Myths of Power: A Marxist Study of the Brontës by Terry Eagleton
By Terry Eagleton
This publication units out to interpret the fiction of the Brontë sisters in gentle of a Marxist research of the old stipulations within which it was once produced. Its target isn't purely to narrate literary evidence, yet via an in depth serious exam of the novels, to discover in them an important constitution of rules and values which regarding the Brontës' ambiguous scenario in the category process in their society. Its goal is to forge shut family among the novels, nineteenth-century ideology, and old forces, as a way to remove darkness from the novels themselves in a considerably new point of view. while initially released in 1975 (second version in 1988), it was once the 1st full-length Marxist research of the Brontës and is now reissued to have a good time 30 years on account that its first e-book. It incorporates a new advent by way of Terry Eagleton that displays the alterations that experience occurred in Marxist literary feedback when you consider that 1988, and situates this reissue in present debates.
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Extra info for Myths of Power: A Marxist Study of the Brontës
Rivers at least, thefinalparagraphs seem to proclaim, has not temporised between the competing claims of world and spirit, whereas the novel has indeed negotiated such a compromise on behalf of its heroine. ') and the man we knew, whose self-denial was guiltily entwined with thrusting self-assertion. Rivers has temporised between world and spirit, even if we are now asked to forget the fact and revere him as an image of saintly self-surrender. Even that reverence, however, has its limits: Rivers is introduced into the novel just as Jane has made a painfully authentic selfsacrifice, in order to dramatise the dangers inherent in that virtue and so pave the way back to Rochester and life.
How dared they kill him! n Helen's curious vacillation between a coolly long-headed appreciation of essential reformist change and a spirited Romantic conservatism reflects a recurrent ambiguity in the novels of Charlotte Bronte. It is an ambiguity which shows up to some extent in Helen's own oppressed life at Lowood school: she herself, as a murdered innocent, is partly the martyred Charles, but unlike Charles she is also able to 'look to a distance' (although in her case towards heaven rather than future history), and counsel the indignant Jane in the virtues of patience and long-suffering.
There seems no doubt that contemporary criticism is confronted, among other methodological difficulties, with a problem of the author. Indeed it is here, ironically, that 'New Criticism' and vulgar Marxism link hands in a common dilemma. The former, unable to grasp anything but a disreputably Cartesian notion of intentionality, alienates the author from his product and in doing so severs one particular nerve between text and history. The latter, by reducing the author to some anonymous 'class-representative', the passive, replaceable bearer of historical forces, fails to understand the dialectics whereby an individual life actively transforms the historical structures which determine it into a unique artistic product.