The Novels of Anne Brontë The Novels of Anne Brontë Literary Critiques Anne had firmly launched her literary career with two novels before it came to an abrupt end with her early death in the summer of 1849: Agnes Grey (1847) ( a brief account ) This was published jointly with Emily's Wuthering Heights. The Tenant Of Wildfell Hall (1848) ( a brief account ) Now generally acknowledged as Anne's answer to Wuthering Heights. (The E-Text for both novels is available 'on line' - see links page) An Account of the Literary Prowess of Anne Brontë - by Derek Stanford Getting the First Novels Published The three sisters' first venture into the literary world was with a combined book of their poems, which was published, at their own expense, in 1846: it appeared under their chosen pen-names, or pseudonyms, of Currer, Ellis and Acton Bell. The three had chosen male pen-names as they believed female writers were prone to be unfairly treated by the critics. The book proved to be a dismal failure selling only two copies during the first year.

However, even before the fate of the book-of-poems became apparent, the sisters had each completed a novel; and as their poems-publisher had informed them that they did not deal in works of fiction, the three manuscripts were sent the 'rounds of the publishers' looking for acceptance. The three novels were Charlotte's 'The Professor', Emily's 'Wuthering Heights' and Anne's 'Agnes Grey'. Charlotte later recalled, 'usually their fate was an ignominious and abrupt dismissal', though after about a year, and something like five rejections, Emily's Wuthering Heights and Anne's Agnes Grey were finally accepted by one Thomas Cautley Newby, a publisher in London; but Charlotte's novel was rejected by Newby, and by every other publisher to whom it was sent. However, it was not long before Charlotte completed her second novel, the now famous Jane Eyre, and this was immediately accepted by Smith, Elder & Co., a different publisher to that of Anne and Emily's though also located in London. As it transpired, Jane Eyre was the first to appear in print - being published in October 1847.

While Anne's and Emily's novels 'lingered in the press', Charlotte's second novel hit the literary world like a bombshell: it became an immediate resounding success. Newby was urged on by its success, and Anne's and Emily's novels soon followed. They appeared as a joint publication, with Wuthering Heights forming the first two volumes, and Agnes Grey the third; and these, too, sold extremely well. Anne's Challenge to Wuthering Heights Agnes Grey was a story of the trials and tribulations encountered by an inexperienced nineteen year old girl who set out to make her own way in the world as a governess, just as Anne herself had done. Indeed the whole novel was based largely on Anne's own experiences in her two posts as a governess. In contrast, Emily's Wuthering Heights was a very dramatic, passion-packed, fictional-fantasy, which immediately caught the public's eye and stole the limelight from Anne's more down-to-earth, realistic story-line book. Nine months later, in July 1848, Anne fired back with her second novel The Tenant of Wildfell Hall.

It seems that Anne was concerned over the presentation of certain themes in Wuthering Heights - and wanted to put forward a challenge to it, exhibiting some of the same themes - but in a more realistic context. One example is the excessive drunkenness which pervades Emily's story - while the ill-consequences of it are not made obvious. The sisters were all too aware of its effect; having witnessed it ruin their brother, Branwell. 'Anne is determined that her readers will feel the degradation of drunkenness' asserts Edward Chitham. 68 The Tenant of Wildfell Hall was an instant, phenomenal success, and rapidly outsold Emily's all-time classic. In her preface to the second edition, written a few months later, Anne hinted that she perceived Emily's story as 'much soft nonsense': 'if I can gain the public ear at all, I would rather whisper a few wholesome truths therein than much soft nonsense' she declared; and Wildfell Hall has since been said to mock Emily's novel - even in its initials: it is now generally acknowledged as Anne's answer to Wuthering Heights.

69 The essence of the story is a woman, Helen Huntingdon, who flees her persistently drunk and brutal husband, and their family home; taking with her their young son whom she is determined to protect from his father's influences. They go into hiding in an old, uninhabited, Elizabethan mansion (Wildfell Hall), and she manages to support herself and son by working as an artist. This whole scenario was a taboo subject to the Victorians - not to say an illegal act! 70n - and there was a strong reaction from many quarters. Many years later, in 1913, May Sinclair - one of the Brontës' biographers - declared that 'the slamming of Helen Huntingdon's bedroom door against her husband reverberated through Victorian England' The themes Anne presented in this novel were very daring for the Victorian era, and she gave them bold treatment: no punches were pulled in her depiction of scenes of mental and physical cruelty. Many critics slammed the book for its coarseness, and its 'morbid revelling in scenes of debauchery'.

Anne had observed, close at hand, how Branwell's dissolute ways were gradually destroying him: and one of her objects in writing Wildfell Hall was to warn other young people against following the same path. Her aims were not only, totally misinterpreted by Charlotte, but also by her reading public, many of whom took the story as having been created purely as 'lively entertainment'; others considered that she had a 'scandalous insistence' on presenting scenes 'which public decency usually forbids'. 71 These opinions were also expressed in many of the reviews: The reviewer in Sharpe's London Magazine declared that his article on The Tenant of Wildfell Hall was written merely to warn his readers, especially his lady readers, against reading the book. He was confident the writer was a man rather than a woman, and condemned the 'profane expressions, inconceivably coarse language, and revolting scenes and descriptions by which its pages are disfigured'. 72 The Spectator accused the author of having 'a morbid love of the course, not to say of the brutal'.

73 The critic in the Rambler declared that The Tenant of Wildfell Hall was 'one of the coarsest books which we ever perused', and went on to condemn the author's 'perpetual tendency to relapse into that class of ideas, expressions, and circumstances, which is most connected with the grosser and more animal portion of our nature'. 74 However, even amongst these early reviewers, there were those who detected the incredible literary talent behind the novel: The Spectator had declared: 'The Tenant of Wildfell Hall, like its predecessor, suggests the idea of considerable abilities ill applied. There is power, effect, and even nature, though of an extreme kind, in its pages', 75 and an American critic later wrote in the North American Review: 'All the characters are drawn with great power and precision of outline and the scenes are as vivid as life itself. . .', but that it brings the reader 'into the closest proximity with naked vice, and there are conversations such as we had hoped never to see printed in English': 76 he then went on to generally criticise the novel's coarseness and declared that it would leave in the reader an impression of horror and disgust.

He would have been quite shocked had he been told that this was precisely the author's intention. 77 In her preface to the second edition, written a few months later, Anne defended her motives in the way she had presented her subjects: ' . . . when we have to do with vice and vicious characters, I maintain it is better to depict them as they really are than as they would wish to appear. To represent a bad thing in its least offensive light is, doubtless, the most agreeable course for a writer of fiction to pursue; but is it the most honest, or the safest? Is it better to reveal the snares and pitfalls of life to the young and thoughtless traveller, or to cover them with branches and flowers? Oh, reader! if there were less of this delicate concealment of facts - this whispering, 'Peace, peace,' when their is no peace, there would be less of sin and misery to the young of both sexes who are left to wring their bitter knowledge from experience.

