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Emily Brontë
Emily Jane Brontë (/ˈbrɒnti/, commonly /-teɪ/;[2] 30 July 1818
Emily Jane Brontë
– 19 December 1848)[3] was an English novelist and poet who is
best known for her only novel, Wuthering Heights, now
considered a classic of English literature. She also published a
book of poetry with her sisters Charlotte and Anne titled Poems
by Currer, Ellis and Acton Bell with her own poems finding
regard as poetic genius. Emily was the second-youngest of the
four surviving Brontë siblings, between the youngest Anne and
her brother Branwell. She published under the pen name Ellis
Bell.

Contents
Early life and loss
Adulthood
Personality and character The only undisputed portrait of
Wuthering Heights Brontë, from a group portrait by her
brother Branwell[1]
Death
Legacy Born 30 July 1818

Thornton, Yorkshire,
See also England
References Died 19 December 1848
Further reading (aged 30)

Haworth, Yorkshire,
External links England
Electronic editions
Resting St Michael and All
place Angels' Church,
Haworth, Yorkshire
Early life and loss Pen name Ellis Bell

Emily Brontë was born on 30 July 1818 to Maria Branwell and an Occupation Poet · novelist ·
Irish father, Patrick Brontë. The family was living on Market governess
Street in the village of Thornton on the outskirts of Bradford, in Nationality English
the West Riding of Yorkshire, England. Emily was the second Citizenship British
youngest of six siblings, preceded by Maria, Elizabeth, Charlotte Education Cowan Bridge
and Branwell. In 1820, Emily's younger sister Anne, the last
School, Lancashire
Brontë child, was born. Shortly thereafter, the family moved eight
miles away to Haworth, where Patrick was employed as perpetual Period 1846–48
curate.[4] In Haworth, the children would have opportunities to Genre Fiction · poetry
develop their literary talents.[4] Literary Romantic Period
movement
When Emily was only three, and all six children under the age of Notable Wuthering Heights
eight, she and her siblings lost their mother, Maria, to cancer on works
15 September 1821.[5] The younger children were to be cared for Relatives Brontë family
by Elizabeth Branwell, their aunt and Maria's sister.

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Emily's three elder sisters, Maria, Elizabeth, and Charlotte, were sent to
the Clergy Daughters' School at Cowan Bridge. At the age of six, on 25
November 1824, Emily joined her sisters at school for a brief period.[6]
At school, however, the children suffered abuse and privations, and
when a typhoid epidemic swept the school, Maria and Elizabeth became
ill. Maria, who may actually have had tuberculosis, was sent home,
where she died. Emily, Charlotte and Elizabeth were subsequently
removed from the school in June 1825. Elizabeth died soon after their
return home.

The four youngest Brontë children, all under ten years of age, had
suffered the loss of the three eldest females in their immediate family.[7]

Charlotte maintained that the school's poor conditions permanently

affected her health and physical development and that it had hastened The three Brontë sisters, in
the deaths of Maria (born 1814) and Elizabeth (born 1815), who both an 1834 painting by their
died in 1825. After the deaths of his older daughters, Patrick removed brother Branwell Brontë.
From left to right: Anne,
Charlotte and Emily from the school.[8] Charlotte would use her
Emily and Charlotte.
experiences and knowledge of the school as the basis for Lowood School
(Branwell used to be
in Jane Eyre.
between Emily and
Charlotte, but subsequently
The three remaining sisters and their brother Branwell were thereafter
painted himself out.)
educated at home by their father and aunt Elizabeth Branwell. A shy girl,
Emily was very close to her siblings and was known as a great animal
lover, especially for befriending stray dogs she found wandering around
the countryside.[9] Despite the lack of formal education, Emily and her siblings had access to a wide
range of published material; favourites included Sir Walter Scott, Byron, Shelley, and Blackwood's
Magazine.[10]

Inspired by a box of toy soldiers Branwell had received as a gift,[11] the

children began to write stories which they set in a number of invented
imaginary worlds peopled by their soldiers as well as their heroes the
Duke of Wellington and his sons, Charles and Arthur Wellesley. Little
of Emily's work from this period survives, except for poems spoken by
characters.[12][13] Initially, all four children shared in creating stories
about a world called Angria.

