title: Aadukalam

text: K. P. Karuppu and Durai are the favourites in Pettai's team. Karuppu is very talented in breeding and training roosters, while Durai is very rich, owns three bars in the town of Thiruparankundram, and is talented in cock training. Rathnaswamy keeps insisting on having one last fight to win and satisfy his old mother's wish, but Pettai declines to have any more fights with him because he feels that Rathnaswamy has lost faith in his roosters and will be using nefarious methods to win. Rathnaswamy keeps insisting and tries to make him accept the challenge through cajoling, threatening, bribing, and other vile acts.


title: Aadukalam

text: Karuppu falls in love with an Anglo-Indian girl named Irene, who dislikes him. He does not recognize this initially and keeps following her. One day, the residents of Irene's colony confront him and ask Irene to tell who she is in love with – Karuppu or Dinesh, another man in the locality. She points her finger at Karuppu, and he goes into rapture. She explains later that she had to lie in order to avoid Dinesh, who has been bothering her for a long time. Later, Irene too falls in love with Karuppu.


title: Aadukalam

text: Meanwhile, Rathnasamy tries to cajole Ayub, Pettai's veterinarian for roosters, to get Pettai to come for a competition against himself, in exchange for a heavy amount. Ayub refuses and insults Rathnasamy. The same night, Ayub is killed in a hit and run accident. Durai initially suspects Rathnaswamy, and all of Pettai's gang wants revenge, but Pettai decides to conduct a state tournament in Ayub's name and provide his family with funds so that Ayub's poor daughters can be married. He asks permission from Rathnasamy as the police have to permit it, but Rathnaswamy refuses, manhandles, and berates Pettai as a thief. In a rage, Pettai, suspecting Rathnaswamy of the murder, agrees to the one-on-one rooster fight that Rathnaswamy has been asking for so long. He bets that he will field his roosters against every rooster that Rathnaswamy brings to the field in the following tournament, and even if one of Pettai's roosters loses against Rathnaswamy's, Pettai will tonsure his head and face, publicly apologize to him, and will quit rooster fights. If Rathnaswamy is not able to beat at least one of his roosters, the same conditions will be applied on him, at the end of the day. Finally getting his way, Rathnaswamy permits the tournament.


title: Aadukalam

text: The grand state tournament is arranged by Pettai's team, getting heavy funds and official permission. In the initial 11 fights, Rathnasamy's roosters are defeated by Pettai's. Rathnasamy brings high-bred roosters from Bangalore and enters them into the tournament. Seeing the quality of new roosters, Karuppu asks Pettai to let his rooster fight, but Pettai puts his rooster down and says that he will choose the best competing rooster himself. Karuppu surreptitiously enters the contest as Pettai's team before Pettai can choose the rooster because he needs to repay Irene for the loan he took to prepare his rooster for the fight. Pettai does not believe in Karuppu and his rooster announces that Karuppu will not represent Pettai, and the result of Karuppu's match will not be acknowledged by his team. However, the 'underdog' emerges victorious in three consecutive rounds, despite facing roosters spiked with steroids. Karuppu gets the best coach award of the tournament and his bet money of .


title: Aadukalam

text: While initially happy that Karuppu won, Pettai is soon overcome with anger and jealousy. His ego is hurt by the fact that Karuppu earns both popularity and money, by refuting his judgement. Karuppu is not aware of the changes in Pettai's mind. Pettai is at first refusing to speak to anyone and then starts scheming. Karuppu gives Pettai the money from the competition for safekeeping, which he plans to use to start a business, but it goes missing. Pettai also starts spinning stories about his associates and makes everyone suspicious of each other. He incites Karuppu and Durai into pitting their roosters in a fight. Meanwhile, Karuppu's mother dies from the shock of losing all the money. Pettai poisons Durai's roosters, making him suspect Karuppu, who is arrested for this. Pettai then lies to Irene that his wife was in an adulterous relationship with Karuppu. Irene's family also pressures her to move to Chennai, which pushes her into attempting suicide. Pettai, meanwhile, calls Karuppu to a location near a temple and informs Durai about his whereabouts. When Irene recovers, she calls Karuppu and informs him that Pettai is badmouthing him, so Karuppu goes to find Pettai and confront him. Karuppu finds that Pettai was the one who stole his money, and a guilt-ridden Pettai kills himself. Karuppu does not wish to reveal the fact to the public that Pettai stole his money and schemed against him, so he flees with Irene to start a new life in another city, leaving the money with his friend.


title: Aadukalam

text: Following the success of their 2007 collaboration "Polladhavan", the entire team of that film director Vetrimaaran, lead actor Dhanush, producer S. Kathiresan, and music director G. V. Prakash Kumar collaborated again for "Aadukalam". Vetrimaaran spent a period of two years in Madurai to understand the local dialect and lifestyle of the people living there. "Aadukalam" was the first film of Vetrimaaran to have a production office set up outside of Chennai. Vetrimaaran took a year to complete the screenplay, script, and dialogues for "Aadukalam" and held a bounded script for the venture, which is considered rare in Tamil films. Vetrimaaran narrated only half of the film's script to Dhanush before the latter was impressed with it and agreed to act in the film. The film was initially titled "Seval", but since the rights to the title were already taken by director Hari for his project with Bharath, Vetrimaaran decided to rename his film as "Aadukalam". Vetrimaaran revealed that the idea of the story was inspired from several international films such as, "Caché", "Amores perros", "Babel", Tamil films "Thevar Magan", "Virumaandi", "Paruthiveeran" and novels "" and "Shantaram", which mentioned during the end credits.


title: Aadukalam

text: Shriya Saran was signed on for the project in February 2008 but eventually pulled out citing schedule conflicts. In April 2008, it was reported that Dhanush too had walked out of the project due to schedule issues, and that Silambarasan was set to replace him. However, Dhanush remained and continued with the film. Subsequently, in June 2009, Trisha Krishnan, who was selected to replace Saran for the role of Irene, was forced to opt out of the project after her schedule clashed with the allotted dates for her other films, "Namo Venkatesa" (2010) and "Vinnaithaandi Varuvaayaa" (2010). Newcomer Taapsee Pannu, a Punjabi software engineer, was named as her replacement. Sri Lankan Tamil writer and political commentator V. I. S. Jayapalan portrayed the role of Karuppu's mentor, Pettaikaran, thereby making his debut in Tamil cinema. Attakathi Dinesh makes a small cameo in the film as Dinesh, Karuppu's nemesis when it comes to winning Irene's love. Murugadoss plays Karuppu's friend Oole while Naren appears as Rathnasamy who is also Pettaikaran's rival in cockfighting.


title: Aadukalam

text: Principal photography began in Madurai in February 2009 with scenes featuring Dhanush being shot. The first look of the film was released shortly after the commencement of filming. It featured a series of promotional posters depicting the characters played by Dhanush, Jayapalan and Kishore. During early stages of production, Dhanush revealed he would play the role of a local cockfighter named K. P. Karuppu, and described the venture as his "dream project". The cockfight sequences that take place before intermission was filmed for 26 days in a set created by art director Jacki. Filming was completed in August 2010. In addition to being shot in Madurai, some portions were also filmed in Thiruparankundram. The cockfights were filmed using computer-generated imagery (CGI).


title: Aadukalam

text: The post-production works on the cockfight sequences delayed the film's release. The voices for Kishore, Taapsee, and Jayapalan were dubbed by Samuthirakani, Andrea Jeremiah and Radha Ravi respectively.


title: Aadukalam

text: G. V. Prakash Kumar's soundtrack consists of seven tracks including two rap numbers performed by Malaysian Tamil rapper Yogi B. It was released by Sony Music and the audio was launched at a small function at Lady Aandal School auditorium in Chennai on 1 December 2010. The song "Yathe Yathe" topped the charts and remained in the No.1 position for nearly five weeks.


title: Aadukalam

text: The film received critical acclaim from critics and audiences, praising the direction, screenplay and performances (particularly Dhanush's) and music. Sify called it "a gutsy and brilliant film" and mentioned that it " lives up to the expectation that the film carried and the credit goes to Vetrimaran whose research and hard work shows on screen". Behindwoods wrote "Aadukalam is an attempt that requires appreciation where the director has hacked his way through the path less trodden with aplomb". Karthik Subramanian of "The Hindu" praised the film stating that "The detailing of every characters in the story is intricate. The narrative moves like a good novel where the first few chapters are all about etching and detailing the players, and the plot and the action unfold much later". Pavithra Srinivasan of Rediff.com called it "one of Dhanush's best works to date". Tamil magazine "Ananda Vikatan" rated the film with 44 marks and mentioned that "This arena is new for presenting cultural nuances of a region and changes in human emotions beautifully".


title: Aadukalam

text: Made on a budget of including the promotional costs, the film collected around at the box-office and was declared a "hit". At the Chennai city box office, the film ran for more than eight weeks in theatres and had collected over in Chennai. The film had a theatrical run of 50 weeks in 4 theatre centres.


title: Aadukalam

text: "Aadukalam" won six awards at the 58th National Film Awards ceremony, thereby sharing the record with "Kannathil Muthamittal" (2002) for the most National Film Awards won by a Tamil film. It won awards under the Best Direction (Vetrimaaran), Best Actor (Dhanush), Best Screenplay (Original) (Vetrimaaran), Best Editing (Kishore Te) and Best Choreography (Dinesh Kumar) categories with a Special Jury Award being presented to V. I. S Jayapalan. The film was nominated in seven categories at the 59th Filmfare Awards South, winning Best Film – Tamil (S. Kathiresan), Best Director – Tamil (Vetrimaaran), Best Actor – Tamil (Dhanush), Best Music Director – Tamil (G. V. Prakash Kumar), and Best Cinematographer (Velraj). At the 6th Vijay Awards, it was nominated in twenty-two categories and won in five, including Entertainer of the Year (Dhanush), Best Director (Vetrimaaran) and Best Music Director (G. V. Prakash Kumar). Among other wins, the film received seven Ananda Vikatan Cinema Awards, four South Indian International Movie Awards, three Mirchi Music Awards, and one Norway Tamil Film Festival Award, Chennai International Film Festival Award, and Chennai Times Film Award each.


title: Multiplication sign

text: The multiplication sign, also known as the times sign or the dimension sign, is the symbol , used in mathematics to denote the multiplication operation and its resulting product. While similar to a lowercase X (), the form is properly a four-fold rotationally symmetric saltire.


title: Multiplication sign

text: The earliest known use of the symbol to represent multiplication appears in an anonymous appendix to the 1618 edition of John Napier's . This appendix has been attributed to William Oughtred, who used the same symbol in his 1631 algebra text, , stating:"Multiplication of species [i.e. unknowns] connects both proposed magnitudes with the symbol 'in' or : or ordinarily without the symbol if the magnitudes be denoted with one letter." Two earlier uses of a notation have been identified, but do not stand critical examination.