My object in writing the following pages was not simply to amuse the Reader; neither was it to gratify my own taste, nor yet to ingratiate myself with the Press and the Public: I wished to tell the truth, for truth always conveys its own moral to those who are able to receive it.' In this book 'the case is an extreme one, as I trusted none would fail to perceive, but I know that such characters do exist, and if I have warned one rash youth from following in their steps, or prevented one thoughtless girl from falling into the very natural error of my heroine, the book has not been written in vain: . . . when I feel it my duty to speak an unpalatable truth, with the help of God, I will speak it, though it be to the prejudice of my name and to the detriment of my reader's immediate pleasure as well as my own.'. When the sisters' novels became due for a reprint in 1850 - just over a year after Anne and Emily had died, Charlotte prevented the re-publication of Wildfell Hall. Some believe that Charlotte's suppression of the book was to protect her younger sister's memory from this adverse onslaught to her character.

However, Wuthering Heights had brought similar accusations on Emily, yet Charlotte did not take the same action on Emily's behalf, despite always appearing to have been closer to her than she was to Anne; seeming to make this a rather weak argument. Others believe Charlotte was jealous of her younger sister. 78 There are many instances of Charlotte slighting Anne throughout her later life. Anne had always been the dependant, coddled baby of the family, the 'cherished and protected little one', and, it seems, in later years Charlotte was finding it difficult to accept her as a mature and independent young woman producing literary work that could match, and maybe even surpass her own. Whatever the reason was, Charlotte lived on for another five years during which time her later novels, along with Jane Eyre and Emily's Wuthering Heights continued to be published, firmly launching these two sisters into literary stardom; while Anne's masterpiece was completely suppressed. The Tenant of Wildfell Hall was eventually re-published, some six years after the 'second edition', but by this time had 'missed the boat', leaving Anne forever in the shade of her two sisters.

Even the re-publication did not help matters, appearing in a cropped and heavily edited form (see 'The Mutilated Texts of the TWH' - later). The Payments Charlotte's publishers, Smith, Elder & Co., were very gentleman-like and very fair to Charlotte in all their dealings with her; in contrast, Thomas Newby, Anne and Emily's publisher, turned out to be a very devious character; contracts made with the girls were not honoured, and the pair were cheated out of much money due them. Following the success of Jane Eyre, Newby tried to cash-in by misleading the public, along with an American publisher with whom he was dealing, into believing that all the 'Bell' novels were written by one and the same person, despite the fact that he had been distinctly told otherwise. Newby's scheming eventually caused much embarrassment and friction for Smith, Elder; and, in order to settle the matter for once and for all, on 7 July 1848, Anne and Charlotte travelled down to London to visit their respective publishers: the two girls spent a total of four days in the capital, and were entertained over the period by Charlotte's publisher, George Smith.

Smith, Elder were every bit as impressed with Emily's and Anne's novels as they were Charlotte's, and they offered to publish any further works produced by the pair. The girls initially declined the offer, feeling it was only right to stay loyal to their own publisher, who, if nothing else, had given them their first chance to get their novels in print; however, Newby continued with his under-handed scheming, and by August 1848, Charlotte was writing to Smith, Elder, informing them of the situation, and that 'Acton has quite had enough of him', 79 she concluded her letter by saying 'My sister Anne wishes me to say that should she ever write another work, Mr Smith will certainly have the first offer of the copyright.' 80 Sadly, there was not to be 'another work'. The agreement that Anne and Emily had with Newby was that the two girls would each pay £25 towards the cost of publication, and this would be returned to them as soon as the initial expenses had been recouperated.

81 As it transpired, neither Anne nor Emily ever received any money from Newby for Agnes Grey or Wuthering Heights, so were actually at a loss with this first venture. However, the success of the novels meant that Anne obtained a better deal from Newby for her second novel, Wildfell Hall, though, in the event, she only ever received two payments of £25 82 (Charlotte was receiving cheques of £100 at a time for Jane Eyre). It wasn't until February 1854, some five years after the deaths of Anne and Emily, that Charlotte obtained, from Newby, a payment of £90 that was owed the two deceased sisters. 83 Anne Brontë: The Pioneering Novelist Over the years, Jane Eyre has proved the most successful of the Brontë novels.

Charlotte had made some radical changes in her writing techniques with this novel - compared to those she had used in the failed 'The Professor', which had been written in the same style as of most of her juvenilia: It was around late September, or October, of 1846 when Charlotte is reputed to have informed her two sisters that she had decided to make her new heroine 'plain, small and unattractive in defiance of the accepted canon', and would prove to them that such a heroine would be as interesting as any of theirs 84 - a writing trait that has won Charlotte much acclaim over the years; but, in reality, she did no more than adopt the technique that had been pioneered by Anne nine months earlier with the creation of her plain, young governess, Agnes Grey. Elizabeth Langland, who has written an excellent book of assessment of Anne's work, writes: 'Anne was one of the first women writers to adopt a woman as narrator. . . . Anne Brontë also innovates in her choice of heroines both in Agnes Grey and The Tenant of Wildfell Hall. Agnes Grey is an ordinary, practical, and undistinguished woman. She possesses neither fortune nor beauty.

In short, she has nothing to recommend her to a reader's, or a man's, attention. Yet, by making Agnes narrator of her story, Anne makes her both attractive and compelling. 85 In Agnes Grey, she developed the governess story in ways which were to influence Charlotte significantly in the writing both of Jane Eyre and Villette. . . . Anne employed a first-person, female narrator who intimately addresses the 'Reader'. She seems therein to have suggested these new possibilities to Charlotte who, previous to Jane Eyre, had never employed a female narrator, even in her juvenilia.' 86 Anne Brontë - The Other One? Despite Charlotte's suppression of Wildfell Hall a short time after Anne's death; and the book's eventual re-publication in a reduced and mutilated form, Anne's genius has still caught the attention of many eminent people over the years.

The themes and writing techniques in both her novels are strikingly modern, and in many ways Wildfell Hall was way ahead of its time, so much so, that many people now label it 'a twentieth century novel written in the nineteenth century.' In 1868, a number of years after Anne's death, a Lady Amberley noted in her diary: 'read Agnes Grey, one of the Brontës, and should like to give it to every family with a governess and shall read it through again when I have a governess to remind me to be human.' (So much for the Atlas critic's view, who, shortly after its publication, suggested that it left no impression on the mind!). Leading Brontë biographer Juliet Barker writes of Agnes Grey: ''Though overshadowed by her sisters' much more dramatic novels - and completely ignored by Charlotte who did not consider it worthy of comment in either her biographical or editorial prefaces to the 1850 reissue of Wuthering Heights/Agnes Grey - Anne's first novel had many strengths of its own.