However, when Emily was 13, she and Anne withdrew from
participation in the Angria story and began a new one about Gondal, a Emily's Gondal poems
fictional island whose myths and legends were to preoccupy the two
sisters throughout their lives. With the exception of their Gondal
poems and Anne's lists of Gondal's characters and place-names, Emily and Anne's Gondal writings
were largely not preserved. Among those that did survive are some "diary papers," written by Emily
in her twenties, which describe current events in Gondal.[14] The heroes of Gondal tended to
resemble the popular image of the Scottish Highlander, a sort of British version of the "noble savage":
romantic outlaws capable of more nobility, passion, and bravery than the denizens of
"civilization".[15] Similar themes of romanticism and noble savagery are apparent across the Brontë's
juvenilia, notably in Branwell's The Life of Alexander Percy, which tells the story of an all-consuming,
death-defying, and ultimately self-destructive love and is generally considered an inspiration for
Wuthering Heights.[16]

At seventeen, Emily began to attend the Roe Head Girls' School, where Charlotte was a teacher, but
suffered from extreme homesickness and left after only a few months. Charlotte wrote later that
"Liberty was the breath of Emily's nostrils; without it, she perished. The change from her own home
to a school and from her own very noiseless, very secluded but unrestricted and unartificial mode of
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life, to one of disciplined routine (though under the kindest auspices), was what she failed in
enduring... I felt in my heart she would die if she did not go home, and with this conviction obtained
her recall."[17] Emily returned home and Anne took her place.[18][a] At this time, the girls' objective
was to obtain sufficient education to open a small school of their own.

Adulthood
Emily became a teacher at Law Hill School in Halifax beginning
in September 1838, when she was twenty.[19] Her always fragile
health soon broke under the stress of the 17-hour work day and
she returned home in April 1839.[20] Thereafter she remained at
home, doing most of the cooking, ironing, and cleaning at
Haworth. She taught herself German out of books and also
practised the piano.[21]

In 1842, Emily accompanied Charlotte to the Héger Pensionnat

in Brussels, Belgium, where they attended the girls' academy run
by Constantin Héger in the hope of perfecting their French and
German before opening their school. Unlike Charlotte, Emily was
uncomfortable in Brussels, and refused to adopt Belgian
fashions, saying "I wish to be as God made me", which rendered Constantin Héger, teacher of
her something of an outcast.[22] Nine of Emily's French essays Charlotte and Emily during their stay
survive from this period. Héger seems to have been impressed in Brussels, on a daguerreotype
with the strength of Emily's character, writing that: dated c. 1865

She should have been a man – a great navigator. Her

powerful reason would have deduced new spheres of
discovery from the knowledge of the old; and her
strong imperious will would never have been daunted
by opposition or difficulty, never have given way but
with life. She had a head for logic, and a capability of
argument unusual in a man and rarer indeed in a
woman... impairing this gift was her stubborn tenacity
of will which rendered her obtuse to all reasoning
where her own wishes, or her own sense of right, was
concerned.[23]

The two sisters were committed to their studies and by the end of the term had become so competent
in French that Madame Héger proposed that they both stay another half-year, even, according to
Charlotte, offering to dismiss the English master so that she could take his place. Emily had, by this
time, become a competent pianist and teacher and it was suggested that she might stay on to teach
music.[24] However, the illness and death of their aunt drove them to return to their father and
Haworth.[25] In 1844, the sisters attempted to open a school in their house, but their plans were
stymied by an inability to attract students to the remote area.[26]

In 1844, Emily began going through all the poems she had written, recopying them neatly into two
notebooks. One was labelled "Gondal Poems"; the other was unlabelled. Scholars such as Fannie
Ratchford and Derek Roper have attempted to piece together a Gondal storyline and chronology from
these poems.[27][28]
In the autumn of 1845, Charlotte discovered the notebooks and insisted that the
poems be published. Emily, furious at the invasion of her privacy, at first refused but relented when
Anne brought out her own manuscripts and revealed to Charlotte that she had been writing poems in
secret as well. As co-authors of Gondal stories, Anne and Emily were accustomed to read their Gondal