title: Multiplication sign

text: In biology, the multiplication sign is used in a botanical hybrid name, for instance "Ceanothus papillosus" × "impressus" (a hybrid between "C. papillosus" and "C. impressus") or "Crocosmia × crocosmiiflora" (a hybrid between two other species of "Crocosmia"). However, the communication of these hybrid names with a Latin letter "x" is common, when the actual "×" symbol is not readily available.


title: Multiplication sign

text: The multiplication sign is also used by historians for an event between two dates. When employed between two dates for example 1225 and 1232 the expression "1225×1232" means "no earlier than 1225 and no later than 1232".


title: Multiplication sign

text: The lower-case Latin letter is sometimes used in place of the multiplication sign. This is considered incorrect in mathematical writing.


title: Multiplication sign

text: In algebraic notation, widely used in mathematics, a multiplication symbol is usually omitted wherever it would not cause confusion: " multiplied by " can be written as or .


title: Multiplication sign

text: Other symbols can also be used to denote multiplication, often to reduce confusion between the multiplication sign × and the common variable . In some countries, such as Germany, the primary symbol for multiplication is the "dot operator" (as in ""). This symbol is also used in algebraic notation to resolve ambiguity (for instance, "b times 2" may be written as , to avoid being confused with a value called ). This notation is used wherever multiplication should be written explicitly, such as in " for "; this usage is also seen in English-language texts. In some languages, the use of full stop as a multiplication symbol, such as , is common when the symbol for decimal point is comma.


title: Multiplication sign

text: Historically, computer language syntax was restricted to the ASCII character set, and the asterisk became the de facto symbol for the multiplication operator. This selection is reflected in the numeric keypad on English-language keyboards, where the arithmetic operations of addition, subtraction, multiplication and division are represented by the keys , , and , respectively.


title: The Tenant of Wildfell Hall

text: The Tenant of Wildfell Hall is the second and final novel written by English author Anne Brontë. It was first published in 1848 under the pseudonym Acton Bell. Probably the most shocking of the Brontës' novels, it had an instant and phenomenal success, but after Anne's death her sister Charlotte prevented its re-publication in England until 1854.


title: The Tenant of Wildfell Hall

text: The novel is framed as a series of letters from Gilbert Markham to his friend about the events connected with his meeting a mysterious young widow, calling herself Helen Graham, who arrives at Wildfell Hall, an Elizabethan mansion which has been empty for many years, with her young son and a servant. Contrary to the early 19th century norms, she pursues an artist's career and makes an income by selling her pictures. Her strict seclusion soon gives rise to gossip in the neighbouring village and she becomes a social outcast. Refusing to believe anything scandalous about her, Gilbert befriends her and discovers her past. In the diary she gives Gilbert, she


title: The Tenant of Wildfell Hall

text: chronicles her husband's physical and moral decline through alcohol and debauchery in the dissipated aristocratic society. Ultimately she flees with her son, whom she desperately wishes to save from his father's influence. The depiction of marital strife and women's professional identification has also a strong moral message mitigated by Anne Brontë's belief in universal salvation.


title: The Tenant of Wildfell Hall

text: Most critics now consider "The Tenant of Wildfell Hall" to be one of the first feminist novels. May Sinclair, in 1913, said that "the slamming of [Helen's] bedroom door against her husband reverberated throughout Victorian England." In leaving her husband and taking away their child, Helen violates not only social conventions but also the early 19th-century English law.


title: The Tenant of Wildfell Hall

text: Some aspects of the life and character of the author's brother Branwell Brontë correspond to those of Arthur Huntingdon in "The Tenant". He resembles Branwell Brontë in three ways: physical good-looks; sexual adventures (before his affair with his employer's wife, Mrs Robinson, Branwell is thought to have fathered an illegitimate child who died at birth); and especially in his alcoholism. Another character in the novel, Lord Lowborough, has an association with opium that may also reflect Branwell's behaviour.


title: The Tenant of Wildfell Hall

text: Another possible source for "The Tenant" is the story of Mrs Collins, the wife of a local curate, who in November 1840 came to Anne's father Patrick Brontë seeking advice regarding her alcoholic husband's abusive conduct. Mr Brontë's counsel was that she should leave her husband. Mrs Collins returned to Haworth in the spring of 1847, while Anne was writing "The Tenant", and told how she had managed to build a new life for herself and her two children.


title: The Tenant of Wildfell Hall

text: The Brontë biographer Winifred Gérin believed that the original of Wildfell Hall was Ponden Hall, a farmhouse near Stanbury in West Yorkshire. Ponden shares certain architectural details with Wildfell, including latticed windows and a central portico with a date plaque above.


title: The Tenant of Wildfell Hall

text: Blake Hall at Mirfield, where Anne had been employed as a governess, was suggested as the model for Grassdale Manor, Arthur Huntingdon's country seat, by Ellen Nussey, a friend of Charlotte Brontë, to Edward Morison Wimperis, an artist commissioned to illustrate the Brontë sisters' novels in 1872. However, neither Blake Hall nor Thorpe Green, another house where Anne was employed as a governess, corresponds exactly with Grassdale.


title: The Tenant of Wildfell Hall

text: Linden-Car, the village that Wildfell Hall stands close to, is in Yorkshire. "Car" in northern dialect means pool, pond or low-lying and boggy ground. Lindenhope "hope" in Northeastern English means a small enclosed valley.


title: The Tenant of Wildfell Hall

text: Part One (Chapters 1 to 15) is narrated by Gilbert Markham, beginning with an account of how a mysterious widow, Mrs Helen Graham, arrives at Wildfell Hall, a nearby mansion. A source of curiosity for the small community, the reticent Mrs Graham and her young son, Arthur, are slowly drawn into the social circles of the village. Initially, Gilbert Markham casually courts Eliza Millward, despite his mother's belief that he can do better. His interest in Eliza wanes as he comes to know Mrs Graham. In retribution, Eliza spreads (and perhaps creates) scandalous rumours about Helen. With gossip flying, Gilbert is led to believe that his friend Mr Lawrence is courting Mrs Graham. At a chance meeting on a road, Gilbert strikes the mounted Lawrence with a whip handle, causing him to fall from his horse. Though she is unaware of this confrontation, Helen Graham still refuses to marry Gilbert, but when he accuses her of loving Lawrence, she gives him her diaries.


title: The Tenant of Wildfell Hall

text: Part two (Chapters 16 to 44) is taken from Helen's diaries, in which she describes her marriage to Arthur Huntingdon. The handsome, witty Huntingdon is also spoilt, selfish and self-indulgent. Before marrying Helen, he flirts with Annabella, and uses this to manipulate Helen and convince her to marry him. Helen, blinded by love, marries him, and resolves to reform him with gentle persuasion and good example. After the birth of their only child, however, Huntingdon becomes increasingly jealous of their son, who is also called Arthur, and his claims on Helen's attentions and affections.


title: The Tenant of Wildfell Hall

text: Huntingdon's pack of dissolute friends frequently engage in drunken revels at the family's home, Grassdale, oppressing those of finer character. Both men and women are portrayed as degraded. In particular, Annabella, now Lady Lowborough, is shown to be unfaithful to her melancholic but devoted husband.


title: The Tenant of Wildfell Hall

text: Walter Hargrave, the brother of Helen's friend Milicent Hargrave, vies for Helen's affections. While he is not as wild as his peers, he is an unwelcome admirer: Helen senses his predatory nature when they play chess. Walter informs Helen of Arthur's affair with Lady Lowborough. When his friends depart, Arthur pines openly for his paramour and derides his wife, but he will not grant her a divorce.


title: The Tenant of Wildfell Hall

text: Arthur's corruption of their son – encouraging him to drink and swear at his tender age, and to torture animals – is the last straw for Helen. She plans to flee to save her son, but her husband learns of her plans from her diary and burns the artist's tools with which she had hoped to support herself. Eventually, with help from her brother, Mr Lawrence, and her servant, Rachel, Helen escapes and finds a secret refuge at Wildfell Hall.


title: The Tenant of Wildfell Hall

text: Part Three (Chapters 45 to 53) begins after Gilbert's reading of the diaries. Helen bids Gilbert to leave her because she is not free to marry. He complies and soon learns that she has returned to Grassdale because her husband is gravely ill. Helen's ministrations are in vain, and Huntingdon's death is painful since he is fraught with terror at what awaits him. Helen cannot comfort him, for he rejects responsibility for his actions and wishes instead for her to come with him to plead for his salvation.


title: The Tenant of Wildfell Hall

text: A year passes. Gilbert pursues a rumour of Helen's impending wedding, only to find that Mr Lawrence, with whom he has reconciled, is marrying Helen's friend Esther Hargrave. Gilbert goes to Grassdale, and discovers that Helen is now wealthy and lives at her estate in Staningley. He travels there, but is plagued by anxiety that she is now far above his station. By chance he encounters Helen, her aunt and young Arthur. The two lovers reconcile and marry.


title: The Tenant of Wildfell Hall

text: Arthur Huntingdon and most of his male friends are heavy drinkers. Lord Lowborough is "the drunkard by necessity" – he tries to use alcohol as a way to cope with his personal problems. Arthur, like his friend Ralph Hattersley, is the "drunkard from an excess of indulgence in youth." Ultimately, only Ralph Hattersley and Lord Lowborough manage to reform their lives.


title: The Tenant of Wildfell Hall

text: Arthur and Lord Lowborough particularly seem affected by the traditional signs of alcoholism. They frequently drink themselves into incoherence and on awakening, they drink again to feel better. Lord Lowborough understands that he has a problem and, with willpower and strenuous effort, overcomes his addiction. Arthur continues drinking even after he injures himself falling from a horse, which eventually leads to his death. Ralph, although he drinks heavily with his friends, does not seem to be as much afflicted by alcoholism as by his way of life. Mr Grimsby continues his degradation, going from bad to worse and eventually dying in a brawl. Huntingdon's son Arthur becomes addicted to alcohol through his father's efforts, but Helen begins to add to his wine a small quantity of tartar emetic, "just enough to produce inevitable nausea and depression without positive sickness." Very soon the boy begins to be made to feel ill by the very smell of alcohol.


title: The Tenant of Wildfell Hall

text: Marianne Thormählen calls Milicent's remark to her drunk and abusive husband Ralph, reminding him that they are not at home, "one of the most harrowing sentences in the entire novel." Thormählen argues that in "The Tenant" the traditional submissive behavior of wives is shown as a factor that encourages male oppression. Later, when Ralph decides to reform his life, he blames his wife's meekness and says that resistance from her would have prevented his violence and debauchery.