Enlivened by a quiet humour, it is a far deadlier expose of the trials of being a governess than her sister's more famous Jane Eyre. It is also the first novel to have a plain and ordinary woman as its heroine. Charlotte is usually credited with this innovation in Jane Eyre, which, she told her friends, was written to prove to her sisters that a heroine 'as plain and as small as myself' could be as interesting as their conventionally beautiful ones. Once again, Charlotte ignores that fact that in Agnes, Anne had already created just such a heroine.' 87 Elizabeth Langland remarks: Anne Brontë's 'thematic innovations place her in the forefront of feminist thought in the nineteenth century even as her formal and technical innovations demand that we look again at her contributions to the English novel. Both thematic and technical innovations were assimilated into Charlotte's novels and passed on to generations of writers.

Perhaps George Moore was right when he claimed that Anne was the sacrifice to make credible the genius of Emily and Charlotte: "Three phthisis-stricken sisters living on a Yorkshire moor, and all three writing novels, were first-rate copy, and Charlotte's little depreciations of the dead were a great help, for three sisters of equal genius might strain the credulity of the readers of the evening newspapers". But we must not be bound by the conventional wisdom that reached that conclusion. If there are three geniuses, then we must count them three.' 88 It was in the early years of this century that the Irish novelist George Moore wrote his glowing report on Anne and her novels, he declared that Anne 'had all the qualities of Jane Austen and other qualities', and again, 'If Anne Brontë had lived ten years longer she would have taken a place beside Jane Austen, perhaps even a higher place.' He described Agnes Grey as 'The most perfect prose narrative in English literature', and continues 'Agnes Grey is a narrative simple and beautiful as a muslin dress. . . .

The arrival of Agnes at the house of her employer (she is the new governess) opens the story, and the first sentences convince us that we are with a quick, witty mind, capable of appreciating all that she hears and sees; and when Agnes begins to tell us of her charges and their vulgar parents, we know that we are reading a masterpiece. Nothing short of genius could have set them before us so plainly and yet with restraint'. On Wildfell Hall, and its comparison with Wuthering Heights, Moore remarked that the novel's excellence lay in 'the first hundred and fifty pages of The Tenant of Wildfell Hall, whose "weaving of the narrative reveals a born story-teller, just as the knotted and tangled threads in Wuthering Heights reveal the desperate efforts of a lyrical poet to construct a prose narrative".' 89 He declared that Wildfell Hall had the rare literary quality of 'heat', and firmly laid the blame for Anne's loss of reputation on Charlotte's shoulders.

Edward Chitham identifies The Tenant of Wildfell Hall as a book to parallel Jane Eyre and Wuthering Heights, 90 and Elizabeth Langland continues: '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 take that opportunity to measure the substantial artistic growth between the two novels. Charlotte herself never accomplished Anne's imaginative range. Further, Anne was only twenty-eight when she wrote The Tenant of Wildfell Hall; at a comparable age, Charlotte had produced only The Professor. And yet, despite the disadvantages in representation Anne suffered at Charlotte's hands'. 91 Barbara and Gareth Lloyd Evans, in their recent book, 'Everyman's Companion to the Brontës' write: 'A.B.'s Tenant of Wildfell Hall puts most of our contemporary female novel-writers to shame, but it has still not received its deserved acclaim as a novel that, in construction, style, clarity of theme, compares with the greatest that Emily and Charlotte wrote.

Apart from this, it is as fearless and affirmative in its assumption and declaration of the independence of women as any of Charlotte's and is more clear-headed, shrewd, and unsentimental about womankind than today's noisy proselytizers.' 92 (The novel's re-emergence - six years after the 'second edition') The Victorian Governess Novel The Victorian Governess Novel [ Victorian Web Home —> Political History —> Social History —> Gender Matters ] This text forms part of the introductory chapter of The Victorian Governess Novel by Cecilia Wadsö Lecaros, available from Lund University Press. s many readers of Victorian novels know, the governess was indeed a common figure in fiction of that period. Less known, perhaps, is that a large group of nineteenth-century novels deal with governesses in ways that are so similar in respect of plot lines, characterisations, and scenes, as well as of aim and intention, that they can be referred to as belonging to a specific genre.

Although a small number of governess novels, such as Anne Brontë's Agnes Grey (1847) and Charlotte Brontë's Jane Eyre (1847), are still read today, most of the novels within the genre belong to the mass of forgotten Victorian fiction. The governess novel must be connected with the nineteenth-century anxiety concerning middle-class female employment in general, and governess work in particular. The situation of governesses generated a debate which was especially active from the 1840s until the end of the century. A large number of manuals for governesses and their employers were also published all through the nineteenth century. The governess debate focused on terms of employment, salaries, and on the socially intermediate position of the governess. In the novels, this intermediate position functions both as a device of bringing the governess's plight in focus, and to furnish the writer with a framework for female development. By sharing many characteristics regarding e.g. rhetoric and argument with the contemporary governess debate and the manuals, the novels form an important part of that debate.

Although the fictional characterisation of governesses can be traced back to eighteenth-century school stories, novels featuring resident governesses and their relation to employers and pupils did not appear until the turn of the century. Early examples are H.S.'s Anecdotes of Mary; or, the Good Governess (1795) and Maria Edgeworth's "The Good French Governess" (1801). The governess characters in these stories differ from the genre prototype that developed from the 1830s. While most early literary portrayals of governesses have a clearly didactic purpose and present highly appreciated teachers, a noticeable shift in attitude seems to have taken place in the 1830s. From then on, the governess heroine was usually depicted as a victim of circumstances at the mercy of inhospitable or even hostile employers. Economic and social changes in the mid-1800s affected the position of governesses, and those shifts seem to have influenced and intensified the fictional delineation of governesses.

Although different in some respects, novels like Mary Martha Sherwood's Caroline Mordaunt, or, The Governess (1835), Julia Buckley's Emily, the Governess (1836), Miss Ross's The Governess; or, Politics in Private Life (1836), and Marguerite Blessington's The Governess (1839) all represent this new kind of governess novel. Themes like sudden impoverishment, paternal insufficiency, and conflicts with nouveaux riches employers were introduced in the plot. It is with novels like these that the genre started to take shape. Although the books were still didactic in intention, the plots now focused on the working conditions and social position of the governess heroine in a more marked way than those of earlier works. The governess novel genre must be seen in relation to other contemporary genres. Since the governess heroine could easily be made into an observer of her employers' life, it is not surprising that some governess novels share traits with silver-fork novels. The typical marginalisation of the governess heroine, for instance, could easily be achieved by positioning her against snobbish upper-class employers with little or no understanding of her situation.

