by flirting with ungodliness (Senf 39).Thus in the case of the vampire motif in a nineteenth century Gothic novel entitled The Tenant of Wildfell Hall, Anne uses Gothic metaphors rather than photographic descriptions to reveal the social horrors of her time. It appears now that Anne Bronte uses much the analogous narrative dodge as her sisters Charlotte Bronte and Emily Bronte.Like Charlotte and Emily, Anne Bronte diminishes the vampires mythic power and focuses on the sorts of cruelties her human characters display to destroy the lives of others. For instance, through the vampire motif Anne diverts her readers atten... ...uding the New Woman of the 1890s. Thats why the blood-sucking aspect of vampires is stepwise being diluted by nineteenth century writers. It seems clear therefore, that Anne Bronte, th rough her outstanding work of art, joins Oscar Wildes view that any narrative strategy should be employed solely for unveiling the poor conditions of the time and not for gratifying a bourgeois taste of some kind. In his 1891 render The Soul of Man Under Socialism, Oscar Wilde stresses the fact that any elegant piece of work must be a product of the operatives creative process. A work of art must have one supreme goal representing what others need and not what others desire to see. This is just now what constitutes a given artistic greatness, according to Wilde. Indeed, Only when the artist ceases to cause others desires, that he comes to be regarded a true artist.(witcombe.sbc.)

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