title: The Tenant of Wildfell Hall

text: In discussing Brontë's narrative strategy, Carol N. Senf compares "The Tenant" with Margaret Atwood's "Handmaid's Tale": in both novels female narrative is retold by a man. Brontë, like Atwood, "makes the reader wonder whether any two individuals could achieve the kind of equal relationship Gilbert seems to desire in a society that encourages inequality. Certainly, Helen's silence in some ways as troubling to twentieth-century readers as Offred's, though Gilbert is much kinder and more thoughtful about his superior position than [Professor] Pieixoto."


title: The Tenant of Wildfell Hall

text: According to Priti Joshi, in "The Tenant" Anne challenges the central tenet of 19th-century domestic ideology – women's influence on men – famously postulated by Hannah More. This doctrine found its way into even "protofeminist" novels such as "Jane Eyre", where the main heroine fulfills (or reduces) her ambitions for a wider life by taming and managing her husband. In "The Tenant", however, masculinity is impervious to the softening or "superior" influence of women. Marrying Arthur, Helen is convinced that she can reform him, but six years later she escapes from him to protect herself and her young son. Helen's second husband, Gilbert Markham, who despite many faults is "more pliable," never shows any noticeable reform throughout the novel. Joshi concludes that Gilbert is "tottering toward a new form of masculinity" together with Jack Halford, his close friend, by exchanging confidences and, by learning to communicate and reveal emotions, doing what is considered to be feminine, he can redeem himself, become a new man and a worthy husband of Helen.


title: The Tenant of Wildfell Hall

text: Of all Arthur's friends, only Walter Hargrave has never been a heavy drinker. He uses this as manipulation in an attempt to win Helen's favour. When it doesn't work, he starts speculating that she cannot manage her life after leaving Arthur without a man's protection and supervision.


title: The Tenant of Wildfell Hall

text: Gilbert's mother, Mrs Markham, holds the doctrine prevailing at the time that it is "the husband's business to please himself, and hers [i.e. the wife's] to please him." The portrayal of Helen, courageous and independent, emphasizes her capacity for seeking autonomy rather than submitting to male authority, and the corrective role of women in relation to men. "The Tenant of Wildfell Hall" is thus considered a feminist novel by many critics.


title: The Tenant of Wildfell Hall

text: Josephine McDonagh believes that the theme of displacement is underlined by the title of the novel: Helen is the tenant, not an owner-occupier, of Wildfell Hall, the place of her birth, which was bequeathed to a male descendant, her brother. "The Tenant" features numerous allusions to a wide range of other texts, from the Bible to contemporary novels. Apart from being used as a quotation, allusions are often applied by peculiar characters to reflect their personalities. Sometimes the individual voices of characters are shown as a patchwork of quotations. Such "borrowed voices" may denote the displacement of the main heroes – Gilbert, being a well-educated man with high ambitions for some "great achievements," is forced to take over his father's farm, and Helen, being a runaway wife, can call neither her home nor her name her own. The emphasis on allusions in the novel, on using the "language of others," according to McDonagh, may be a reflection on the position of being a tenant, which in its subjugation is similar to that of being a wife.


title: The Tenant of Wildfell Hall

text: Until the passing of the Married Women's Property Act in 1870 a wife had no independent existence under English law, and therefore no right to own property or to enter into contracts separately from her husband, or to sue for divorce, or for the control and custody of her children. As expressed in Hugo Black's dissent in "United States v. Yazell", "This rule [coverture] has worked out in reality to mean that though the husband and wife are one, the one is the husband."


title: The Tenant of Wildfell Hall

text: Helen is misled by ideas of romantic love and duty into the delusion that she can repair her husband's conduct. Hattersley declares that he wants a pliant wife who will not interfere with his fun, but the truth is that he really wants quite the opposite. Milicent cannot resist her mother's pressure, so she marries Ralph against her will. Wealthy Annabella wants only a title, while Lord Lowborough devotedly loves her. The social climber Jane Wilson seeks wealth.


title: The Tenant of Wildfell Hall

text: Helen escapes from her husband, in violation of English law as it then was, not for her own sake but for young Arthur's. She wants to "obviate his becoming such a gentleman as his father."


title: The Tenant of Wildfell Hall

text: According to Stevie Davies, Anne's depiction of the woman as fee-earning artist "trebly trespasses on the domain of the masculine: female artists dabbed in water-colours or sketched decoratively in pen and ink; ladies did not engage in trade; and, besides, tools of her trade [legally belonging to her husband] in this case count as stolen." Melinda Maunsell believes that Helen is "both revealed and concealed by her artistic hand; providing her with an acceptable means of expression within her social construction, the artists hand also offers a form of independence, a possibility of earning a living, in a period when a woman had virtually no independent power base in any sphere."


title: The Tenant of Wildfell Hall

text: Nicole A. Diederich has argued that in "The Tenant" Anne Brontë constructs marriage and remarriage as a comparative and competitive practice that restricts Helen's rights and talents. Helen's artistic ability plays a central role in her relationships with both Gilbert and Arthur. Her alternating freedom to paint and inability to do so on her own terms not only complicate Helen's definition as wife, widow, and artist, but also enable Anne Brontë to criticize the domestic sphere as established by marriage and re-established with remarriage.


title: The Tenant of Wildfell Hall

text: At the beginning of her diary, the young and unmarried Helen already defines herself as an artist. Her early drawings reveal her private and true feelings for Arthur Huntingdon, feelings that lead her to overlook his true character and lose herself to marriage. Nevertheless, in addition to revealing Helen's true desires, the self-expression of her artwork also defines her as an artist. That she puts so much of herself into her paintings and drawings attests to this self-definition. After her marriage to Arthur, Helen, accepting the roles of wife and housekeeper, rarely refers to herself as an artist. The marital laws of the day made Helen's artworks legally belong to her husband and allowed Arthur to destroy them when he discovered her plans to earn money by selling paintings. Diederich calls it "an ironic echo" of Helen's destruction of Arthur's portrait just before their engagement when he tried to take it from her. Diederich also points that in attempt to become a fee-earning artist "Helen reclaims her artistic talent as her own, distinct from her husband's possession of her art, and of her."


title: The Tenant of Wildfell Hall

text: Posing as a widow, Helen makes her role as an artist who sells her works, especially to support a child, more socially acceptable. Resembling the time of Arthur's courtship, when Helen's portraits of him betrayed her affection, artwork once again serves the autobiographical role during her meetings with Gilbert – the painting of Wildfell Hall deceptively labelled "Fernley Manor" discloses her precarious position as a runaway wife. Showing Gilbert handling Helen's paintings without her permission, Brontë, according to Diederich, "hints that remarriage to Gilbert may not hold any greater promise to Helen's self-definition and freedom as an artist than did her first marriage." However, unlike Arthur, Gilbert shows much more esteem for Helen's artwork. Diederich concludes that "the domestic realm, whether established with marriage or re-established in remarriage, doesn't support women's self-definition as artists, nor does it provide a structured setting for the unfettered expression of their talents" and that "The Tenant" calls for "more support for married and remarried women's legal rights and artistic opportunities in nineteenth-century Britain."


title: The Tenant of Wildfell Hall

text: Seemingly pious Universalist ideas in "The Tenant" contradicted prevailing Protestant doctrine in England and thus advocated a socially unacceptable view. Helen expresses several times in the story her belief in eventual universal salvation for all souls. She does not reassure the elder Arthur about this on his deathbed because she wants him to repent of his wrongdoing on his own accord. Despite his inability to do so, Helen still believes in his redemption.


title: The Tenant of Wildfell Hall

text: Unlike her elder sisters, Anne Brontë did not follow the Romantic style in her two novels, opting instead for Realism. Many critics, including Anne's sister Charlotte, considered her depiction of alcoholism and adultery overly graphic and disturbing. In defence, Anne openly stated her writer's intentions in the preface to the second edition of the novel.


title: The Tenant of Wildfell Hall

text: Often, when depicting the same subject as her sisters, Anne presents it in a completely different light: Wildfell Hall, an old superannuated mansion, she pictures not as a ‘haunted’ house like Thornfield Hall or Wuthering Heights in her sisters' works, but as a decayed relic of an outworn patrician class, whose pretensions are mocked by the recrudescence of building into moor. Stevie Davies has argued that Anne's ancient hall demystifies Gothic. Wildfell Hall is not haunted, it is simply dilapidated, damp and un-welcoming.


title: The Tenant of Wildfell Hall

text: Anne's portrayal of Arthur Huntingdon deflates the Byronic cult – while witty, adventurous and handsome, he is not endowed with intellectual gifts, nor even vitality, famously exhibited by Heathcliff, and has nothing of the fundamental goodness that finally redeemed Rochester. All Huntingdon's vices come from his being spoilt as a child. Analyzing the lack of sense and reason amongst males as the consequence of value-system based on the worship of machismo, Anne depicts the pathetic end of her main hero, brought on by his drinking habits. Totally dependent on his estranged wife in his final illness, Arthur Huntingdon ultimately loses all his personality.


title: The Tenant of Wildfell Hall

text: According to Caroline Franklin, Anne Brontë uses the Byronic paradigm "not to titillate, but to shock" – her protest against spousal abuse needs no scandal-mongering allusions to be sensational. The character of Helen Graham may have been inspired by Anna Isabella Milbanke, the wife of George Byron, who also thought at first that her religious obligation was to improve her husband's behavior, but very soon she was disillusioned, separated from him and raised their child alone. Despite this, she – like Helen – believed in the ultimate salvation of her husband's soul.


title: The Tenant of Wildfell Hall

text: In "The Tenant" vice is not unique to the men. Lady Lowborough's adultery has a particularly devastating effect on her husband, and the malice of Eliza Millward is poisonous to the entire community. The eternal struggle between good and evil is emphasised by heavy use of biblical references: sinners who repent and listen to reason are brought within the fold, while those who remain stubborn tend to meet violent or miserable ends.


title: The Tenant of Wildfell Hall

text: Stevie Davies believes that the settings and characters in "The Tenant" are influenced by Anne's juvenile fiction. In their childhood Emily and Anne Brontë created the imaginary kingdom of Gondal, about which they composed prose and poems. Thomas Moore's biography of Byron, with its description of womanizing, gaming and carousing, directly influenced the Gondal mythos and was echoed in Brontë's adult works. The characteristics of Arthur Huntington and Annabella Wilmot, both self-indulgent sexual transgressors, may be the relics of Gondal, where most of the main heroes were extravagant and led adventurous lives.


title: The Tenant of Wildfell Hall

text: Four houses in the younger Brontës' novels have "W. H." initials: Wellwood House in "Agnes Grey", the eponymous mansion in "Wuthering Heights", and Wildfell Hall and Woodford Hall in "The Tenant". The original "Ur-hall" in Gondal may be the source of inspiration for at least two of them—Wuthering Heights and Wildfell Hall. Citing all this, Davies concludes that Charlotte's statement that Anne "hated her work [on "The Tenant"]" is not credible.