Towards the middle of the century, when the governess question increasingly became an issue in the social debate, a more dogmatic approach to governess work was seen in governess novels. Dinah Mulock Craik's Bread upon the Waters: A Governess's Life (1852) was published explicitly for the benefit of the charitable Governesses' Benevolent Institution, as was Anna Maria Hall's Stories of the Governess (1852).When new genres like the sensational novel and the detective novel developed, some writers made use of the characteristics of the governess-novel genre, which was well established by this time. One aspect that probably attracted authors was the fact that a governess could easily be portrayed as a woman of whom little, or even nothing, was known. This is the case in novels such as Harriet Maria Gordon Smythies's The Daily Governess; or, Self-Dependence (1861) and Mrs Henry Wood's East Lynne (1860-1861).

The characterisation of the governess protagonist in sensational novels and detective stories differs from that in more mainstream governess novels; primarily in that the governess could be made into an enigmatic character, or occasionally an evil schemer, as in the American governess story "Behind a Mask, or, A Woman's Power" (1866) by Louisa M. Alcott. Even so, the characterisation of the governess, and the kind of situations she faced, was consistent throughout the nineteenth century. It should be stated that a number of 'traditional' governess novels were published during the latter decades of the century, too. The anonymous Margaret Stourton, or a Year of Governess Life (1863), Henry Courtney Selous's The Young Governess: A Tale for Girls (1871), and Irene Clifton's The Little Governess (1900) show little difference in the handling of the governess theme from the novels of the 1830s and 1840s. After the turn of the century, when the extent of governess employment decreased in real life, interest in the governess as a literary character seems to have diminished accordingly.

Other occupational spheres opened for women, and literary representations of other kinds of working women broke the governess's near-monopoly as a professional heroine. However, the literary influence of the governess has not entirely vanished. Quite a few modern romances have incorporated characteristics belonging to the Victorian governess novel genre . Collins Classics: Agnes Grey : Anne Brontë : 9780007449453 Collins Classics US$3.00 US$5.50 You save US$2.50 Free delivery worldwide Add to basket Add to wishlist Description HarperCollins is proud to present its range of best-loved, essential classics. 'It is foolish to wish for beauty. Sensible people never either desire it for themselves or care about it in others. If the mind be but well cultivated, and the heart well disposed, no one ever cares for the exterior.' Anne Bronte's debut novel tells the story of Agnes Grey, a young woman who is determined to seek work as a governess after her family becomes impoverished.

Drawing upon her own experiences as a governess, Anne describes the isolation, insensitivity and occasional harsh treatment bestowed on women in her position by their employers and through Agnes, demonstrates the resilience, integrity and survival of one woman in the face of upper class snobbery and changing social values. show more Product details 111 x 178 x 17mm | 140g Publication date Agnes Grey by Anne Brontë · OverDrive: eBooks, audiobooks and videos for libraries Classic Literature Fiction Literature Anne Brontë's debut novel tells the realistic and moving story of a young governess For well-educated women of lesser means in the mid-nineteenth century, there was only one option for employment that paid decently and provided a sense of dignity: becoming a governess. These young women were tasked with educating the children of the rich in the ways of the world. When the Grey family falls into debt, Agnes is forced to find work as a governess and learns of the misery and cruelty that exist in the landed classes. In her first home, she sees a family with spoiled, abusive children; and in the second, she discovers the misery of the elite, who seem from afar to have everything.

Drawing from her own experiences as a governess, Brontë has crafted with warmth and realism the story of a young woman named Agnes Grey. This ebook has been professionally proofread to ensure accuracy and readability on all devices. Agnes Grey eBook by Anne Bronte - 1230000278550 | Kobo Show more Show less Agnes Grey is the debut novel of English author Anne Brontë, first published in December 1847, and republished in a second edition in 1850.[1] The novel follows Agnes Grey, a governess, as she works within families of the English gentry. Scholarship and comments by Anne's sister Charlotte Brontë suggest the novel is largely based on Anne Brontë's own experiences as a governess for five years. Like her sister Charlotte's novel Jane Eyre, it addresses what the precarious position of governess entailed and how it affected a young woman.

Buy the eBook Agnes Grey - 必应 Sign in Agnes Grey Agnes Grey is the debut novel of English author Anne Brontë (writing under the pen name of Acton Bell), first published in December 1847, and republished in a second edition in 1850. The novel follows Agnes Grey, a governess, as she works within families of the English gentry. Scholarship and comments by Anne's sister Charlotte Brontë suggest the novel is largely based on Anne Brontë's own experiences as a governess for five years. Like her sister Charlotte's novel Jane Eyre, it addresses what the precarious position of governess entailed and how it affected a young woman. The choice of central character allows Anne to deal with issues of oppression and abuse of women and gover ... (展开) nesses, isolation and ideas of empathy . An additional theme is the fair treatment of animals. Agnes Grey also mimics some of the stylistic approaches of bildungsromans, employing ideas of personal growth and coming to age, but representing a character who in fact does not gain in virtue.

The Irish novelist George Moore praised Agnes Grey as "the most perfect prose narrative in English letters," and went so far as to compare Anne's prose to that of Jane Austen. Modern critics have made more subdued claims admiring Agnes Grey with a less overt praise of Brontë's work than Moore. 包括作者简介 要英文版 给分给最佳 答 Agnes Grey is the debut novel of English author Anne Brontë, first published in December 1847, and republished in a second edition in 1850.[1] The novel follows Agnes Grey, a governess, as s... 包括作者简介 要英文版 给分给最佳 答 【内容简介】Drawing on her own experience, Anne Bront~ charts the development of gentle Agnes and sympathetically depicts the harsh treatment she receives along the way. Leaving her idyllic home a... Agnes Grey Background and publication The genesis of Agnes Grey was attributed by Edward Chitham to the reflections on life found in Anne's diary of 31 July 1845.

It is likely that Anne was the first of the Brontë sisters to write a work of prose for publication, although Agnes Grey, Wuthering Heights, and Jane Eyre were all published within the same year: 1847. Anne's novel was eventually published by Thomas Newby in a triple-volume format: Emily's Wuthering Heights made up the first two volumes (by virtue of it being the longer), while Agnes Grey made up the third. The original edition of Agnes Grey, published in 1847, had numerous orthographic, punctuation, and other issues attributed to neglect by the publisher Newby. However, the second edition, published in 1850, had many changes after the careful editing of Charlotte Brontë. Agnes Grey Plot Agnes Grey is the daughter of Mr. Grey, a minister of modest means, and Mrs. Grey, a woman who left her wealthy family and married purely out of love. Mr. Grey tries to increase the family's financial standing, but the merchant he entrusts his money to dies in a wreck, and the lost investment plunges the family into debt.