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stories and poems to each other, while Charlotte was excluded from their privacy.[29] Around this
time Emily had written one of her most famous poems "No coward soul is mine", probably as an
answer to the violation of her privacy and her own transformation into a published writer.[30] Despite
Charlotte's later claim, it was not her last poem.[31]

In 1846, the sisters' poems were published in one volume as Poems by Currer, Ellis, and Acton Bell.
The Brontë sisters had adopted pseudonyms for publication, preserving their initials: Charlotte was
"Currer Bell", Emily was "Ellis Bell" and Anne was "Acton Bell".[32] Charlotte wrote in the
'Biographical Notice of Ellis and Acton Bell' that their "ambiguous choice" was "dictated by a sort of
conscientious scruple at assuming Christian names positively masculine, while we did not like to
declare ourselves women, because... we had a vague impression that authoresses are liable to be
looked on with prejudice".[33] Charlotte contributed 19 poems, and Emily and Anne each contributed
21. Although the sisters were told several months after publication that only two copies had sold,[34]
they were not discouraged (of their two readers, one was impressed enough to request their
autographs).[35] The Athenaeum reviewer praised Ellis Bell's work for its music and power, singling
out his poems as the best: "Ellis possesses a fine, quaint spirit and an evident power of wing that may
reach heights not here attempted",[36] and The Critic reviewer recognised "the presence of more
genius than it was supposed this utilitarian age had devoted to the loftier exercises of the
intellect."[37]

Personality and character

Emily Brontë's solitary and reclusive nature has made her a
mysterious figure and a challenge for biographers to assess. [38]
[39] Except for Ellen Nussey and Louise de Bassompierre, Emily's
fellow student in Brussels, she does not seem to have made any
friends outside her family. Her closest friend was her sister Anne.
Together they shared their own fantasy world, Gondal, and,
according to Ellen Nussey, in childhood they were "like twins",
"inseparable companions" and "in the very closest sympathy
which never had any interruption".[40][41] In 1845 Anne took
Emily to visit some of the places she had come to know and love
in the five years she spent as governess. A plan to visit
Scarborough fell through and instead the sisters went to York
where Anne showed Emily York Minster. During the trip the
sisters acted out some of their Gondal characters.[42]

Charlotte Brontë remains the primary source of information

about Emily, although as an elder sister, writing publicly about
her only shortly after her death, she is considered by certain
scholars not to be a neutral witness. Stevie Davies believes that Portrait painted by Branwell Brontë
there is what might be called Charlotte's smoke-screen and in 1833; sources are in
argues that Emily evidently shocked her, to the point where she disagreement over whether this
may even have doubted her sister's sanity. After Emily's death, image is of Emily or Anne.[1]
Charlotte rewrote her character, history and even poems on a
more acceptable (to her and the bourgeois reading public)
model.[43] Biographer Claire O'Callaghan suggests that the trajectory of Brontë’s legacy was altered
significantly by Elizabeth Gaskell’s biography of Charlotte, concerning not only because Gaskell did
not visit Haworth until after Emily’s death, but also because Gaskell admits to disliking what she did
know of Emily in her biography of Charlotte.[44] As O'Callaghan and others have noted, Charlotte was
Gaskell's primary source of information on Emily's life and may have exaggerated or fabricated
Emily’s frailty and shyness to cast herself in the role of maternal saviour.[45] [46]

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Charlotte presented Emily as someone whose "natural" love of the beauties of nature had become
somewhat exaggerated owing to her shy nature, portraying her as too fond of the Yorkshire moors,
and homesick whenever she was away.[47] According to Lucasta Miller, in her analysis of Brontë
biographies, "Charlotte took on the role of Emily's first mythographer."[48] In the Preface to the
Second Edition of Wuthering Heights, in 1850, Charlotte wrote:

My sister's disposition was not naturally gregarious; circumstances favoured and fostered
her tendency to seclusion; except to go to church or take a walk on the hills, she rarely
crossed the threshold of home. Though her feeling for the people round was benevolent,
intercourse with them she never sought; nor, with very few exceptions, ever experienced.
And yet she knew them: knew their ways, their language, their family histories; she could
hear of them with interest, and talk of them with detail, minute, graphic, and accurate; but
WITH them, she rarely exchanged a word.[49]

Emily's unsociability and extremely shy nature have subsequently been reported many
times.[50][51][52] According to Norma Crandall, her "warm, human aspect" was "usually revealed only
in her love of nature and of animals".[53] In a similar description, Literary news (1883) states: "
[Emily] loved the solemn moors, she loved all wild, free creatures and things",[54] and critics attest
that her love of the moors is manifest in Wuthering Heights.[55] Over the years, Emily's love of nature
has been the subject of many anecdotes. A newspaper dated 31 December 1899, gives the folksy
account that "with bird and beast [Emily] had the most intimate relations, and from her walks she
often came with fledgling or young rabbit in hand, talking softly to it, quite sure, too, that it
understood".[56] Elizabeth Gaskell, in her biography of Charlotte, told the story of Emily's punishing
her pet dog Keeper for lying "on the delicate white counterpane" that covered one of the beds in the
Parsonage. According to Gaskell, she struck him with her fists until he was "half-blind" with his eyes
"swelled up". This story is apocryphal,[57][b] and contradicts the following account of Emily's and
Keeper's relationship:

Poor old Keeper, Emily's faithful friend and worshipper, seemed to understand her like a
human being. One evening, when the four friends were sitting closely round the fire in the
sitting-room, Keeper forced himself in between Charlotte and Emily and mounted himself
on Emily’s lap; finding the space too limited for his comfort he pressed himself forward on
to the guest’s knees, making himself quite comfortable. Emily’s heart was won by the
unresisting endurance of the visitor, little guessing that she herself, being in close contact,
was the inspiring cause of submission to Keeper’s preference. Sometimes Emily would
delight in showing off Keeper—make him frantic in action, and roar with the voice of a
lion. It was a terrifying exhibition within the walls of an ordinary sitting-room. Keeper was
a solemn mourner at Emily’s funeral and never recovered his cheerfulness.[59]

In Queens of Literature of the Victorian Era (1886), Eva Hope summarises Emily's character as "a
peculiar mixture of timidity and Spartan-like courage", and goes on to say, "She was painfully shy,
but physically she was brave to a surprising degree. She loved few persons, but those few with a
passion of self-sacrificing tenderness and devotion. To other people's failings she was understanding
and forgiving, but over herself she kept a continual and most austere watch, never allowing herself to
deviate for one instant from what she considered her duty."[60]

Emily Brontë has often been characterised as a devout if somewhat unorthodox Christian, a heretic
and a visionary "mystic of the moors".[61]

Wuthering Heights
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Emily Brontë's Wuthering Heights was first published in London

in 1847 by Thomas Cautley Newby, appearing as the first two
volumes of a three-volume set that included Anne Brontë's Agnes
Grey. The authors were printed as being Ellis and Acton Bell;
Emily's real name did not appear until 1850, when it was printed
on the title page of an edited commercial edition.[62] The novel's
innovative structure somewhat puzzled critics.

Wuthering Heights's violence and passion led the Victorian

public and many early reviewers to think that it had been written
by a man.[63] According to Juliet Gardiner, "the vivid sexual
Keeper, watercolour by Emily
passion and power of its language and imagery impressed,
Brontë, 24 April 1838.
bewildered and appalled reviewers."[64] Literary critic Thomas
Joudrey further contextualizes this reaction: "Expecting in the
wake of Charlotte Brontë's Jane Eyre to be swept up in an earnest
Bildungsroman, they were instead shocked and confounded by a tale of
unchecked primal passions, replete with savage cruelty and outright
barbarism."[65] Even though the novel received mixed reviews when it
first came out, and was often condemned for its portrayal of amoral
passion, the book subsequently became an English literary classic.[66]
Emily Brontë never knew the extent of fame she achieved with her only
novel, as she died a year after its publication, aged 30.