title: The Tenant of Wildfell Hall

text: Notwithstanding Anne's repudiation of the Gothic atmosphere, "The Tenant"s narrative structure is common to Gothic fiction with the usage of framing narrator, letters and diary as clues to a whole truth. However, the narrator, Gilbert Markham, differs from his gothic predecessors in that he and the official standards he represents are shown to be in part the cause of the shocking reality he encounters.


title: The Tenant of Wildfell Hall

text: Chapters formed from Helen's diary strictly follow its style and differ from Gilbert's narrative. His story is also taken from his own diary. Such adherence to the diaries may be considered as a 'testimony of experience'. Since the Renaissance writing a diary had been a popular form of documenting and expressing personal opinions.


title: The Tenant of Wildfell Hall

text: Naomi Jacobs argues that "the displacement [of framing narration by the inner] is exactly the point of the novel, which subjects its readers to a shouldering-aside of familiar notions and comfortable perceptions of the world", and both narrations and jarring discrepancies of tone and perspective between them are essential to the purpose. In "The Tenant", like in "Wuthering Heights", a horrific reality of private life is obtained after passing through the voice of a framing narrator. According to Jacobs, the male narrator represents the public world, and the framed structure serves several functions that are strongly gender-related: it illustrates the process of going behind the official version of reality in order to approach the truth that the culture prefers to deny; it exemplifies the ways in which domestic reality is obscured by layers of conventional ideology; and it replicates the cultural split between male and female spheres that is shown to be one of the sources of the tragedy in the novel. Jacobs concludes that both Emily and Anne seemed to find it necessary, in approaching subjects that were considered to be controversial, to use the voice of a male narrator, appropriating, delegitimizing and even ridiculing his power, before telling anti-patriarchal truth.


title: The Tenant of Wildfell Hall

text: Carol A. Senf believes that the "unique narrative structure, the wife's story framed by that of her husband... encourages the reader to focus on questions of gender". According to Tess O'Toole, the architecture of Brontë's narrative stresses and calls attention to the disjunction of two different forms of domestic containment, one deriving from marriage, the other from the natal family. Priti Joshi, noting Helen and Gilbert's suspicion of spoken words and reliance on the visual, and their faith in the written word, concludes that a diary is a fitting narrative device because the characters require it, and that the epistolary narrative form reflects this faith.


title: The Tenant of Wildfell Hall

text: Josephine McDonagh believes that some of the stylistic features of "The Tenant" may be influenced by the print culture of the Brontës' time. For example, Anne's concern to preserve the integrity of each of her narrators' voices is similar to magazine structure that maintains the voice of individual contributors. The novel's labyrinthine structure is established by the application of direct speech. Gilbert's letter incorporates Helen's diary; and in turn, Helen's diary includes Arthur's autobiographical reminiscences.


title: The Tenant of Wildfell Hall

text: Anne Brontë starts her novel in a social comedy manner, reminiscent of Jane Austen. Like "Pride and Prejudice", "The Tenant of Wildfell Hall" starts with the arrival of a new person in a neighbourhood—a source of curiosity for a small rural community. Unlike Austen, Brontë makes a woman the centre of interest. Reticent Mrs Graham with her views on alcohol consumption and girls’ education, controversial for the 19th century, soon becomes an outcast.


title: The Tenant of Wildfell Hall

text: Tess O'Toole calls "The Tenant" "the most unusual example of 19th century domestic fiction", and attributes to that the relative marginalization of the novel in the Brontë sisters' oeuvre. According to O’Toole, Anne, unlike her elder sisters, seems to juxtapose rather than to collapse kinship and sexual relations. The relationship between Frederick and Helen is insular and cannot solve all the problems or contradictions that cluster around the concept of the domestic.


title: The Tenant of Wildfell Hall

text: Helen's retreat from her husband is followed by a return to her natal family origins, symbolized by her return to the home in which she was born, and adoption of her mother's maiden name as her alias. The relationship between Helen and Frederick, sister and brother, who spent all their childhood apart and reunited only as adults, is foregrounded to domestic reform – Frederick's virtue compensates for their father's neglect of Helen, and their comfortable relationship, defined by mutual respect and understanding, contrasts with Helen's problematic relationship with her husband and her suitor.


title: The Tenant of Wildfell Hall

text: In the third chapter "The Tenant" changes tone to the novel of ideas. In a powerfully argued Miltonic debate about virtue, experience, choice and temptation, Helen challenges the segregated education of the two sexes, with its over-exposure for boys and over-protection for girls.


title: The Tenant of Wildfell Hall

text: The novel's critique of libertine men may be influenced by the works of Mary Wollstonecraft. Priti Joshi, believing that Anne had read her works, argues that she not only refuses the Wollstonecraftian indictment of the feminine, but also rejects its elevation, articulated by Hannah More. Anne Brontë's feminism, in Joshi's words, "forges a path between the extremes of Wollstonecraft-More spectrum".


title: The Tenant of Wildfell Hall

text: In "The Tenant", a reformed masculinity emerges not, as More would have it, under the tutelage of a woman, but by emulating feminine ways. Anne presents the "idle talk" of Linden-Car villagers primary as a way of creating fellowship and community, not only as vicious gossip. According to Joshi, the gossip of middle-class Linden-Car functions not as a critique of the behavior, but rather to heighten its contrast with the chilling atmosphere of the upper-class estate.


title: The Tenant of Wildfell Hall

text: While refusing to believe whispered insinuations, the main heroes are led astray by precisely the evidence of their eyes: Gilbert, spying Helen walking with Frederick, mistakenly takes them to be lovers, and Helen's naïve empiricism leads her to disastrous marriage. Helen's faith in the written word and the class reserve that lead her to confide her troubles to diary, "the best friend I could have for the purpose [of a confidential talk]", is also shown as folly when her husband confiscates the diary and reads its contents.


title: The Tenant of Wildfell Hall

text: "The Tenant of Wildfell Hall" challenged the prevailing morals of the Victorian era. Especially shocking was Helen's slamming of her bedroom door in the face of her husband after continuing abuse. Charles Kingsley, in his review for "Fraser's Magazine" wrote: "A people's novel of a very different school is "The Tenant of Wildfell Hall". It is, taken altogether, a powerful and an interesting book. Not that it is a pleasant book to read, nor, as we fancy, has it been a pleasant book to write; still less has it been a pleasant training which could teach an author such awful facts, or give courage to write them. The fault of the book is coarseness—not merely that coarseness of subject which will be the stumbling-block of most readers, and which makes it utterly unfit to be put into the hands of girls..." Despite this, he believed that: "[English] society owes thanks, not sneers, to those who dare to shew her the image of her own ugly, hypocritical visage".


title: The Tenant of Wildfell Hall

text: "Spectator" wrote: ""The Tenant of Wildfell Hall", like its predecessor ["Jane Eyre"], suggests the idea of considerable abilities ill applied. There is power, effect, and even nature, though of an extreme kind, in its pages; but there seems in the writer a morbid love for the coarse, not to say the brutal; so that his level subjects are not very attractive, and the more forcible are displeasing or repulsive, from their gross, physical, or profligate substratum. He might reply, that such things are in life... Mere existence, however, as we have often had occasion to remark, is not a sufficient reason for a choice of subject: its general or typical character is a point to consider, and its power of pleasing must be regarded, as well as its mere capabilities of force or effect. It is not only the subject of this novel, however, that is objectionable, but the manner of treating it. There is a coarseness of tone throughout the writing of all these Bells [Charlotte, Emily and Anne Brontë], that puts an offensive subject in its worst point of view, and which generally contrives to dash indifferent things".


title: The Tenant of Wildfell Hall

text: A critic in "Athenaeum", probably H. F. Chorley, cited "The Tenant" as "the most entertaining novel we have read in a month past". However, he warned the authors, having in mind all the novels from Currer, Ellis and Acton Bell published by 1848, "against their fancy for dwelling upon what is disagreeable".


title: The Tenant of Wildfell Hall

text: "Examiner", while praising all Brontës as "a hardy race", who "do not lounge in drawing-rooms or boudoirs", and "not common-place writers", considered "The Tenant's" frame structure "a fatal error: for, after so long and minute a history [of Helen's marriage to Arthur], we cannot go back and recover the enthusiasm which we have been obliged to dismiss a volume and half before". The gossiping of the inhabitants of Linden-Car village reminded it of Jane Austen's style, but "with less of that particular quality which her dialogues invariably possessed". Considering the novels structure as "faulty", "Examiner" concludes that "it is scarcely possible to analyze [the novel]".


title: The Tenant of Wildfell Hall

text: An American magazine "Literature World", believing all the novels by Currer, Ellis and Acton Bell were produced by the same person, praised their author as a genius, who can make "his incongruities appear natural". Noting, that "all that is good or attractive about [the male characters in "The Tenant"] is or might be womanish" it supposes that the author may be "some gifted and retired woman". Despite considering "The Tenant" "infinitely inferior" to "Jane Eyre", "Literature World" admits that the two novels share "the same mysterious word-painting" with which the author "conveys the scene he (or she) describes to the mind's eye, so as not only to impress it with the mere view, but to speak, as it were, to the imagination, to the inner sense, as is ever the case with the Poetry as the Painting of real genius". Again having in mind both "Jane Eyre" and "The Tenant", it concludes: "However objectionable these works may be to crude minds which cannot winnow the chaff vulgarity from the rich grain of genius which burdens them, very many, while enjoying the freshness and vigour, will gladly hail their appearance, as boldly and eloquently developing blind places of wayward passion in the human heart, which is far more interesting to trace than all bustling traces and murky alleys, through which the will-o’-the-wisp genius of Dickens has so long led the public mind".


title: The Tenant of Wildfell Hall

text: Edwin Percy Whipple from "North American Review" considered "The Tenant" "less unpleasant" than "Wuthering Heights". However, both novels, in his opinion, were constructed with an "excessive clumsiness" and "the brutal element of human nature" was equally "given prominence" in them. He continues: "["The Tenant"] seems a convincing proof, that there is nothing kindly in [this]author's powerful mind, and that, if he continues to write novels, he will introduce into the land of romance a larger number of hateful men and women than any other author of the day". In Gilbert he sees "nothing good, except rude honesty", and while acknowledging Helen's "strong-mindedness", he finds no "lovable or feminine virtues". Despite this, Whipple praised novels characterization: "All the characters are drawn with great power and precision of outline, and the scenes are vivid as the life itself." Helen's marriage to Arthur he sees as "a reversal of the process carried on in "Jane Eyre"", but Arthur Huntingdon, in his opinion, is "no Rochester". "He is never virtuously inclined, except in those periods of illness and feebleness which his debaucheries have occasioned". Whipple concludes: "The reader of Acton Bell gains no enlarged view of mankind, giving a healthy action to his sympathies, but is confined to a narrow space of life, and held down, as it were, by main force, to witness the wolfish side of his nature literally and logically set forth. But the criminal courts are not the places in which to take a comprehensive view of humanity and the novelist who confines his observation to them is not likely to produce any lasting impression except of horror and disgust".