Agnes, her sister Mary, and their mother all try to keep expenses low and bring in extra money, but Agnes is frustrated that everyone treats her like a child. To prove herself and to earn money, she is determined to get a position as a governess. Eventually, she obtains a recommendation from a well-placed acquaintance, is offered a position, and secures her parents' permission. With some misgivings, she travels to Wellwood house to work for the Bloomfield family. The Bloomfields are rich and much crueller than Agnes has expected. Mrs. Bloomfield spoils her children while Mr. Bloomfield constantly finds fault with Agnes's work. The children are unruly and Agnes is held accountable for them despite being given no real authority over them. Tom, the oldest Bloomfield child, is particularly abusive and even tortures small animals. In less than a year, Agnes is relieved of her position, since Mrs. Bloomfield thinks that her children are not learning quickly enough. Agnes returns home. She then begs her mother to help her find a new situation. Agnes advertises and is given a position in an even wealthier family – the Murrays.

The two boys, John and Charles, are both sent to school soon after her arrival, but the girls Rosalie and Matilda remain her charges. Matilda is a tomboy, prone to lying. Rosalie is a flirt. Both girls are selfish and sometimes unpleasant, and although Agnes's position is slightly better than it was at Wellwood house, she is frequently ignored or used in the girls' schemes. Agnes begins to visit Nancy Brown, an old woman with poor eyesight who needs help reading the Bible; there Agnes meets the new parson, Mr. Edward Weston. The next day while on a walk Agnes is surprised by Mr. Weston, who picks some wild violets for her. Agnes later saves the flowers in her Bible. She learns that his mother has died not long ago. This new friendship is noticed by Rosalie Murray, who has now entered into society and is a favorite with nearly all suitors in the county. Rosalie becomes engaged to Lord Ashby, a wealthy baronet from Ashby Park. She tells Agnes, but makes her promise to keep silent, as she is still going to flirt with other men before she is married.

One day, she and Agnes go on a walk and meet Mr. Weston. Rosalie begins to flirt with him, much to Agnes's chagrin. Agnes receives a note from her sister Mary, who is now married to Mr. Richardson, a parson of a rectory near their home. Mary warns that their father is dying and begs Agnes to come. Agnes arrives too late to see her father alive. After his funeral, Agnes opens a small school with her mother, leaving behind the Murrays and Mr. Weston. She receives a letter from Rosalie who is very unhappy in her marriage and asks Agnes to come for a visit. Agnes is shocked by the change in Rosalie from a merry girl to an unhappy young woman. Rosalie confides that she despises Lord Ashby (and her mother-in-law), and claims he only left London because he was jealous of all the gentlemen she was attracting. Agnes also hears that Mr. Weston has left the area, and she grieves, believing she will not be able to see him again. Agnes leaves Ashby Park and returns home.

The day after she arrives, she goes for a walk on the sea shore and encounters Mr. Weston, who had been looking for her since he moved to the nearby parsonage. He is introduced to Agnes's mother, and they forge a bond. Agnes finds her attraction to him growing, and she accepts when he proposes marriage. In the end, Agnes is very happy having married Edward Weston, and they have three children together. Agnes Grey Characters Agnes Grey—Main protagonist and narrator of the story. She is the younger daughter of Richard Grey, and is determined to take care of herself, to save trouble for her mother. Edward Weston—A country parson whom Agnes meets while visiting the poor near the Murray's estate. He and Agnes fall in love, but Agnes believes that he loves the beautiful Rosalie Murray. In the end, he and Agnes marry. Richard Grey—Agnes’ father, a poor parson who loses his patrimony in a disastrous speculation which ruined his health. Alice Grey—Agnes’ mother, a lady who left her family to marry Richard Grey, and who opens a school with Agnes after her husband's death.

Mary Grey-Agnes’ sister who later marries a parson, Mr. Richardson. Mrs. Bloomfield—Mistress of Wellwood. Agnes’ first employer, she is convinced that her incorrigible children are really very good, and that Agnes is a bad example to them. Mr. Bloomfield—Master of Wellwood. He is convinced that Agnes is not competent, and as a result, often watches her, scolding her for the misbehavior of the children, which she could not prevent. Matilda Murray—The younger daughter of the Murray family. She is a tom-boy who has learned to swear from her father and the outdoors servant men. She does not want to learn anything, but is forced to by Agnes’ being there. She is very fond of horses and wants more than anything to ride with her father on his hunting trips. Rosalie Ashby (formerly Rosalie Murray)—The oldest Murray child, who makes Agnes a sort of confidant. She is a selfish girl who flirts with any man she comes in contact with. She is jealous of Agnes because of Edward Weston, even though she told Agnes that Mr.

Weston was an “ugly blockhead.”She marries Lord Ashby because he was rich had a title, and she adored Ashby Park. She later regrets her marriage, and becomes closer to Agnes. John Murray—Older of the two Murray boys. He is sent to school about a year after Agnes comes to be his family's governess. Charles Murray—The younger of the two Murray boys. He is sent to school about two years after Agnes come to the Murray's household. Mr. Murray—Agnes's second employer. He is often out hunting, and has taught his daughter, Matilda to swear. Mrs. Murray—Agnes's second employer's wife. She is a fashionable, showy woman who wants her daughters to marry well. Matilda drives her crazy because of her tom-boy ways. She convinces Rosalie that Lord Ashby's character is not as bad as is reported. Lord Thomas Ashby—Rosalie's husband. He has a terrible character which Rosalie knows about when she marries him. While he is always talking about different women, he gets furious and jealous if Rosalie mentions one other man. Mr. Hatfield—Curate near the Murray's estate.

He has an attraction to Rosalie because of her fortune, and she flirts with him for a while. When he proposes, she laughs at him, and he ends up marrying an older woman with a lot of money, Nancy Brown—An older woman whom Agnes befriends. In her house, Agnes and Mr. Weston meet. She is a great admirer of Mr. Weston's. Tom Bloomfield—The oldest Bloomfield child. He is cruel to animals, something Agnes tries to stop, but fails as he is encouraged by his parents and his uncle. Mr. Richardson—A middle-aged parson. He marries Mary Grey. Agnes Grey Genre Cates Baldridge describes Agnes Grey as a novel which "takes great pains to announce itself as a bildungsroman" but in fact never allows its character to grow up or transform for ideological reasons. Baldridge says that the early emphasis on the bourgeois upbringing of Agnes allows the presuppositions of the reader that the transformative bourgeois class will develop an ideal person of virtue.

