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Charlotte Bront?
Portrait by George Richmond (1850, chalk on paper)
Born	(2025-08-14)21 April 1816 Thornton, Yorkshire, England
Died	31 March 1855(2025-08-14) (aged 38) Haworth, Yorkshire, England
Resting place	St Michael and All Angels' Church, Haworth
Pen name	Lord Charles Albert Florian Wellesley Currer Bell
Occupation	Novelist, poet, governess
Genre	Fiction, poetry
Notable works	Jane Eyre Villette
Spouse	Arthur Bell Nicholls ​ ​ (m. 1854)​
Parents	Patrick Bront? Maria Branwell
Relatives	Bront? family
Signature

Charlotte Nicholls (née Bront?; 21 April 1816 – 31 March 1855), commonly known as Charlotte Bront? (/??ɑ?rl?t ?br?nti/, commonly /-te?/), was an English novelist and poet, and was the elder sister of Emily, Anne and Branwell Bront?. She is best known for her novel Jane Eyre, which was published under the pseudonym Currer Bell. Jane Eyre was a success on publication, and has since become known as a classic of English literature.

Charlotte was the third of six siblings born to Maria Branwell, the daughter of a Cornish merchant, and Patrick Bront?, an Irish clergyman. Maria died when Charlotte was only five years old, and three years later, Charlotte was sent to the Clergy Daughters' School at Cowan Bridge in Lancashire, along with her three sisters, Maria, Elizabeth and Emily. Conditions at the school were appalling, with frequent outbreaks of disease. Charlotte's two elder sisters fell ill there and died; Charlotte attributed her own lifelong ill-health to her time at Cowan Bridge, and later used it as the model for Lowood School in Jane Eyre.

In 1831, Charlotte became a pupil at Roe Head School in Mirfield, but left the following year in order to teach her sisters, Emily and Anne, at home. In 1835, Charlotte returned to Roe Head as a teacher. In 1839, she accepted a job as governess to a local family, but left after a few months.

In 1842, Charlotte joined the Heger Pensionnat, a girls' boarding school in Brussels, as a student teacher, in the hope of acquiring the skills required to open a school of her own. However she was obliged to leave after falling in love with the school's director, Constantin Heger, a married man, who inspired both the character of Rochester in Jane Eyre, and Charlotte's first novel, The Professor.

Charlotte, Emily and Anne then attempted to open a school in Haworth, but failed to attract pupils. In 1846 the sisters published a collection of poems under the pseudonyms Currer, Ellis, and Acton Bell. Although Charlotte's first novel, The Professor, was rejected by publishers, her second novel, Jane Eyre, was published in 1847. The sisters' true identities were revealed in 1848, and by the following year Charlotte was known in London literary circles.

In 1854, Charlotte married Arthur Bell Nicholls, her father's curate. She became pregnant shortly after her wedding in June 1854, but died on 31 March 1855, possibly of tuberculosis, although there is evidence that she may have died from hyperemesis gravidarum, a complication of pregnancy.

Early years and education

Charlotte Bront? was born on 21 April 1816, in the Yorkshire village of Thornton, near Bradford. The house in which she was born is now known as the Bront? Birthplace. Charlotte was the third of six children born to Maria Branwell, the daughter of a merchant from Cornwall, and Patrick Bront? (born Brunty) an Anglican curate from a poor Irish family.

Haworth

In 1820, the Bront?s moved to the village of Haworth, on the edge of the moors, where Patrick had been offered the position of perpetual curate of St Michael and All Angels Church. His salary was modest, but the post came with the use of a parsonage overlooking the churchyard, and looking out onto the moors. Patrick, as an Irish immigrant, struggled to be accepted in Haworth, and his children, who at first shared his Irish accent, also shared his lifelong sense of being an outsider. Living conditions in Haworth were poor, with high levels of early mortality and a water supply contaminated by runoff from the graveyard, as reported by in 1850 in a damning health report by Benjamin Babbage.Historians have speculated that these factors may have contributed to the death of Charlotte and her siblings.

Death of Maria Branwell

Soon after arriving in Haworth, Maria fell ill with what is now believed to have been cancer. She died on 15 September 1821, leaving her six young children, Maria, Elizabeth, Charlotte, Branwell, Emily and Anne, in the care of her sister, Elizabeth Branwell. Charlotte was then only five years old.