title: The Tenant of Wildfell Hall

text: "Sharpe's London Magazine", believing "despite reports to the contrary" that "[no] woman could have written such a work", warned its readers, especially ladies, against reading "The Tenant". While acknowledging "the powerful interest of the story", "the talent with which it is written" and an "excellent moral", it argued that "like the fatal melody of the Syren's song, its very perfections render it more dangerous, and therefore more carefully to be avoided". In "Sharpe's" opinion, the novel's "evils which render the work unfit for perusal" arose from "a perverted taste and an absence of mental refinement in the writer, together with a total ignorance of the usages of good society". It argues that the scenes of debauchery "are described with a disgustingly truthful minuteness, which shows the writer to be only too well acquainted with the revolting details of such evil revelry" and considers it a final "proof of the unreadableness of these volumes". Helen's belief in Universal salvation was also castigated: "The dangerous tendency of such a belief must be apparent to any one who gives the subject a moment's consideration; and it becomes scarcely necessary, in order to convince our readers of the madness of trusting to such a forced distortion of the Divine attribute of mercy, to add that this doctrine is alike repugnant to Scripture, and in direct opposition to the teaching of the Anglican Church".


title: The Tenant of Wildfell Hall

text: "Rambler", arguing that "Jane Eyre" and "The Tenant" were written by the same person, stated that the latter is "not so bad a book as "Jane Eyre"", which it believed to be "one of the coarsest of the books we ever perused". The Reverend Michael Millward was considered by "Rambler" as "one of the least disagreeable individuals" in the novel, while Helen's Universalist views were criticised as either "false and bad" or "vague and unmeaning". It concludes: "Unless our authoress can contrive to refine and elevate her general notions of all human and divine things, we shall be glad to learn that she is not intending to add another work to those which have already been produced by her pen".


title: The Tenant of Wildfell Hall

text: G.H. Lewes, in "Leader", shortly after Anne's death, wrote: "Curious enough is to read "Wuthering Heights" and "The Tenant of Wildfell Hall", and remember that the writers were two retiring, solitary, consumptive girls! Books, coarse even for men, coarse in language and coarse in conception, the coarseness apparently of violence and uncultivated men – turn out to be the productions of two girls living almost alone, filling their loneliness with quiet studies, and writing their books from a sense of duty, hating the pictures they drew, yet drawing them with austere conscientiousness! There is matter here for the moralist or critic to speculate on".


title: The Tenant of Wildfell Hall

text: A great success on initial publication, "The Tenant" was almost forgotten in subsequent years. When it became due for a reprint, just over a year after Anne's death, Charlotte prevented its re-publication. (The novel was out of print in England until 1854, but not in America, which had no copyright restriction.) Some critics believe that Charlotte's suppression of the book was to protect her younger sister's memory from further onslaughts. Others believe Charlotte was jealous of her younger sister. Even before Anne's death Charlotte had criticized the novel, stating in a letter to W.S. Williams: "That it had faults of execution, faults of art, was obvious, but faults of intention of feeling could be suspected by none who knew the writer. For my part, I consider the subject unfortunately chosen – it was one the author was not qualified to handle at once vigorously and truthfully. The simple and natural – quiet description and simple pathos – are, I think Acton Bell's forte. I liked "Agnes Grey" better than the present work." Juliet Barker, in her biography of the Brontës, concluded that "Charlotte, it appears, was prepared to consign her sister’s novel to oblivion because she considered its subject at odds with her own perception of what Anne’s character was and ought to have been."


title: The Tenant of Wildfell Hall

text: Elizabeth Gaskell repeated Charlotte's words about Anne in "The Life of Charlotte Brontë", claiming that the subject of "The Tenant" "was painfully discordant to one who would fain have sheltered herself from all but peaceful and religious ideas." In his essay on Emily Brontë, Algernon Charles Swinburne briefly mentioned "The Tenant" in the context of Branwell's decline as a novel "which deserves perhaps a little more notice and recognition than it has ever received" and added that "as a study of utterly flaccid and invertebrate immorality it bears signs of more faithful transcription from life than anything in "Jane Eyre" or "Wuthering Heights"." Margaret Oliphant believed that Anne "would have no right to be considered at all as a writer but for her association with [her sisters'] imperative spirits." Mary Ward, a novelist, who was widely known for her anti-feminist views, in her introduction to 1900 edition of "The Tenant", accused Anne of "the narrowness of view" and absence of "some subtle, innate correspondence between eye and brain, between brain and hand, [which] was present in Emily and Charlotte." She concluded that "it is not as the writer of "Wildfell Hall", but as the sister of Charlotte and Emily Brontë, that Anne Brontë escapes oblivion." May Sinclair, while famously saying that "when [Anne] slammed the door of Mrs Huntingdon's bedroom she slammed it in the face of society and all existing moralities and conventions," considered that she "had no genius." Despite that, her opinion about "The Tenant" was unexpectedly high: "There are scenes, there are situations, in Anne's amazing novel, which for sheer audacity stand alone in mid-Victorian literature, and which would hold their own in the literature of revolt that followed... Her diagnosis of certain states, her realization of certain motives, suggests Balzac rather than any of the Brontës." In her introduction to the 1914 edition of the novel Sinclair was also ambivalent about Anne and her novel — while acclaiming it as "the first presentment of that Feminist novel", she stated that "it bores to tears." Her opinion of Helen was also mixed: "If Agnes Grey is a little prig, Helen Huntingdon is a prig enormous... She is Anne Bronte's idea of noble womanhood, the first of the modern, large-souled, intellectual heroines." The only thing Sinclair wholly approved of was the author's treatment of marital laws of the time: "Anne Brontë attacks her problem with a freedom and audacity before which her sisters’ boldest enterprises seem cowardly and restrained... Her behaviour is the least unusual, not to say revolutionary."


title: The Tenant of Wildfell Hall

text: Despite the general dismissiveness of the late 19th–early 20th century critics, Anne still had supporters in literary circles. Esther Alice Chadwick, while believing that Anne lacked "the fire and passion of her sisters" and was "inferior" to them, claimed that she is still "a character well worth studying." Chadwick also considered "The Tenant" to be "probably the first temperance novel." George Moore, an Anglo-Irish writer, was an admirer of Anne Brontë's novels; he believed that Anne "had all the qualities of Jane Austen and other qualities," that "she could write with heat," and if "she had lived ten years longer she would have taken a place beside Jane Austen, perhaps even a higher place." He declared that "The Tenant" had "the rarest literary quality of heat," and blamed Charlotte Brontë for her youngest sister's loss of reputation.


title: The Tenant of Wildfell Hall

text: Only in 1929 the first dedicated biography of Anne came out – it was a short monograph by W. T. Hale, where he stated that in the "ideas and situations," presented in "The Tenant", Anne "was way ahead of her times" and that "she rushed in where Thackeray dared not tread." However, Hale believed that Anne "will never be known to fame either as novelist or poet, but only as the sister of Charlotte and Emily."


title: The Tenant of Wildfell Hall

text: In 1959, two biographies were published: "Anne Brontë, her life and work" by Ada Harrison and Derek Stanford and "Anne Brontë" by Winifred Gérin. Noting that "The Tenant" was published some ten years before George Eliot's novels, Harrison and Stanford named Anne the "first realist woman writer" in Great Britain. Unlike some early critics, who considered the scenes of debauchery improbable, Harrison and Stanford believed them to be "described in a fashion which Zola might have admired." Winifred Gérin believed Helen Graham to be "one of the first married women in fiction who is both competent and resolved to keep herself not by any of the accepted means as housekeeper, companion or governess, but as a painter, selling her canvasses to dealers." Despite this, in her later work on the Brontës, Gérin dismissed "The Tenant" as being "written too obviously as a work of propaganda, a treatise against drunkenness, to be considered a work of art." Several years later, however, Gérin wrote an introduction to "The Tenant", where, while considering the framed structure in both "The Tenant" and "Wuthering Heights" a "clumsy devise," acknowledged Anne's "pre-eminent gift of story-teller" and "eloquence in proclaiming the equality of men and women." She believed that "The Tenant" "might be said to be the first manifesto for 'Women's Lib'". Inga-Stina Ewbank considered Anne the least talented of the sisters and claimed that the framing structure – where "Helen can reveal her innermost being to the diary" while Gilbert is "bound to be as objective as possible" – "throws the novel out of balance." However, she believed that "through the very nature of its central concern, "The Tenant" is feminist in the deepest sense of the word."


title: The Tenant of Wildfell Hall

text: Daphne du Maurier discussed "The Tenant" in the context of the biography of Anne's brother, Branwell Brontë. Du Maurier praised the narrative structure, "two separate stories most cleverly combined in one," and believed Gilbert Markham "with his utter confidence in his powers of attracting the opposite sex" to be modelled on Branwell. Presuming that he was familiar with his sisters' novels, du Maurier believed that the story of Helen's marital life with Arthur Huntingdon may have been "a warning to Branwell" and the relationship between "erring, neglectful husband" and "the pious, praying wife" resembles Branwell's views on the marriage of Lydia Robinson, the woman at whose house he was employed as a tutor to her son, while Anne was governess to her daughters. Du Maurier concluded that in childhood years Branwell "shared in his sister's writings; somehow he must continue to live out their characters in the world of his imagination."


title: The Tenant of Wildfell Hall

text: In her early essays on Anne Brontë's novels and poetry Muriel Spark praised her proficiency. She believed that Charlotte was a "harsh sister to Anne" and "had she taken an impartial view of "Wildfell Hall", she must have discovered its merits." Despite notion that Charlotte and Emily were "more gifted," Spark stated that "[Anne's] writings none the less take no mean place in nineteenth-century literature." However, some forty years later, in the introduction to "The Essence of the Brontës", Spark radically changed her views on Anne: "I do not now agree with my former opinion on Anne Brontë's value as a writer. I think her works are not good enough to be considered in any serious context of the nineteenth century novel or that there exists any literary basis for comparison with the brilliant creative works of Charlotte and Emily... She was a writer who could 'pen' a story well enough; she was a literary equivalent of a decent water-colourist."