However, Agnes stalls in her development because of the corrupted nature of the household in which she is employed and the ineffectiveness of the moral transformation, become a static member of the bourgeois, ambivalent to the Victorian value of moral transformation in virtue. Autobiographical novel Agnes Grey is also an autobiographical novel with strong parallels between its events and Anne's own life as a governess; indeed, according to Charlotte Brontë, the story of Agnes largely stemmed from Anne's own experiences as a governess. Like Agnes, "dear, gentle" Anne was the youngest child of a poor clergyman. In April 1839, she took up a position as a governess with the Ingham family of Blake Hall, Mirfield, in Yorkshire, about 20 miles away from Haworth, to whom the Bloomfields bear some resemblance. One of the most memorable scenes from the novel, in which Agnes kills a group of birds to save them from being tortured by Tom Bloomfield, was taken from an actual incident. In December 1839, Anne, similarly to Agnes, was dismissed.

Anne found a post at Thorp Green, Little Ouseburn, near York, around 70 miles away, just as Agnes' second position is further from home, with older pupils—Lydia Robinson, 15. Elizabeth, 13, and Mary, 12. There was also a son, Edmund, who was eight when Anne began working there in the spring of 1840. Anne's brother Branwell became his tutor in January 1843. The fictional Murrays of Horton Lodge echo the Robinsons; similarly to the "dashing" Mrs. Murray, who "certainly required neither rouge nor padding to add to her charms", Mrs. Lydia Robinson was a handsome woman of 40 when Anne came to Thorp Green. Stevie Davies remarks that Agnes Grey could likewise be called a "Protestant spiritual autobiography". Firstly, the book retains a sober tone and Agnes also displays a very strong Puritan personality reflected in her name. Agnes is derived from the Greek for chaste, hagne, and Grey is commonly associated with "Quakers and quietists to express radical dissociation from gaudy worldiness". F.B.

Pinion is of the opinion that Agnes Grey "is almost certainly a fictionalized adaptation of Passages in the Life of an Individual". However, he also points to several sections that are "wholly fictitious": the opening and Agnes's return home after failure in her first post; the love story which develops during her second period as a governess; the marriage and disillusionment of Rosalie Murray; and, above all, the happy ending. Social instruction Throughout Agnes Grey, Agnes is able to return to her mother for instruction when the rest of her life becomes rough. F.B. Pinion identifies this impulse to return home with a desire in Anne to provide instruction for society. Pinion quotes Anne's belief that "All good histories contain instruction" when he makes this argument. He says that Anne felt that she could "Reveal life as it is...[so that] right and wrong will be clear in a discerning reader without sermonizing." Her discussion of oppression of governesses, and in turn women, can be understood from this perspective. Oppression[edit] Events representative of cruel treatment of governesses and of women recur throughout Agnes Grey.

Additionally, Brontë depicts scenes of cruelty towards animals, as well as degrading treatment of Agnes. Parallels have been drawn between the oppression of these two groups—animals and females—that are "beneath" the upper class human male. To Anne, the treatment of animals reflected on the character of the person. This theme of oppression provided social commentary, likely based on Anne's experiences. Twenty years after its publication Lady Amberly commented that "I should like to give it to every family with a governess and shall read it through again when I have a governess to remind me to be human." Animals Beyond the treatment of animals, Anne carefully describes the actions and expressions of animals. Stevies Davies observes that this acuity of examination along with the moral reflection on the treatment of animals suggests that, for Anne, "animals are fellow beings with an ethical claim on human protection." Agnes Grey Critical reception Agnes Grey was popular during what remained of Anne Brontë's life, despite the belief of many critics at the time that the novel was marred by "coarseness" and "vulgarity," but it lost some of its popularity afterwards because of its perceived moralising.

However, in the 20th century there was an increase in examination by scholars of Agnes Grey and of Anne Brontë herself. In Conversation in Ebury Street, the Irish novelist George Moore provided a commonly cited example of these newer reviews, overtly praising the style of the novel. F.B. Pinion agreed to a large extent that Agnes Grey was a masterwork. However, Pinion felt that Moore's examination of the piece was a little extreme and that his "preoccupation with style must have blinded him to the persistence of her moral purpose" of Agnes Grey. ^ a b c d Thomsan, Patricia (August 1990). "Review:Agnes Grey". The Review of English Studies. New Series (Oxford University Press) 41 (No. 163): 441–442. JSTOR515755. ^ "The Literary Prowess of Anne Brontë (Derek Stanford)". Mick-armitage.staff.shef.ac.uk. Retrieved 3 June 2014. ^ a b c d e f Davies, Stevie (2002).

"'Three distinct and unconnected tales': The Professor, Agnes Grey and Wuthering Heights". In Heather Glen. The Cambridge Companion to The Brontës. Cambridge University Press. pp.72–97. ISBN0-521-77027-0. ^ Craik, 203 ^ Brontë, Anne (1954) [1847–48]. "Anne Brontë"". In G.F.Maine. The Tenant of Wildfell Hall, Agnes Grey. Collins. ^ Harrison and Stanford pp.227–229 ^ a b Baldridge, Cates (Winter 1993). ""Agnes Grey": Brontë's "Bildungsroman" That Isn't". The Journal of Narrative Technique (Journal of Narrative Theory) 23 (1): 31–45. JSTOR30225374. ^ Fraser, Rebecca (2008). Charlotte Brontë: A Writer's Life (2 ed.). 45 Wall Street, Suite 1021 New York, NY 10005: Pegasus Books LLC.

p.261. ISBN978-1-933648-88-0. ^ a b c d e White, Kathryn (1999). Introduction to Agnes Grey. Great Britain: Wordworth Editions Limited. ISBN1-85326-216-1. ^ Craik, 204 ^ a b c d e f Pinion, F.B. (1975). "Agnes Grey". A Brontë Companion. New York: Barnes & Noble. pp.236–242. ISBN0-06-495737-3. ^ Harrison and Stanford p.222 ^ Berg, Maggie (2002). "'Hapless Dependents': Women and Animals in Anne Brontë's Agnes Grey.". Studies in the Novel (EBSCO) 34 (2): 177. ISSN0039-3827. ^ Miele, Kathryn (March 2008). "Do Unto Others: Learning Empathy in Agnes Grey". Brontë Studies (EBSCO) 33.

doi:10.1179/147489308X259569. ISSN1474-8932. ^ Frawley pp.88–89 Agnes Grey : Anne Brontë : 9781496192349 Add to basket Add to wishlist Description Agnes Grey is the debut novel of English author Anne Bronte, first published in December 1847, and republished in a second edition in 1850. The novel follows Agnes Grey, a governess, as she works in several bourgeois families. Scholarship and comments by Anne's sister Charlotte Bronte suggest the novel is largely based on Anne Bronte's own experiences as a governess for five years. Like her sister Charlotte's novel Jane Eyre, it addresses what the precarious position of governess entailed and how it affected a young woman. The choice of central character allows Anne to deal with issues of oppression and abuse of women and governesses, isolation and ideas of empathy. An additional theme is the fair treatment of animals.

