In 1820 Patrick Brontë became the minister of St Michael and All Angels church. Accompanied by his wife, five daughters, and a son, Patrick established himself in the quaint and homely Haworth parsonage. Patrick the clergyman was a writer himself. He published six pieces of work. He encouraged his children to read, write and take an interest in the arts and politics. Yet between the stone walls of Haworth, tragedy would soon strike. Patrick outlived both his wife and his six children. His two eldest daughters — Maria and Elizabeth — died in childhood, and his only son, Branwell, turned to alcohol and opium. The legacy of a Godly, well-educated, and hardworking Irish immigrant henceforth lay in the hands of three of his daughters — Charlotte, Emily, and Anne.
Most people have read Charlotte’s revolutionary ‘Jane Eyre’. Crowds rave at Emily’s addictive ‘Wuthering Heights’. Yet few have ever even heard of Anne’s ‘The Tenant of Wildfell Hall’. There’s a reason for that, and it may not be what you expect.
Released in 1848, Anne’s novel was an immediate success. Critically acclaimed for its grit, described as a “powerful”, “beautiful”, and “striking” story. Her writing was distinctive, rather than adopting the romantic style preferred by her sisters, Anne became a pioneer of literary realism. Exploring themes such as alcoholism, abuse, and addiction; Anne detailed brutal and disturbing scenes with graphic accuracy. So much so, that the novel is usually regarded as the “most shocking” of all the Brontë’s work. This violation of delicate Victorian manners would be a bold decision for a male author, let alone a female one. So much so, that one review claimed that the story was “utterly unfit to be put into the hands of girls.” Today, however, the novel is considered as a ground-breaking work of feminist literature. A strong tale of survival and female autonomy whilst navigating a patriarchal society.
Anne defended her work from claims that the story was sensationalised, positing the question “is it better to reveal the snares and pitfalls of life to the young and thoughtless traveller, or to cover them with branches and flowers?” She believed her story reflected the sins and tribulations of real people and that writing literature that reflected the truth had more moral value. Anne was a devout Christian, a trait reflected in the protagonist of the book who steadfastly stood by her faith despite the troubles she endured.
Yet, among The Tenant of Wildfell Hall’s strongest critics, was Anne’s own sister; Charlotte. In letters, she often wrote scathingly of Anne’s work. On Anne’s moral message she diagnosed a “strange, conscientious, half-ascetic notion” and “a painful penance of severe duty”. On the subject matter Charlotte described it as a “mistake” and “unfortunately chosen. On Anne’s realist style she claimed that Anne was not “qualified” to write “vigorously and truthfully.”
Scholars remain divided over why Charlotte was so staunchly disapproving of The Tenant of Wildfell Hall. Some theorise it was due to jealous sibling rivalry rather than due to genuine distaste. Either way, Charlotte’s opinion had a damning effect on the book’s popularity. Anne died from tuberculosis in 1849, only a year after publication. Charlotte, the only surviving Brontë child, prevented Anne’s book from being re-published. Not until after Charlotte had died in 1855 would the second edition of the Tenant of Wildfell Hall be published, by this point the popularity of the book had died down without firmly rooting itself in literary history.
In the 21st century the book is appreciated, rightfully, for its strong message, powerful story, and nuanced characters. In the light of the twenty first century the potent feminist message is finally being reflected on. Despite this, the book is still not as popular as the works of her sisters. So the next time you go to pick up a book, why not try the Tenant of Wildfell Hall?