title: The Tenant of Wildfell Hall

text: Only in the last decades of the 20th century "The Tenant" began to get critical acclaim. Elizabeth Langland in her 1989 monograph "Anne Brontë: The Other One" said: "It is worth pausing briefly to reflect on what might have been Anne’s fate had "The Tenant of Wildfell Hall" been re-published with "Agnes Grey" so that critics could re-acquaint themselves with Anne’s greater novel and so that critics could take that opportunity to measure the substantial artistic growth between the two novels." Langland argued that the heroines in Anne's novels influenced those of Charlotte, and named Anne among the first women writers to adopt a woman as narrator. Langland concluded that "if Charlotte Brontë was radical in claiming sexual identity for women, then Anne Brontë was radical in claiming professional identity for women." Robert Liddell, noting Anne's apparent distaste for Romantic tradition, claimed that "The Tenant" criticized both Branwell's life and "Wuthering Heights". Edward Chitham in "A Life of Anne Brontë" (1991) also juxtaposed the novels of Anne and her sisters'. He stated that in Anne's view "Wuthering Heights" exhibited elements which she called in the preface to the second edition of "The Tenant" a "soft nonsense," thus making "almost an accusation against Emily." Unlike Chitham and Liddell, Maria H. Frawley identified the central element in "The Tenant" as the criticism of 19th century domestic ideology that encouraged women to "construct themselves as ethereal angels of morality and virtue". Betty Jay, analyzing Helen's marital experience, concluded that "The Tenant" "not only demonstrates that the individual is subject to powerful ideological forces which delineate his or her place within culture and society, but that there are ways in which these forces can be subverted and resisted by those who suffer as a result. In a narrative which dramatizes the complex interplay between subject and society by focusing on the marital experience of a woman, Bronte highlights the extent to which the internal and supposedly private realms of desire and domesticity are also intensely political."


title: The Tenant of Wildfell Hall

text: "The Tenant" has established its reputation as a landmark feminist text. In her 1996 introduction to the novel, Stevie Davies called it "a feminist manifesto of revolutionary power and intelligence." The novel's framing structure, long dismissed as faulty, started to get acclaim as a fitting narrative device, essential to Anne's critical and artistic purposes.


title: The Tenant of Wildfell Hall

text: On 5 November 2019, the "BBC News" listed "The Tenant of Wildfell Hall" on its list of the 100 most influential novels.


title: The Tenant of Wildfell Hall

text: Although the publishers respected Charlotte's wishes, shortly before her death in 1854 the London firm of Thomas Hodgson issued a one-volume edition of "The Tenant of Wildfell Hall". Hodgson performed extensive editing of the novel, removing many sections, including the chapter headings and the opening letter, that starts with: "To J. Halford, Esq. Dear Halford, When we were together last..." Other omissions ranged from single words to almost complete chapters (such as the 28th); some sections were completely rearranged in an attempt to compensate for the omissions.


title: The Tenant of Wildfell Hall

text: Most subsequent English editions, including those eventually produced by Charlotte's publisher, Smith, Elder & Co., followed this mutilated text. These copies are still prevalent today, despite notes on their covers claiming them to be complete and unabridged. In 1992, Oxford University Press published the Clarendon Edition of the novel, which is based on the first edition, but incorporating the preface and the corrections presented in the second edition.


title: The Tenant of Wildfell Hall

text: Ten episodes aired from 28 November to 9 December 2011 on "BBC Radio 4", with Hattie Morahan as Helen, Robert Lonsdale as Gilbert and Leo Bill as Arthur.


title: The Tenant of Wildfell Hall

text: The novel has twice been adapted for television by the BBC. The first version, made in 1968, starred Janet Munro, Corin Redgrave and Bryan Marshall. Tara Fitzgerald, Toby Stephens, Rupert Graves and James Purefoy starred in the second version, made in 1996.


title: The Tenant of Wildfell Hall

text: The novel was adapted as a three-act opera at the University of Nebraska-Lincoln with music composed by Garrett Hope and libretto by Steven Soebbing.


title: The Tenant of Wildfell Hall

text: In the "Downton Abbey" Christmas special (2011) "The Tenant of Wildfell Hall" is the book title acted out by Lady Mary Crawley in the Christmas charade.


title: The Tenant of Wildfell Hall

text: The story of Helen Graham is mentioned in Elizabeth George's 1988 novel "A Great Deliverance". Her name is also used as a secret code.


title: The Tenant of Wildfell Hall

text: Tina Connolly's 2013 novel "Copperhead" was inspired by "The Tenant of Wildfell Hall". The name of the heroine is Helen Huntingdon and she also has a disastrous marriage.


title: The Tenant of Wildfell Hall

text: Sam Baker's 2016 novel "The Woman Who Ran" takes inspiration from radical themes of Anne's novel. The heroine is a woman also called Helen, who she hides from her past (in an abusive marriage) in a present-day Yorkshire village.


title: The Tenant of Wildfell Hall

text: In the 2018 "The Guernsey Literary and Potato Peel Pie Society" film adaptation, Juliet Ashton (Lily James), argues about the cultural significance of "The Tenant": "In "Wildfell Hall", Anne Brontë laid bare the essential imbalance of power between men and women in the suffocating hierarchical structure of Victorian marriage."


title: 2014 Florida gubernatorial election

text: The 2014 Florida gubernatorial election took place on November 4, 2014, to elect the Governor and Lieutenant Governor of Florida.


title: 2014 Florida gubernatorial election

text: The incumbent Republican, Rick Scott, ran for reelection. The Democratic nominee was former governor Charlie Crist, who was Scott's direct predecessor. Crist was elected governor as a Republican in 2006 but did not run for re-election in 2010, instead opting to run for Senate as an independent. Libertarian nominee Adrian Wyllie and several candidates with no party affiliation also ran. Political pundits considered the race a toss-up.


title: 2014 Florida gubernatorial election

text: On Election Day, Scott defeated Crist, earning 48% of the vote. With a margin of 1%, this election was the closest race of the 2014 gubernatorial election cycle.


title: 2014 Florida gubernatorial election

text: In April 2010 and while still in office as Governor of Florida, Charlie Crist left the Republican Party to run for U.S. Senate as an Independent. He was defeated in the general election by Republican nominee Marco Rubio. In December 2012, Crist joined the Democratic Party.


title: 2014 Florida gubernatorial election

text: As of early June 2014, Scott had spent almost $13m since March on television advertisements attacking Charlie Crist, who then appeared the likely Democratic nominee. Although the ads resulted in a tightening of the race, this came about by decreasing Crist's favorability ratings. By contrast, Scott's favorability ratings did not increase. By late September, Scott's television ad spending had exceeded $35m and in mid-October it reached $56.5 million, compared to $26.5 million by Crist. On October 22 it was reported that Scott's total spending had exceeded $83 million and he announced that, having previously said he would not do so, he would be investing his own money into the campaign, speculated to be as much as $22 million.


title: 2014 Florida gubernatorial election

text: Crist hoped to draw strong support from Florida's more than 1.6 million registered black voters, an effort that was challenging with regards to his previous political career as a Republican. A poll conducted in September 2014 by Quinnipiac University revealed his support among black voters was at 72 percent against Scott, which was below the 90 percent analysts believed he needed to win.


title: 2014 Florida gubernatorial election

text: Scott and Crist met in a debate on October 15, held by the Florida Press Association at Broward College. The debate required candidates to receive at least 15% support in major polls to be included. This was allegedly increased from 10% after Wyllie met the initial criteria, but the Miami Herald reported that the threshold had been 15% since 2013. The decision has been criticised as "suppressing choice" and the Wyllie campaign has filed a lawsuit to be included in the debate. U.S. District Judge James I. Cohn dismissed the lawsuit. At this debate, Scott refused to take the stage for seven minutes because Crist had a small electric fan under his lectern. The incident was dubbed "fangate" by media sources such as "Politico".


title: 2014 Florida gubernatorial election

text: Scott defeated Crist by a slim margin garnering 48% percent of the vote to the former's 47%. With the loss, Crist became the first candidate in Florida history to lose statewide elections as a Democrat, as a Republican, and as an Independent.


title: Dwight Gooden

text: Dwight Eugene Gooden (born November 16, 1964), nicknamed "Dr. K" and "Doc", is an American former professional baseball pitcher who played 16 seasons in Major League Baseball (MLB). Gooden pitched from 1984 to 1994 and from 1996 to 2000 for the New York Mets, New York Yankees, Cleveland Indians, Houston Astros, and Tampa Bay Devil Rays. In a career spanning 430 games, he pitched innings and posted a win–loss record of 194–112, with a 3.51 earned run average (ERA), and 2,293 strikeouts.


title: Dwight Gooden

text: Gooden made his MLB debut in 1984 for the Mets and quickly established himself as one of the league's most talented pitchers; as a 19-year-old rookie, he earned the first of four All-Star selections, won the National League (NL) Rookie of the Year Award, and led the league in strikeouts. In 1985, he won the NL Cy Young Award and achieved the pitching Triple Crown, compiling a 24–4 record and a league-leading 1.53 ERA, 268 strikeouts, and 16 complete games. The following season, he helped the Mets win the 1986 World Series. Gooden remained an effective pitcher in subsequent years, but his career was ultimately derailed by cocaine and alcohol addiction. After posting a losing record in each season from 1992 to 1994, Gooden was suspended for the 1995 season after a positive drug test while serving a prior suspension. As a member of the Yankees in 1996, Gooden pitched a no-hitter and helped the team on its path to a World Series championship. He pitched four additional years for as many teams, but never approached the success of his peak years with the Mets. In 2010, Gooden was inducted into the New York Mets Hall of Fame.


title: Dwight Gooden

text: Gooden's troubles with addiction continued after his retirement from baseball and resulted in several arrests. He was incarcerated for seven months in 2006 after violating the terms of his probation.


title: Dwight Gooden

text: Gooden attended Hillsborough High School in Tampa where he was teammates on the school's baseball team with Vance Lovelace.


title: Dwight Gooden

text: A native of Tampa, Florida, Dwight Gooden was drafted in the first round in 1982, the fifth player taken overall. He spent one season in the minors, in which he led the Class-A Carolina League in wins, strikeouts and ERA while playing for the Lynchburg Mets. Gooden had 300 strikeouts in 191 innings, a performance which convinced Triple-A Tidewater Tides manager and future Mets manager Davey Johnson to bring him up for the Tides' postseason.


title: Dwight Gooden

text: Gooden made the rare jump from High-A directly to the major leagues in one year, bypassing Double-A and Triple-A. He made his major-league debut on April 7, 1984, with the New York Mets at the age of 19. He quickly developed a reputation with his fastball and sweeping curveball, which was given the superlative nickname of "Lord Charles", in contrast with "Uncle Charlie", a common nickname for a curveball. He was dubbed "Dr. K", in reference to the letter "K" being the standard abbreviation for strikeout, which soon became shortened to "Doc". Gooden soon attracted a rooting section at Shea Stadium that called itself "The K Korner", and would hang up cards with a red "K" after each of his strikeouts.