Although a letter from her publisher indicates that Emily had begun to
write a second novel, the manuscript has never been found. Perhaps
Emily or a member of her family eventually destroyed the manuscript, if
it existed, when she was prevented by illness from completing it. It has
also been suggested that, though less likely, the letter could have been
intended for Anne Brontë, who was already writing The Tenant of
Wildfell Hall, her second novel.[67]

Title page of the original

Death edition of Wuthering
Heights (1847)
Emily's health was probably weakened by the harsh local climate and by
unsanitary conditions at home,[68] where water was contaminated by
run off from the church's graveyard.[c] Branwell died suddenly, on Sunday, 24 September 1848. At his
funeral service, a week later, Emily caught a severe cold which quickly developed into inflammation
of the lungs and led to tuberculosis.[69][d] Though her condition worsened steadily, she rejected
medical help and all offered remedies, saying that she would have "no poisoning doctor" near her.[71]
On the morning of 19 December 1848, Charlotte, fearing for her sister, wrote:

She grows daily weaker. The physician's opinion was expressed too obscurely to be of use
– he sent some medicine which she would not take. Moments so dark as these I have
never known – I pray for God's support to us all.[72]

At noon, Emily was worse; she could only whisper in gasps. With her last audible words she said to
Charlotte, "If you will send for a doctor, I will see him now",[73] but it was too late. She died that same
day at about two in the afternoon. According to Mary Robinson, an early biographer of Emily, it
happened while she was sitting on the sofa.[74] However, Charlotte's letter to William Smith Williams
where she mentions Emily's dog, Keeper, lying at the side of her dying-bed, makes this statement
seem unlikely.[75]

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It was less than three months since Branwell's death, which led Martha Brown, a housemaid, to
declare that "Miss Emily died of a broken heart for love of her brother".[76] Emily had grown so thin
that her coffin measured only 16 inches wide. The carpenter said he had never made a narrower one
for an adult.[77] Her mortal remains were interred in the family vault in St Michael and All Angels'
Church, Haworth.

Legacy

The English folk group The Unthanks released Lines, a trilogy of short albums, which includes
settings of Brontë's poems to music and was recorded at the Brontës' parsonage home, using their
own Regency era piano, played by Adrian McNally.[78]

In the 2019 film How to Build a Girl, Emily and Charlotte Brontë are among the historical figures in
Johanna's wall collage. [79]

In May 2021, a collection of rare books and manuscripts first assembled by Emily Brontë re-emerged
after been out of public view for nearly a century. The collection will be auctioned off at Sotheby's and
is estimated to sell for £1m.[80]

See also
Walterclough Hall – a residence north-east of the village of Southowram
"Come hither child" – a poem by Emily published in 1839
"A Death-Scene" – a poem by Emily published in 1846
"To a Wreath of Snow" – a poem by Emily published in 1837

References
Notes

a. At Roe Head and Blake Hall (http://mick-armitage.staff.shef.ac.uk/anne/cast-2.html) with pictures

of the school then and now, and descriptions of Anne's time there.
b. Brontë's servant Martha Brown couldn't recall anything like this when asked about the episode in
1858. However, she remembered Emily extracting Keeper from fights with other dogs.[58]
c. A letter from Charlotte Brontë, to Ellen Nussey, Charlotte refers to the winter of 1833/4 which was
unusually wet and there were a large number of deaths in the village — thought to be caused by
water running down from the churchyard.
d. Though many of her contemporaries believed otherwise, "consumption", or tuberculosis does not
originate from "catching a cold". Tuberculosis is a communicable disease, transmitted through the
inhalation of airborne droplets of mucus or saliva carrying Mycobacterium tuberculosis, and
anyone living in close proximity with an infected person would be in an increased risk of
contracting it. However, it is also a disease that can remain asymptomatic for long periods of time
after initial infection, and developing only later when the immune system becomes weak.[70]

Footnotes

1. "The Bronte Sisters – A True Likeness? – The Profile Portrait – Emily or Anne" (https://brontesiste
rs.co.uk/The-Profile-Portrait-Emily-or-Anne.html). brontesisters.co.uk.