Agnes Grey also mimics some of the stylistic approaches of bildungsromans, employing ideas of personal growth and coming to age, but representing a character who in fact does not gain in virtue. The Irish novelist George Moore praised Agnes Grey as "the most perfect prose narrative in English letters," and went so far as to compare Anne's prose to that of Jane Austen. Modern critics have made more subdued claims admiring Agnes Grey with a less overt praise of Bronte's work than Moore. Critical reception Agnes Grey was popular during Anne Bronte's life, despite the belief of critics at the time that the novel was marred by 'coarseness' and 'vulgarity.' The novel lost some of its popularity after Bronte's death due to disfavour of its perceived moralising. There has, however, been a recent increase in examination by scholars of Agnes Grey and Anne Bronte herself. In Conversation in Ebury Street, the Irish novelist George Moore provides a commonly cited example of these newer reviews, overtly praising the style of Anne in the book. F.B. Pinion agreed to a large extent that Agnes Grey was quite a masterwork.

However, Pinion felt that Moore's examination of the piece was a little extreme and his "preoccupation with style must have blinded him to the persistence of her moral purpose" of Agnes Grey." show more Product details 152.4 x 228.6 x 12.95mm | 362.87g Publication date 9781496192349 About: Agnes Grey About: Agnes Grey An Entity of Type : written work , from Named Graph : , within Data Space : dbpedia.org Agnes Grey is the debut novel of English author Anne Brontë (writing under the pen name of Acton Bell), first published in December 1847, and republished in a second edition in 1850. The novel follows Agnes Grey, a governess, as she works within families of the English gentry. Scholarship and comments by Anne's sister Charlotte Brontë suggest the novel is largely based on Anne Brontë's own experiences as a governess for five years. Like her sister Charlotte's novel Jane Eyre, it addresses what the precarious position of governess entailed and how it affected a young woman.

Property أغنيس غراي (بالإنجليزية: Agnes Grey) هي رواية للكاتب الإنجليزية آن برونته، نشرت لأول مرة في ديسمبر عام 1847، وأعيد نشرها في طبعة ثانية عام 1850. (ar) Agnes Grey is the debut novel of English author Anne Brontë (writing under the pen name of Acton Bell), first published in December 1847, and republished in a second edition in 1850. The novel follows Agnes Grey, a governess, as she works within families of the English gentry. Scholarship and comments by Anne's sister Charlotte Brontë suggest the novel is largely based on Anne Brontë's own experiences as a governess for five years. Like her sister Charlotte's novel Jane Eyre, it addresses what the precarious position of governess entailed and how it affected a young woman. The choice of central character allows Anne to deal with issues of oppression and abuse of women and governesses, isolation and ideas of empathy. An additional theme is the fair treatment of animals.

Agnes Grey also mimics some of the stylistic approaches of bildungsromans, employing ideas of personal growth and coming to age, but representing a character who in fact does not gain in virtue. The Irish novelist George Moore praised Agnes Grey as "the most perfect prose narrative in English letters," and went so far as to compare Anne's prose to that of Jane Austen. Modern critics have made more subdued claims admiring Agnes Grey with a less overt praise of Brontë's work than Moore. (en) Agnes Grey est le premier des deux romans de l'écrivain anglais Anne Brontë. Publié en décembre 1847 sous le pseudonyme d'Acton Bell, il paraît en France pour la première fois en 1859. Le roman est fondé sur la propre expérience de l'auteur comme gouvernante, et présente certains rapports stylistiques avec les œuvres de l'auteur anglais Jane Austen (1775-1817), plus importants que dans les textes suivants.

À l'instar de Jane Eyre, écrit par Charlotte, la sœur d'Anne (publié en octobre 1847), le livre décrit la position précaire des gouvernantes et la façon dont les jeunes femmes exerçant cette profession en sont affectées. (fr) Agnes Grey es una novela escrita y publicada en 1847 por la autora inglesa Anne Brontë. La novela trata acerca de una institutriz del mismo nombre, y está basada en las propias experiencias de Brontë en la materia. Fue, asimismo, la primera novela de la autora. De forma similar a la novela de su hermana, Jane Eyre, esta es una novela que señala la posición precaria que afrontaba una institutriz y cómo afectaba a una joven mujer. El novelista irlandés George Moore elogió Agnes Grey como la "narrativa en prosa más perfecta de las obras literarias inglesas".

(es) Agnes Grey è un romanzo di Anne Brontë pubblicato nel 1847 sotto lo pseudonimo di "Acton Bell". Protagonista del romanzo è un'istitutrice, ed è basato sulle esperienze personali dell'autrice. Simile a Jane Eyre della sorella Charlotte Brontë, il romanzo descrive la precaria situazione dell'essere istitutrice, e come ciò possa influenzare una giovane donna. (it) Agnes Grey ist der erste veröffentlichte Roman der britischen Schriftstellerin Anne Brontë. Er wurde erstmals im Dezember 1847 veröffentlicht und erschien in zweiter Auflage im Jahre 1850. Der Roman erzählt von der Tätigkeit Agnes Greys als Gouvernante in verschiedenen bürgerlichen Haushalten. Sowohl auf Basis von Kommentaren durch Annes Schwester Charlotte Brontë als auch literaturwissenschaftlicher Recherche geht man heute davon aus, dass der Roman wesentlich auf Anne Brontës eigenen Erfahrungen als Gouvernante basiert.

Insgesamt war sie fünf Jahre in diesem Beruf tätig. Agnes Grey wird wie der Roman Jane Eyre, den ihre Schwester Charlotte verfasste, den sogenannten Viktorianischen Gouvernantenromanen zugerechnet und gilt gemeinsam mit Werk ihrer Schwester als eines der wenigen Werke dieses Genres, die noch heute von einem größeren Publikum gelesen werden. Wie Jane Eyre adressiert er die schwierige Position der Gouvernante, die wie ihre Arbeitgeber eigentlich dem Bürgertum zuzurechnen waren, aber auf Grund ihrer Erwerbstätigkeit sich in einer undefinierten sozialen Position befanden. Die Erstausgabe aus dem Jahre 1847 wurde von dem Verleger Thomas Cautly Newby herausgegeben, einem der am wenigsten sorgfältig arbeitenden Verleger Londons. Es erschien gemeinsam mit dem Roman Wuthering Heights ihrer Schwester Emily Brontë. Die Ausgabe wies auf Grund der schlechten Arbeit des Verlegers zahlreiche Schreibfehler auf.

Die zweite Ausgabe, die 1850 erschien, wurde sorgfältig durch Charlotte Brontë editiert.