Cowan Bridge

In August 1824, Patrick sent Maria, Elizabeth, Charlotte, and Emily to the Clergy Daughters' School at Cowan Bridge in Lancashire. The sisters were aged ten, nine, eight and five respectively, and had previously had no formal education. Charlotte's school report mentions that the eight-year old Charlotte "writes indifferently" and "knows nothing of grammar, geography, history, or accomplishments", although she is "altogether clever of her age". Conditions at the school were harsh, with frequent outbreaks of disease, and in 1825, after an outbreak of typhus, Charlotte's two elder sisters both fell ill and subsequently died at home. Charlotte later maintained that conditions at the school had permanently affected her own health and physical development (she was of slight build and was less than 5 feet (1.5 m) tall). After the deaths of Maria and Elizabeth, Patrick removed Charlotte and Emily from the school and arranged for them to be taught at home. Charlotte later used Cowan Bridge as the model for Lowood School in Jane Eyre, which is similarly affected by tuberculosis and typhus exacerbated by the poor conditions, and the headmaster, the Reverend William Carus-Wilson, was represented by Charlotte in her portrait of Mr Brocklehurst, the headmaster of Lowood, a depiction that prompted Carus-Wilson to threaten to sue for libel.

Early writings

At home in Haworth Parsonage, the nine-year-old Charlotte now took over the care of her younger siblings under the supervision of their aunt Branwell. Patrick Bront?, though a difficult character in many ways, encouraged all his children to read widely, to take an interest in politics and current affairs and to enjoy music, art and poetry. He introduced them to the work of Lord Byron, and allowed them to read the newspapers and periodicals to which he subscribed. Although girls were not allowed access to the village library, Branwell shared his books with his sisters.

The siblings, who had grown very close, began to write stories together, often based on the lives of their real-life heroes. Charlotte began writing poetry when she was 13 in 1829, eventually writing more than 200 poems during her life. Many of these poems first appeared in a homemade magazine entitled Branwell's Blackwood's Magazine, which was linked to the fictional Glass Town Confederacy. Charlotte and her siblings – Branwell, Emily and Anne – had created this shared world, and begun following the lives of its inhabitants in 1827. Charlotte, in private letters, called Glass Town "her 'world below', a fantasy in which she could explore different lives and identities. Over the course of this project Charlotte showed her love for romantic settings, love affairs, and high society, while Branwell's contribution reflected his interest in battles and politics, although all the children contributed to some degree.

From 1831 onwards, Emily and Anne withdrew from the Glass Town project to create a fictional land of their own called Gondal, while Charlotte and Branwell concentrated on an expanded version of the Glass Town Confederacy called Angria. Christine Alexander, a Bront? juvenilia historian, wrote that: "both Charlotte and Branwell ensured the consistency of their imaginary world. When Branwell exuberantly kills off important characters in his manuscripts, Charlotte comes to the rescue and, in effect, resurrects them for the next stories [...]; and when Branwell becomes bored with his inventions, such as the Glass Town magazine he edits, Charlotte takes over his initiative and keeps the publication going for several more years". The sagas created by the siblings exist as partial manuscripts, some of which have been published as juvenilia. The siblings continued to create narratives around their imaginary lands throughout their childhood and adolescence, an interest that continued even into adulthood.In 1833 Charlotte wrote several novellas, including The Green Dwarf, under the name Wellesley. From about 1833, her stories seemed to show less of an interest in the supernatural and a shift to more realistic subject matters.

Roe Head

In 1831, when she was fifteen, Charlotte Bront? was sent twenty miles away to Roe Head, a boarding school in Mirfield (now part of Hollybank Special School), where she became friends with two girls of her own age, Ellen Nussey and Mary Taylor. Mary was bright and outgoing; Ellen quieter and more reserved, but both girls became close to Charlotte, and continued to correspond with her throughout her life. Both Mary and Ellen recalled Charlotte's old-fashioned clothing and Irish accent, while Ellen recalled Charlotte's lack of appetite and reluctance to eat meat. Charlotte's eyesight was very poor, which meant that she was unable to join in ball games or learn to play from sheet music, although both her friends mentioned her love of drawing and poetry.