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2. As given by Merriam-Webster Encyclopedia of Literature (Merriam-Webster, incorporated,

Publishers: Springfield, Massachusetts, 1995), p viii: "When our research shows that an author's
pronunciation of his or her name differs from common usage, the author's pronunciation is listed
first, and the descriptor commonly precedes the more familiar pronunciation." See also entries on
Anne, Charlotte and Emily Brontë, pp 175–176.
3. The New Encyclopædia Britannica, Volume 2. Encyclopædia Britannica, Inc. 1992. p. 546.
4. Fraser, The Brontës, p. 16
5. Fraser, The Brontës, p. 28
6. Fraser, The Brontës, p. 35
7. Fraser, The Brontës, p. 31
8. Fraser 2008, p. 261.
9. Paddock & Rollyson The Brontës A to Z p. 20.
10. Fraser, The Brontës, pp. 44–45
11. Richard E. Mezo, A Student's Guide to Wuthering Heights by Emily Brontë (2002), p. 1
12. The Brontës' Web of Childhood, by Fannie Ratchford, 1941
13. An analysis of Emily's use of paracosm play as a response to the deaths of her sisters is found in
Delmont C. Morrison's Memories of Loss and Dreams of Perfection (Baywood, 2005), ISBN 0-
89503-309-7.
14. "Emily Brontë's Letters and Diary Papers" (http://academic.brooklyn.cuny.edu/english/melani/nov
el_19c/wuthering/diary_papers#diary), City University of New York
15. Austin 2002, p. 578.
16. Paddock & Rollyson The Brontës A to Z p. 199.
17. Gaskell, The Life of Charlotte Brontë, p. 149
18. Fraser, The Brontës, p. 84
19. Vine, Emily Brontë (1998), p. 11
20. Christine L. Krueger, Encyclopedia of British writers, 19th century (2009), p. 41
21. Robert K. Wallace (2008). Emily Brontë and Beethoven: Romantic Equilibrium in Fiction and
Music. University of Georgia Press. p. 223.
22. Paddock & Rollyson The Brontës A to Z p. 21.
23. Constantin Héger, 1842, referring to Emily Brontë, as quoted in The Oxford History of the Novel
in English (2011), Volume 3, p. 208
24. Norma Crandall (1957). Emily Brontë, a Psychological Portrait. R. R. Smith Publisher. p. 85.
25. "Emily Brontë" (https://www.biography.com/people/emily-bronte-9227381). Biography. Retrieved
2 February 2018.
26. V., Barker, Juliet R. (1995). The Brontës (1st U.S. ed.). New York: St. Martin's Press. p. 440.
ISBN 0312145551. OCLC 32701664 (https://www.worldcat.org/oclc/32701664).
27. Fannie Ratchford, ed., Gondal's Queen. University of Texas Press, 1955. ISBN 0-292-72711-9.
28. Derek Roper, ed., The Poems of Emily Brontë. Oxford University Press, 1996. ISBN 0-19-
812641-7.
29. Harrison, David W (2003). The Brontes of Haworth (https://books.google.com/books?id=5F_n_qx
vHSYC). Trafford Publishing. p. 47. ISBN 978-1-55369-809-8.
30. Meredith L. McGill (2008). The Traffic in Poems: Nineteenth-century Poetry and Transatlantic
Exchange. Rutgers University Press. p. 240.
31. Brontë, Emily Jane (1938). Helen Brown and Joan Mott (ed.). Gondal Poems. Oxford: The
Shakespeare Head Press. pp. 5–8.
32. Encyclopedia of British writers, 19th century (2009), p. 41
33. Gaskell, The life of Charlotte Brontë (1857), p. 335
34. Winifred Gérin, Charlotte Brontë: the evolution of genius (1969), p. 322