(de) 阿格尼斯·格雷（Agnes Grey），安妮·勃朗特作品，是一部現實主義的小說，寫的是家教的故事，可以說是安妮本人的一部自傳。《阿格尼丝·格雷》以“所有真实的历史都离不开指导”一句起首，定义了该作品写实的格调。小说中的阿格尼丝是一名穷困牧师的小女儿，为了生计而去富家担任家庭女教师。安妮根据自己担任家庭教师的经历，以第一人称叙述这个故事，小说中的阿格尼丝年轻，未经世事，追求完美，同时又有力求自立自尊。《阿格尼丝·格雷》赞颂善良和忍耐，是一部以‘如愿以偿’构架的小说。同时，作品以写实而又尖锐的笔法描述了当时的儿童教育以及寄宿在富家的家庭教师的生活日程。作者详细地描绘了人物性格及他们各自的日常生活，连一些微妙的印象也不遗漏。作者的文风诙谐，偶带讽刺，略有简·奥斯汀的风范。 (zh) «Агнес Грей» (англ.

Agnes Grey) — первый роман младшей из сестёр Бронте, Энн. Увидел свет в 1847 году. (ru) أغنيس غراي (بالإنجليزية: Agnes Grey) هي رواية للكاتب الإنجليزية آن برونته، نشرت لأول مرة في ديسمبر عام 1847، وأعيد نشرها في طبعة ثانية عام 1850. (ar) Agnes Grey est le premier des deux romans de l'écrivain anglais Anne Brontë. Publié en décembre 1847 sous le pseudonyme d'Acton Bell, il paraît en France pour la première fois en 1859. Le roman est fondé sur la propre expérience de l'auteur comme gouvernante, et présente certains rapports stylistiques avec les œuvres de l'auteur anglais Jane Austen (1775-1817), plus importants que dans les textes suivants.

À l'instar de Jane Eyre, écrit par Charlotte, la sœur d'Anne (publié en octobre 1847), le livre décrit la position précaire des gouvernantes et la façon dont les jeunes femmes exerçant cette profession en sont affectées.

(fr) 阿格尼斯·格雷（Agnes Grey），安妮·勃朗特作品，是一部現實主義的小說，寫的是家教的故事，可以說是安妮本人的一部自傳。《阿格尼丝·格雷》以“所有真实的历史都离不开指导”一句起首，定义了该作品写实的格调。小说中的阿格尼丝是一名穷困牧师的小女儿，为了生计而去富家担任家庭女教师。安妮根据自己担任家庭教师的经历，以第一人称叙述这个故事，小说中的阿格尼丝年轻，未经世事，追求完美，同时又有力求自立自尊。《阿格尼丝·格雷》赞颂善良和忍耐，是一部以‘如愿以偿’构架的小说。同时，作品以写实而又尖锐的笔法描述了当时的儿童教育以及寄宿在富家的家庭教师的生活日程。作者详细地描绘了人物性格及他们各自的日常生活，连一些微妙的印象也不遗漏。作者的文风诙谐，偶带讽刺，略有简·奥斯汀的风范。 (zh) «Агнес Грей» (англ.

Agnes Grey) — первый роман младшей из сестёр Бронте, Энн. Увидел свет в 1847 году. (ru) Agnes Grey is the debut novel of English author Anne Brontë (writing under the pen name of Acton Bell), first published in December 1847, and republished in a second edition in 1850. The novel follows Agnes Grey, a governess, as she works within families of the English gentry. Scholarship and comments by Anne's sister Charlotte Brontë suggest the novel is largely based on Anne Brontë's own experiences as a governess for five years. Like her sister Charlotte's novel Jane Eyre, it addresses what the precarious position of governess entailed and how it affected a young woman. (en) Agnes Grey es una novela escrita y publicada en 1847 por la autora inglesa Anne Brontë. La novela trata acerca de una institutriz del mismo nombre, y está basada en las propias experiencias de Brontë en la materia. Fue, asimismo, la primera novela de la autora.

De forma similar a la novela de su hermana, Jane Eyre, esta es una novela que señala la posición precaria que afrontaba una institutriz y cómo afectaba a una joven mujer.El novelista irlandés George Moore elogió Agnes Grey como la "narrativa en prosa más perfecta de las obras literarias inglesas". (es) Agnes Grey ist der erste veröffentlichte Roman der britischen Schriftstellerin Anne Brontë. Er wurde erstmals im Dezember 1847 veröffentlicht und erschien in zweiter Auflage im Jahre 1850. Der Roman erzählt von der Tätigkeit Agnes Greys als Gouvernante in verschiedenen bürgerlichen Haushalten.Die Erstausgabe aus dem Jahre 1847 wurde von dem Verleger Thomas Cautly Newby herausgegeben, einem der am wenigsten sorgfältig arbeitenden Verleger Londons. Es erschien gemeinsam mit dem Roman Wuthering Heights ihrer Schwester Emily Brontë.

(de) Agnes Grey è un romanzo di Anne Brontë pubblicato nel 1847 sotto lo pseudonimo di "Acton Bell".Protagonista del romanzo è un'istitutrice, ed è basato sulle esperienze personali dell'autrice. Simile a Jane Eyre della sorella Charlotte Brontë, il romanzo descrive la precaria situazione dell'essere istitutrice, e come ciò possa influenzare una giovane donna. (it) AGNES GREY eBook by Anne Bronte - 1230000160457 | Kobo Or, get it for 2400 Kobo Super Points! See if you have enough points for this eBook. Sign in Synopsis Show more Show less Agnes Grey is the debut novel of English author Anne Brontë, first published in December 1847, and republished in a second edition in 1850. The novel follows Agnes Grey, a governess, as she works in several bourgeois families.

Scholarship and comments by Anne's sister Charlotte Brontësuggest the novel is largely based on Anne Brontë's own experiences as a governess for five years. Like her sister Charlotte's novel Jane Eyre, it addresses what the precarious position of governess entailed and how it affected a young woman. The choice of central character allows Anne to deal with issues of oppression and abuse of women and governesses, isolation and ideas of empathy. An additional theme is the fair treatment of animals. Agnes Grey also mimics some of the stylistic approaches of bildungsromans, employing ideas of personal growth and coming to age, but representing a character who in fact does not gain in virtue. The Irish novelist George Moore praised Agnes Grey as "the most perfect prose narrative in English letters," and went so far as to compare Anne's prose to that of Jane Austen. Modern critics have made more subdued claims admiring Agnes Grey with a less overt praise of Brontë's work than Moore. Text and chapters are perfectly set up to match the layout and feel of a physical copy, rather than being haphazardly thrown together for a quick release. Features:

Question: Concerning a governess, what was the debut novel of Anne Bronte?
Answer: Agnes Grey