Career

In 1832 Charlotte left Roe Head in order to teach her sisters at home in Haworth. In 1835, she returned to Roe Head as a teacher, remaining until 1838. Lonely and unhappy in her teaching post, Charlotte found an escape in writing poetry. Many of her poems were set in the imaginary world of Angria, often featuring Byronic heroes. Later, one of her ex-pupils was to describe Miss Bront? writing at her desk, in tiny letters, with her eyes shut; and Charlotte's writing from this period expresses her disgust for her "oafish" pupils and her desire to escape into fantasy. In December 1836, just before her twenty-first birthday, she wrote to the Poet Laureate Robert Southey asking for encouragement in her hoped-for career as a poet, and announcing her ambition to 'be forever known'. Southey wrote in response:

Literature cannot be the business of a woman's life, and it ought not to be. The more she is engaged in her proper duties, the less leisure will she have for it even as an accomplishment and a recreation.

Charlotte entered into a short correspondence with Southey, thanking him for his advice, but making clear her intention to pursue her writing. In 1839, Charlotte received a proposal of marriage from Henry Nussey, the brother of her friend Ellen Nussey, which she declined to accept, writing in a letter to Ellen:

I felt that though I esteemed Henry... I had not, and never could have that intense attachment which would make me willing to die for him – and if I ever marry it must be in that light of adoration that I will regard my Husband.

Between 1839 and 1841, Charlotte sought employment as a governess to several local families. She was unhappy in her work, noting that her employers treated her as a servant, and were constantly humiliating her.In 1839 she joined the Sidgwick family at Stone Gappe, as governess to their son, John Benson Sidgwick. According to Charlotte, John was an unruly child, who once threw a Bible at her, an incident that may have inspired the section of Jane Eyre in which John Reed throws a book at Jane.

Brussels

Plaque in Brussels, on the Centre for Fine Arts, Brussels

In 1842 Charlotte travelled with Emily to Brussels to the Pensionnat Heger, a boarding school run by Constantin Heger (1809–1896) and his wife, Claire. Both were student teachers, Charlotte teaching English and Emily teaching music in return for board and lodging, and in this way they hoped eventually to acquire the language skills they needed to open a school of their own. Charlotte, a Protestant, objected to the Catholicism of Madame Heger, but she was happy at the Pensionnat, and developed a close friendship with her tutor, Constantin Heger.

In October 1842 the sisters were called back to Haworth by the death of their aunt Elizabeth Branwell. The following January Charlotte returned to Brussels alone to take up a teaching post at the school, but she was not happy: she was homesick, and her attachment to Constantin Heger had developed into an unrequited passion that made it impossible for her to remain. Charlotte returned to Haworth in January 1844, and later used her time in Brussels as the inspiration for some of the events in The Professor and Villette.Heger attempted to destroy the letters sent to him by Charlotte, in which she expresses her feelings and her expectation to hear from him, but his wife retrieved and preserved them.

After Charlotte's return to Haworth, the sisters attempted to open their own boarding school at the Parsonage. It was advertised as "The Misses Bront?'s Establishment for the Board and Education of a limited number of Young Ladies" and inquiries were made to prospective pupils and sources of funding. But the remote location made it difficult to attract pupils, and in October 1844, the project was abandoned.

First publication

In May 1846, Charlotte, Emily, and Anne paid for the publication of a collection of their poems under the pseudonyms Currer, Ellis and Acton Bell. The sisters took names that corresponded with their initials: thus Charlotte was Currer Bell. Of this decision to conceal their identities, Charlotte wrote:

Averse to personal publicity, we veiled our own names under those of Currer, Ellis and Acton Bell; the ambiguous choice being dictated by a sort of conscientious scruple at assuming Christian names positively masculine, while we did not like to declare ourselves women, because – without at that time suspecting that our mode of writing and thinking was not what is called "feminine" – we had a vague impression that authoresses are liable to be looked on with prejudice; we had noticed how critics sometimes use for their chastisement the weapon of personality, and for their reward, a flattery, which is not true praise.

Although only two copies of the collection of poems were sold, the sisters continued to write and submit work for publication, using their noms de plume.