35. Margot Peters, Unquiet Soul: A Biography of Charlotte Brontë (1976), p. 219
36. In the footsteps of the Brontës (1895), p. 306
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37. The poems of Emily Jane Brontë and Anne Brontë (1932), p. 102
38. Lorna Sage The Cambridge Guide to Women's Writing in English (1999), p. 90
39. U. C. Knoepflmacher, Emily Brontë: Wuthering Heights (1989), p. 112
40. Fraser, A Life of Anne Brontë, p. 39
41. Barker, The Brontës, p. 195
42. Barker, The Brontës, p. 451
43. Stevie Davies (1994). Emily Brontë: Heretic. Women's Press. p. 16.
44. Gaskell, Elizabeth (1997). The Life of Charlotte Brontë. London: Penguin Classics. p. 229.
45. Callaghan, Claire (2018). Emily Brontë Reappraised. ISBN 9781912235056.
46. Hewish, John (1969). Emily Brontë: A Critical and Biographical Study. Oxford: Oxford World
Classics.
47. Austin 2002, p. 577.
48. Miller, Lucasta (2002). The Brontë Myth. Vintage. pp. 171–174. ISBN 0-09-928714-5.
49. Editor's Preface to the Second Edition of Wuthering Heights, by Charlotte Brontë, 1850.
50. The Ladies' Repository, February 1861.
51. Alexander, Sellars, The Art of the Brontës (1995), p. 100
52. Gérin, Emily Brontë: a biography, p. 196
53. Norma Crandall, Emily Brontë: a psychological portrait (1957), p. 81
54. Pylodet, Leypoldt, Literary news (1883) Volume 4, p. 152
55. Brontë Society, The Brontës Then and Now (1947), p. 31
56. The Record-Union, "Sacramento" (http://chroniclingamerica.loc.gov/lccn/sn82015104/1899-12-3
1/ed-1/seq-10/), 31 December 1899.
57. Gezari, Janet (2014). "Introduction". The Annotated Wuthering Heights. Harward University
Press. ISBN 978-0-67-472469-3.
58. Miller 2013, p. 203.
59. Fraser 1988, p. 296.
60. Eva Hope, Queens of Literature of the Victorian Era (1886), p. 168
61. "Emily Bronte and the Religious Imagination" (https://www.bloomsbury.com/us/emily-bronte-and-t
he-religious-imagination-9781441166302/). Bloomsbury Publishing.
62. Richard E. Mezo, A Student's Guide to Wuthering Heights by Emily Brontë (2002), p. 2
63. Carter, McRae, The Routledge History of Literature in English: Britain and Ireland (2001), p. 240
64. Juliet Gardiner, The History today who's who in British history (2000), p. 109
65. Joudrey, Thomas J. "'Well, we must be for ourselves in the long run': Selfishness and Sociality in
Wuthering Heights." (http://ncl.ucpress.edu/content/70/2/165) Nineteenth-Century Literature 70.2
(2015): 165.
66. Wuthering Heights, Mobi Classics (2009)
67. The letters of Charlotte Brontë (1995), edited by Margaret Smith, Volume Two 1848–1851, p. 27
68. Gaskell, The Life of Charlotte Brontë, pp. 47–48
69. Benvenuto, Emily Brontë, p. 24
70. "Chapter 2, Transmission and Pathogenesis of Tuberculosis (TB)" (https://www.cdc.gov/tb/educati
on/corecurr/pdf/chapter2.pdf) (PDF). CDC. Retrieved 16 December 2015.
71. Fraser, "Charlotte Brontë: A Writer's Life", 316
72. Gaskell, The Life of Charlotte Brontë, pp. 67
73. Gaskell, The Life of Charlotte Brontë, pp. 68
74. Robinson, Emily Brontë, p. 308
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76. Gérin, Emily Brontë: a biography, p. 242
77. Vine, Emily Brontë (1998), p. 20