title: Dwight Gooden

text: When he took the mound in the fifth inning on July 10, 1984, Gooden became the youngest player to appear in an All-Star Game. He complemented this distinction by striking out the side, AL batters: Lance Parrish, Chet Lemon, and Alvin Davis. Setting up Gooden, NL Pitcher Fernando Valenzuela had already struck out the side in the fourth, putting down future Hall of Famers Dave Winfield, Reggie Jackson, and George Brett. The two pitchers' combined performance broke an All-Star game record, coincidentally on its celebrated 50th anniversary—Carl Hubbell's five consecutive strikeouts in 1934.


title: Dwight Gooden

text: That season, Gooden won 17 games, the most by a 19-year-old since Wally Bunker won 19 games in 1964 and the second most for a Mets rookie, after Jerry Koosman's 19 wins in 1968. Gooden won eight of his last nine starts; in his final three starts of the 1984 season, he had 41 strikeouts and 1 walk. Gooden led the league in strikeouts, his 276 breaking Herb Score's rookie record of 245 in 1955, and also set the record for most strikeouts in three consecutive starts with 43. As a 19-year-old rookie, Gooden set the then-major league record for strikeouts per 9 innings, with 11.39, breaking Sam McDowell's record of 10.71 in 1965. He was voted the Rookie of the Year, giving the Mets two consecutive winners of that award (Darryl Strawberry had been the recipient in 1983). Gooden also became the third Mets pitcher to win the award, joining Tom Seaver () and Jon Matlack (). Gooden finished second in the NL Cy Young Award voting, even though he had more NL wins, strikeouts, innings pitched, and a lower ERA than the NL winner, Rick Sutcliffe.


title: Dwight Gooden

text: In 1985, Gooden pitched one of the most statistically dominating single seasons in baseball history. Leading Major League Baseball with 24 wins, 268 strikeouts, and a 1.53 ERA (the second-lowest in the live-ball era, trailing only Bob Gibson's 1.12 in 1968) Gooden earned the major leagues' pitching Triple Crown. He led the National League in complete games (16) and innings pitched (276). From his second start onward, Gooden's ERA never rose above 2.00. At age 20, he was the youngest pitcher of the last half-century to have an ERA+ above 200. Gooden's ERA+ was 229; 23-year-old Dean Chance (200 ERA+ in 1964) was the only other pitcher under the age of 25 to do so.


title: Dwight Gooden

text: From August 31 through September 16, Gooden threw 31 consecutive scoreless innings over four games, and through October 2, threw 49 consecutive innings over seven games without allowing an earned run. The highest "quality start" percentage for a given season was recorded by Dwight Gooden, who had 33 of them in 35 games in 1985.


title: Dwight Gooden

text: In September, he pitched back-to-back nine-inning games allowing no runs, but received no-decisions in both games. In his four losses, Gooden allowed 26 hits and five walks in 28 innings, with 28 strikeouts and a 2.89 ERA. The Mets finished second in the 1985 NL East, and teammates jokingly blamed Gooden for having lost 4 games, thereby mathematically costing them the division title. That year, Gooden became one of only 15 black pitchers ever to win 20 games, the most recent of whom was David Price. Gooden became the youngest-ever recipient of the Cy Young Award and Pitcher of the Year Award. There was even media speculation about Gooden's Hall of Fame prospects. That November, Gooden turned 21.


title: Dwight Gooden

text: Travelers descending the steps of the side entrance to Manhattan's Pennsylvania Station were greeted by an enormous photograph of Gooden in mid-motion that recorded his season's strikeout totals as the year progressed. Likewise, those strolling the streets of Manhattan's West Side could gaze up at a 102 feet tall "Sports Illustrated" mural of Gooden painted on the side of a building at 351 West 42nd Street in Times Square, whose caption asked "How does it feel to look down the barrel of a loaded gun?"


title: Dwight Gooden

text: In a span of 50 starts from August 11, 1984, to May 6, 1986, Gooden posted a record of 37–5 with a 1.38 ERA; he had 412 strikeouts and 90 walks in 406 innings.


title: Dwight Gooden

text: In 1986, he compiled a 17–6 record. Gooden's 200 strikeouts were fifth in the National League, but more than a hundred behind the league leader, Mike Scott of the Houston Astros and a tremendous decrease from his first two seasons. As the 1986 season progressed, Gooden noticed that his fastball, which had been consistently in the mid-90s, had lost just a bit of its zip. “That impossible-to-track, impossible-to-time movement deserted me in 1986, and never returned,” he said. Gooden had compiled a strikeouts per nine innings pitched of 10.05 for this first two seasons. He would finish with a Strikeouts per nine innings of just 5.91 for the rest of his career.


title: Dwight Gooden

text: In another All-Star record pertaining to youth, in 1986 Gooden became the youngest pitcher to start an All-Star Game at of age.


title: Dwight Gooden

text: Gooden was the Mets ace going into the playoffs, and his postseason started promisingly. He lost a 1–0 duel with Scott in the NLCS opener, then got a no-decision in Game 5, pitching 10 innings of one-run ball. He was substantially worse in the World Series against the Boston Red Sox, not getting past the 5th inning in either of his two starts. Nevertheless, the Mets won four of the five non-Gooden starts and the championship. In an early red flag, Gooden failed to attend the team's victory parade (he would admit after his retirement that during the parade, he had been using drugs at his dealer's apartment).


title: Dwight Gooden

text: Gooden was arrested on December 13, 1986, in Tampa, Florida after being assaulted by police. A report clearing police of misconduct in the arrest helped start the Tampa riots of 1987. Rumors of substance abuse began to arise, which were confirmed when Gooden tested positive for cocaine during spring training in 1987. He entered a rehabilitation center on April 1, 1987, to avoid being suspended and did not make his first start of the season until June 5. Despite missing a third of the season, Gooden won 15 games for the 1987 Mets.


title: Dwight Gooden

text: In 1988, he was profiled in the William Goldman and Mike Lupica book "Wait Till Next Year", which looked at the impact Gooden's drug use and enforced missed games had on the Mets over the 1987 season.


title: Dwight Gooden

text: In 1988, Gooden recorded an 18–9 record as the Mets returned to the postseason. In the first game of the NLCS against the Los Angeles Dodgers, Gooden was matched against Orel Hershiser, who had just finished the regular season with a 59-inning scoreless streak. Gooden pitched well, allowing just 4 hits and recording 10 strikeouts, but left after seven innings trailing 2–0. In Game 4, Gooden entered the ninth inning with a 4–2 lead and the chance to give his Mets a commanding 3–1 advantage in the series. But he allowed a game-tying home run to Mike Scioscia, and the Dodgers eventually went on to win the game in 12 innings, and the series as well, 4 games to 3.


title: Dwight Gooden

text: Gooden suffered a shoulder injury in 1989, which reduced him to a 9–4 record in 17 starts. He rebounded in 1990, posting a 19–7 season with 223 strikeouts, second only to teammate David Cone's 233. However, after another injury in 1991, Gooden's career declined significantly. Though drug abuse is commonly blamed for Gooden's pitching troubles, some analysts point to his early workload. It has been estimated that Gooden threw over 10,800 pitches from 1983 to 1985, a period in which he was 18 to 20 years old. Gooden hurled 276 innings in his historic 1985 season; as of the end of the 2017 season, only two subsequent pitchers have thrown that many innings (Charlie Hough, a knuckleballer, and Roger Clemens, both in 1987). By the time he reached his 21st birthday, Gooden had already accumulated 928 strikeouts between the minor and major leagues.


title: Dwight Gooden

text: On August 9, 1990, Phillies pitcher Pat Combs struck Gooden in the knee with the first pitch of the bottom of the fifth inning. Gooden, seeing the pitch as retaliation for him having hit two Phillies batters, charged the mound, setting off a bench-clearing brawl. Gooden was one of six players ejected.


title: Dwight Gooden

text: Gooden was accused of rape along with teammates Vince Coleman and Daryl Boston in 1991; however, charges were never pressed.


title: Dwight Gooden

text: 1992 was Gooden's first-ever losing season (10–13); it was also the first time he had lost as many as 10 decisions. 1993 was no improvement, as Gooden finished 12–15. During the 1993 season, "Sports Illustrated" ran a cover story on Gooden entitled, "From Phenom to Phantom."


title: Dwight Gooden

text: During the strike-shortened 1994 season at age 29, Gooden had a 3–4 record with a 6.31 ERA when he tested positive for cocaine use and was suspended for 60 days. He tested positive again while serving the suspension, and was further suspended for the entire 1995 season. The day after receiving the second suspension, Gooden's wife, Monica, found him in his bedroom with a loaded gun to his head.


title: Dwight Gooden

text: In July 1995, the famous longstanding Dwight Gooden Times Square mural was replaced with a Charles Oakley mural. The Dwight Gooden mural was a part of the NYC landscape for over ten years.


title: Dwight Gooden

text: Kirk Radomski, the New York Mets clubhouse attendant whose allegations are at the base of the Mitchell Report later claimed that he took two urine tests for Gooden during the 1990s. Gooden denies the allegations.


title: Dwight Gooden

text: Gooden signed with the New York Yankees in 1996 as a free agent. After pitching poorly in April and nearly getting released, he was sent down to the minors where he worked on his mechanics and soon returned with a shortened wind-up. He no-hit the Seattle Mariners 2–0 at Yankee Stadium on May 14; the no-hitter was the first by a Yankee right-hander since Don Larsen's perfect game in the 1956 World Series, and the first by a Yankee right-hander during the regular season since Allie Reynolds' second no-hitter in 1951. He ended the 1996 season at 11–7, his first winning record since 1991, and showed flashes of his early form, going 10–2 with a 3.09 ERA from April 27 through August 12. He proved to be a valuable asset for the Yankees that season as David Cone was out until early September with an aneurysm in his shoulder.


title: Dwight Gooden

text: Gooden was left off the 1996 postseason roster due to injury and fatigue. In 1997, he posted a respectable 9–5 record with a 4.91 ERA. He had one start for the Yankees in the 1997 ALDS against the Cleveland Indians; coincidentally, he again faced his 1988 postseason nemesis Orel Hershiser. Gooden left Game 4 during the sixth inning with a 2–1 lead, but the Yankee bullpen faltered in the 8th, and Gooden was left with the no-decision.


title: Dwight Gooden

text: Gooden signed with the Cleveland Indians in 1998 and enjoyed moderate success, going 8–6 with a 3.76 ERA. He started two games for the Indians in the 1998 post-season, including one against his former team, the Yankees, both of which ended in no-decisions. He remained with the Indians in 1999 but did not match his respectable numbers in 1998, going 3–4 with a 6.26 ERA.


title: Dwight Gooden

text: In 1999, Gooden released an autobiography titled "Heat", in which he discussed his struggles with alcohol and cocaine abuse.