The Professor and Jane Eyre

Main article: Jane Eyre

Title page of the first edition of Jane Eyre

In 1846 Charlotte submitted her first novel, The Professor, to publisher Smith, Elder & Co. of Cornhill. The novel was rejected, though the publisher expressed interest in any further works by Currer Bell. Charlotte submitted a second manuscript, Jane Eyre, in August 1847, which was published six weeks later. The novel follows the life of a plain young woman, Jane, depicting her troubled childhood, her unhappy schooldays and her arrival in a new post as a governess to a young girl in a secluded mansion in Yorkshire. Jane falls in love with her employer, Mr Rochester, who is secretly hiding the fact that his first wife, a dangerous madwoman, is being kept in the attic. The book's style combined Romanticism, naturalism and gothic melodrama, but broke new ground with its first-person female perspective. Charlotte believed art was most convincing when based on personal experience; in Jane Eyre she transformed her experience into novel form.

Jane Eyre had immediate commercial success and initially received favourable reviews. G. H. Lewes wrote that it was "an utterance from the depths of a struggling, suffering, much-enduring spirit", and declared that it consisted of "suspiria de profundis!" (sighs from the depths). The publication of Wuthering Heights by Ellis Bell and Agnes Grey by Acton Bell caused further speculation about the identity of Currer Bell, including a change in the attitude of critics to Charlotte's work, as well as accusations that the writing was "coarse". This was linked to the media's growing suspicion that Currer Bell was a woman. However, sales of Jane Eyre continued to grow, possibly as a result of the novel's reputation as an "improper" book. Charlotte executed the drawings for the second edition of Jane Eyre herself, and in the summer of 1834 two of her paintings were shown at an exhibition by the Royal Northern Society for the Encouragement of the Fine Arts in Leeds.

Shirley and bereavements

In 1848, Charlotte began her second novel, Shirley, but that year saw the deaths of all three of her surviving siblings within eight months of each other. In September, Branwell died of multiple conditions exacerbated by his heavy drinking. Emily died three months later of tuberculosis, and in May 1849, Anne died of the same illness. After the deaths of Emily and Anne, a family servant, Martha Brown, recalled how the sisters had used to walk round the dining-room table in the Parsonage, discussing their writings, and spoke of her sadness "to hear Miss Bront? walking, walking on alone".

After Anne's death Charlotte resumed writing as a way of dealing with her grief, and Shirley, which deals with themes of industrial unrest and the role of women in society, was published in October 1849. Unlike Jane Eyre, Shirley is written in the third person and lacks the emotional immediacy of her first novel, and reviewers found it less shocking. Charlotte, as her late sister's heir, suppressed the republication of Anne's second novel, The Tenant of Wildfell Hall, an action which had a negative effect on Anne's popularity as a novelist and has remained controversial among the sisters' biographers ever since.

In society

Although Emily and Anne were both opposed to their real identities being known, Charlotte discreetly revealed herself to her publisher and friends as the author of Jane Eyre. This led Charlotte to make occasional visits to London, where she began to move in more exalted social circles, becoming friends with Elizabeth Gaskell and Harriet Martineau whose sister Rachel had taught Gaskell's daughters. Charlotte sent an early copy of Shirley to Martineau whose home at Ambleside she visited. The two friends shared an interest in racial relations and the abolitionist movement; recurrent themes in their writings. Charlotte was also acquainted with William Makepeace Thackeray and G. H. Lewes. She never left Haworth for more than a few weeks at a time, as she did not want to leave her ageing father. Thackeray's daughter, writer Anne Isabella Thackeray Ritchie, recalled a visit to her father by Charlotte:

... two gentlemen come in, leading a tiny, delicate, serious, little lady, with fair straight hair and steady eyes. She may be a little over thirty; she is dressed in a little barège dress with a pattern of faint green moss. She enters in mittens, in silence, in seriousness; our hearts are beating with wild excitement. This then is the authoress, the unknown power whose books have set all London talking, reading, speculating; some people even say our father wrote the books – the wonderful books. ... The moment is so breathless that dinner comes as a relief to the solemnity of the occasion, and we all smile as my father stoops to offer his arm; for, genius though she may be, Miss Bront? can barely reach his elbow. My own personal impressions are that she is somewhat grave and stern, specially to forward little girls who wish to chatter. ... Everyone waited for the brilliant conversation which never began at all. Miss Bront? retired to the sofa in the study, and murmured a low word now and then to our kind governess ... the conversation grew dimmer and more dim, the ladies sat round still expectant, my father was too much perturbed by the gloom and the silence to be able to cope with it at all ... after Miss Bront? had left, I was surprised to see my father opening the front door with his hat on. He put his fingers to his lips, walked out into the darkness, and shut the door quietly behind him ... long afterwards ... Mrs Procter asked me if I knew what had happened. ... It was one of the dullest evenings [Mrs Procter] had ever spent in her life ... the ladies who had all come expecting so much delightful conversation, and the gloom and the constraint, and how finally, overwhelmed by the situation, my father had quietly left the room, left the house, and gone off to his club.