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78. Spencer, Neil (17 February 2019). "The Unthanks: Lines review – national treasures sing Emily
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girl-2020.pdf) retrieved June 2, 2021
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ws/entertainment-arts-57242780). 25 May 2021 – via www.bbc.co.uk.

Bibliography

Austin, Linda (Summer 2002). "Emily Brontë's Homesickness". Victorian Studies. 44 (4): 573–
596. PMID 12751528 (https://pubmed.ncbi.nlm.nih.gov/12751528).
Barker, Juliet R. V. (1995). The Brontës. London: Phoenix House. ISBN 1-85799-069-2.
Benvenuto, Richard (1982). Emily Brontë (https://archive.org/details/emilybront00benv). Boston:
Twayne Publishers. ISBN 0-80576-813-0.
Fraser, Rebecca (1988). The Brontës: Charlotte Brontë and her family (https://archive.org/details/
brontscharlott00fras). New York: Crown Publishers. ISBN 0-517-56438-6.
Gaskell, Elizabeth Cleghorn (1857). The Life of Charlotte Brontë. 2. London: D. Appleton.
Gérin, Winifred (1971). Emily Brontë (https://archive.org/details/emilybrontbiogra0000grin).
Oxford: Clarendon Press. ISBN 01-9812-018-4.
Paddock, Lisa; Rollyson, Carl (2003). The Brontës A to Z (https://archive.org/details/brontstozess
enti0000padd). New York: Facts On File. ISBN 0-8160-4303-5.
Robinson, F. Mary A. (1883). Emily Brontë (https://archive.org/details/emilybront00robi). Boston:
Roberts Brothers.
Vine, Steven (1998). Emily Brontë (https://archive.org/details/emilybronte00vine). New York:
Twayne Publishers. ISBN 0-80571-659-9.

Further reading
Emily Brontë, Charles Simpson
In the Footsteps of the Brontës, Ellis Chadwick
Last Things: Emily Brontë's Poems, Janet Gezari
The Oxford Reader's Companion to the Brontës, Christine Alexander & Margaret Smith
Literature and Evil, Georges Bataille
The Brontë Myth, Lucasta Miller
Emily, Daniel Wynne
Dark Quartet, Lynne Reid Banks
Emily Brontë, Winifred Gerin
A Chainless Soul: A Life of Emily Brontë, Katherine Frank
Emily Brontë. Her Life and Work, Muriel Spark and Derek Stanford
Emily's Ghost: A Novel of the Brontë Sisters, Denise Giardina
Charlotte and Emily: A Novel of the Brontës, Jude Morgan
L. P. Hartley, 'Emily Brontë In Gondal And Galdine', in L. P. Hartley, The Novelist's Responsibility
(1967), p. 35–53

External links
The Brontë Society and Brontë Parsonage Museum in Haworth (http://www.bronte.org.uk/)
(bronte.org.uk)
Map of locations associated with Wuthering Heights and Emily Brontë (http://maps.google.co.uk/
maps/ms?ie=UTF8&msa=0&msid=111811052051951249860.00043456f50a0204ad5d4&z=10&o
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m=1)
Emily Brontë (http://www.bl.uk/people/emily-bronte) at the British Library
Brontë (https://lccn.loc.gov/n79018755) at Library of Congress Authorities, with 230 catalogue
records
Poems by Emily Jane Brontë (http://www.eng-poetry.ru/english/Poet.php?PoetId=32) at English
poetry

Electronic editions
Works by Emily Brontë (https://www.gutenberg.org/author/Brontë,+Emily) at Project Gutenberg
Works by or about Emily Brontë (https://archive.org/search.php?query=%28%28subject%3A%22
Brontë%2C%20Emily%22%20OR%20subject%3A%22Emily%20Brontë%22%20OR%20creato
r%3A%22Brontë%2C%20Emily%22%20OR%20creator%3A%22Emily%20Brontë%22%20OR%2
0creator%3A%22Brontë%2C%20E%2E%22%20OR%20title%3A%22Emily%20Brontë%22%20O
R%20description%3A%22Brontë%2C%20Emily%22%20OR%20description%3A%22Emily%20Br
ontë%22%20OR%20%28Emily+Bront%2A%29%29%20OR%20%28%221818-1848%22%20AN
D%20%28%22Brontë%22%20OR%20Bronte%29%29%29%20AND%20%28-mediatype:softwar
e%29) at Internet Archive
Works by Emily Brontë (https://librivox.org/author/2072) at LibriVox (public domain audiobooks)

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