title: Dwight Gooden

text: Gooden began the 2000 season with two sub-par stints with the Houston Astros and Tampa Bay Devil Rays but found himself back with the Yankees mid-season. He would go on to have a respectable second stint with the Yankees, going 4–2 with a 3.36 ERA as a spot starter and long reliever, including a win against his former team, the Mets, on July 8 in the regular-season Subway series. He made one relief appearance in each of the first two rounds of the playoffs, both times with the Yankees trailing. Gooden did not pitch in the 2000 World Series against the Mets, though 2000 would be the third time Gooden received a World Series ring in his career.


title: Dwight Gooden

text: Gooden failed to win a postseason game, going 0–4 in the course of nine postseason starts over eight series. In the 1986 National League Championship Series, however, he had an earned run average of only 1.06 after starting two games and allowing just two earned runs in 17 innings pitched.


title: Dwight Gooden

text: For a pitcher, Gooden was an above average hitter, posting a .196 batting average (145-for-741) with 60 runs, 15 doubles, 5 triples, 8 home runs, 67 RBI and 14 bases on balls. He recorded a .950 fielding percentage, which was five points lower than the league average at his position.


title: Dwight Gooden

text: Gooden retired in 2001 after he was cut by the Yankees in spring training, ending his career with a record of 194–112. More than half of those wins came before age 25.


title: Dwight Gooden

text: Gooden appeared on the 2006 Baseball Hall of Fame ballot. He was named on only 17, or 3.3 percent, of the 520 voting writers' ballots, and, having been named on less than 5 percent of the total ballots, was removed from future HOF consideration.


title: Dwight Gooden

text: After retiring, Gooden took a job in the Yankees' front office. He acted as the go-between man during free agent contract negotiations between his nephew, Gary Sheffield, and the Yankees prior to the 2004 season. In July 2009 he was hired as a vice president of community relations for Atlantic League's Newark Bears. He left the post in November of the same year.


title: Dwight Gooden

text: Gooden appeared at the Shea Stadium final celebration on September 28, 2008, the first time he had appeared at Shea Stadium since 2000. On April 13, 2009, he made an appearance at the newly opened Citi Field. Gooden spontaneously signed his name to a wall on the inside of the stadium. The Mets initially indicated that they would remove the signature, but soon decided instead to move the part of the wall with Gooden's writing to a different area of the stadium and acquire additional signatures from other popular ex-players. On August 1, 2010, he was officially inducted into the Mets Hall of Fame along with Darryl Strawberry, Frank Cashen, and Davey Johnson. He also threw out the ceremonial first pitch on the same day to Gary Carter.


title: Dwight Gooden

text: VH1 Network announced June 11, 2011, that he would be a patient in VH1's fifth season of the reality show "Celebrity Rehab with Dr. Drew".


title: Dwight Gooden

text: In December 1986, Gooden was arrested in Tampa alongside nephew Gary Sheffield and former high school teammate Vance Lovelace after police stopped his Chevrolet Corvette. He was charged with resisting arrest with violence, battery on a police officer and disorderly conduct. He pleaded no contest in January 1987 and was sentenced to three years probation and 160 hours of community service.


title: Dwight Gooden

text: On February 20, 2002, Gooden was arrested in Tampa and charged with driving while intoxicated, having an open container of alcohol in his vehicle, and driving with a suspended license. He was arrested again in January 2003 for driving with a suspended license. On March 12, 2005, Gooden was again arrested in Tampa for punching his girlfriend after she threw a telephone at his head. He was released two days later on a misdemeanor battery charge.


title: Dwight Gooden

text: On August 23, 2005, Gooden drove away from a traffic stop in Tampa after being pulled over for driving erratically. He gave the officer his driver's license, twice refused to leave his car, and then drove away. The officer remarked in his report that Gooden's eyes were glassy and bloodshot, his speech was slurred, and a "strong" odor of alcohol was present on him. Three days after the traffic stop, Gooden turned himself in to police.


title: Dwight Gooden

text: Gooden was again arrested in March 2006 for violating his probation, after he arrived high on cocaine at a scheduled meeting with his probation officer, David R. Stec. He chose prison over extended probation, perhaps in the hope that incarceration would separate him from the temptations of his addiction. He entered prison on April 17, 2006. On May 31, Gooden said in an interview from prison, "I can't come back here. [...] I'd rather get shot than come back here. [...] If I don't get the message this time, I never will." Gooden was released from prison November 9, 2006, after nearly seven months' incarceration and was not placed on further probation.


title: Dwight Gooden

text: On the morning of March 24, 2010, Gooden was arrested in Franklin Lakes, New Jersey, near his home there, after leaving the scene of a traffic accident, having been located nearby and found to be under the influence of an undisclosed controlled substance. He was charged with DWI with a child passenger, leaving the scene of an accident, and other motor vehicle violations. Gooden was also charged with endangering the welfare of a child because a child was with him at the time of the accident. He later pleaded guilty to child endangerment, received five years' probation, and was ordered to undergo outpatient drug treatment.


title: Dwight Gooden

text: Gooden was arrested for cocaine possession in Holmdel Township, New Jersey on June 7, 2019. Gooden had been stopped by police for driving too slowly and having illegally tinted windows when they discovered two baggies suspected of containing cocaine. Gooden was charged with possession of a controlled substance, possession of drug paraphernalia and driving under the influence and faced up to five years in prison if convicted.


title: Dwight Gooden

text: Yet another arrest for driving while intoxicated occurred on July 22, 2019, this time in Newark, New Jersey. Gooden had been due in court to answer for the cocaine possession arrest in June the day after his arrest in July.


title: Dwight Gooden

text: American rock band the Mountain Goats released a song entitled “Doc Gooden” on their 2019 album "In League with Dragons". The lyrics, written by John Darnielle, include references to life as a baseball player.


title: Gaziantep

text: Gaziantep (), previously and still informally called Aintab or Antep (), is a major city and capital of the Gaziantep Province, in the westernmost part of Turkey's Southeastern Anatolia Region and partially in the Mediterranean Region, approximately east of Adana and north of Aleppo, Syria. It is thought to be located on the site of ancient Antiochia ad Taurum, and is near ancient Zeugma.


title: Gaziantep

text: As of the 31/12/2021 last estimation, the Metropolitan Province was home to 2,130,432 inhabitants, of whom 1,775,904 lived in the metropolitan area made of two (out of three) urban districts of Şahinbey and Şehitkamil, as Oğuzeli is not conurbated. It is the sixth-most populous city in Turkey.


title: Gaziantep

text: Due to the city's contact with many ethnic groups and cultures throughout its history, the name of the city has many variants and alternatives, such as:


title: Gaziantep

text: The archaeological site of "Tell Tülük", which gives its name to the Neolithic Dulicien culture, is situated a few kilometers to the north of the city center.


title: Gaziantep

text: Gaziantep is the probable site of the Hellenistic city of Antiochia ad Taurum ("Antiochia in the Taurus Mountains").


title: Gaziantep

text: In the center of the city stands the Gaziantep fortress and the citadel, which were restored by the Byzantines in the sixth century.


title: Gaziantep

text: Although it was controlled by the Armenian Kingdom of Cilicia only between 1155–1157 and 1204–1206, for most of the last two millennia, Gaziantep hosted a large Armenian community. Armenians played a significant role in the city's history, culture, welfare, and prosperity. These communities no longer exist in the city due to the Hamidian massacres in 1895 and the Armenian genocide in 1915.


title: Gaziantep

text: Gaziantep served a significant trade route within the Ottoman Empire. Armenians were active in manufacturing, agriculture production, and most notably, trade, and became the wealthiest ethnic group in the city, until their wealth was confiscated during the Armenian genocide.


title: Gaziantep

text: Following the Muslim conquest of the Levant, the city passed to the Umayyads in 661 AD and the Abbasids in 750.


title: Gaziantep

text: It was ravaged several times during the Arab–Byzantine wars. After the disintegration of the Abbasid dynasty, the city was ruled successively by the Tulunids, the Ikhshidids, and the Hamdanids.


title: Gaziantep

text: The Anatolian Seljuks took Aintab in 1067. They gave way to the Syrian Seljuks in 1086. Tutush I appointed Thoros of Edessa as governor of the region.


title: Gaziantep

text: It was captured by the Crusaders and united to the Maras Seigneurship in the County of Edessa in 1098.


title: Gaziantep

text: It reverted to the Seljuk Sultanate of Rûm in 1150, was controlled by the Armenian Kingdom of Cilicia between 1155–1157 and 1204–1206 and captured by the Zengids in 1172 and the Ayyubids in 1181. It was retaken by the Seljuk Sultanate of Rûm in 1218. It was ruled by the Ilkhanate between 1260 and 1261, 1271–1272, 1280–1281 and 1299–1317 and by the Mamluks between 1261 and 1271, 1272–1280, 1281–1299, 1317–1341, 1353–1378, 1381–1389 and 1395–1516. It was also governed by the Dulkadirids, which was a Turkish vassal state of the Mamluks.


title: Gaziantep

text: The Ottoman Empire captured Gaziantep after the Battle of Marj Dabiq in 1516, under the reign of Sultan Selim I. In the Ottoman period, Aintab was a "sanjak "centered initially in the Dulkadir Eyalet (1516–1818), and later in the Aleppo vilayet (1908–1918). It was also a "kaza" in the Aleppo vilayet (1818–1908). The city established itself as a centre for commerce due to its location straddling trade routes.


title: Gaziantep

text: By the end of the 19th century, Aintab had a population of about 45,000, two-thirds of whom were Muslim—largely Turkish, but also partially Arab. A large community of Christians lived in the Armenian community. In the 19th century, considerable American Protestant Christian missionary activity occurred in Aintab. In particular, Central Turkey College was founded in 1874 by the American Mission Board and largely served the Armenian community. The Armenians were systemically slaughtered during the Hamidian massacres in 1895 and later the Armenian genocide in 1915. Consequently, the Central Turkey College was transferred to Aleppo in 1916.


title: Gaziantep

text: After the First World War and Armistice of Mudros, Gaziantep was occupied by United Kingdom on 17 December 1918, and it was transferred to France on 5 November 1919. French Armenian Legion was also involved in occupation. In April 1920 irregular Turkish troops known as Kuva-yi Milliye sieged the city, but the 10 month long battle resulted in French victory. Around 6,000 Turkish civilians were murdered in progress. On 25 December 1921, Treaty of Ankara was signed and as a result French evacuated the city.


title: Gaziantep

text: The French made the last attempt to revive the Armenian community in the city during the Siege of Aintab, where the Armenians who fled the genocide were promised their homes back in their native lands. However, on 25 December 1921, the Treaty of Ankara was signed, and as a result, the French evacuated the city.