Charlotte's friendship with Elizabeth Gaskell, while not particularly close, was significant in that Gaskell wrote the first biography of Charlotte after her death in 1855.

Villette

Charlotte's third novel, the last published in her lifetime, was Villette, which appeared in 1853. Its main themes include isolation, how such a condition can be borne, and the internal conflict brought about by social repression of individual desire. Its main character, Lucy Snowe, travels abroad to teach in a boarding school in the fictional town of Villette, where she encounters a culture and religion different from her own and falls in love with a man (Paul Emanuel) whom she cannot marry. Her experiences result in a breakdown but eventually, she achieves independence and fulfilment through running her own school. A substantial amount of the novel's dialogue is in the French language. Villette marked Charlotte's return to writing from a first-person perspective (that of Lucy Snowe), the technique she had used in Jane Eyre. Another similarity to Jane Eyre lies in the use of aspects of her own life as inspiration for fictional events, in particular her reworking of the time she spent at the pensionnat in Brussels. Villette was acknowledged by critics of the day as a potent and sophisticated piece of writing although it was criticised for "coarseness" and for not being suitably "feminine" in its portrayal of Lucy's desires.

Marriage

This photo-portrait of Ellen Nussey has long been mistaken for one of her friend Charlotte Bront?. The photo is a copy made c. 1918 by the photographer, Sir Emery Walker, from an original carte de visite photo which was then privately owned.

Before the publication of Villette, Charlotte received a proposal of marriage from Irishman Arthur Bell Nicholls, her father's curate, who had long been in love with her. She initially refused him and her father objected to the union at least partly because of Nicholls's poor financial status. Elizabeth Gaskell, who believed that marriage provided "clear and defined duties" that were beneficial for a woman, encouraged Charlotte to consider the positive aspects of such a union and tried to use her contacts to engineer an improvement in Nicholls's finances. According to James Pope-Hennessy in The Flight of Youth, it was the generosity of Richard Monckton Milnes that made the marriage possible. Charlotte, meanwhile, was increasingly attracted to Nicholls and by January 1854, she had accepted his proposal. They gained the approval of her father by April and married on 29 June. Her father Patrick had intended to give Charlotte away, but at the last minute decided he could not, and Charlotte had to make her way to the church without him. Because her father did not attend it was Miss Wooler (Charlotte's former teacher at Roe Head School, and life-long friend) who gave her away. The married couple took their honeymoon in Banagher, County Offaly, Ireland. By all accounts, her marriage was a success and Charlotte found herself very happy in a way that was new to her.

Death

Brass plaque on family vault of Charlotte Bront? and Emily Bront? at St Michael and All Angels' Church, Haworth

Charlotte became pregnant soon after her wedding, but her health declined rapidly and, according to Gaskell, she was attacked by "sensations of perpetual nausea and ever-recurring faintness". She died, along with her unborn child, on 31 March 1855, three weeks before her 39th birthday. Her death certificate gives the cause of death as phthisis, but biographers including Claire Harman and others suggest that she died from dehydration and malnourishment due to vomiting caused by severe morning sickness or hyperemesis gravidarum. She was buried in the family vault in the Church of St Michael and All Angels at Haworth.

The Professor, Charlotte's first novel, was published posthumously in 1857. The fragment of a new novel she had been writing in her last years has been twice completed by recent authors, the more famous version being Emma Brown: A Novel from the Unfinished Manuscript by Charlotte Bront? by Clare Boylan in 2003. Most of her writings about the imaginary country of Angria have also been published since her death. In 2018, The New York Times published a belated obituary for her.

Religion

The daughter of an Irish Anglican clergyman, Charlotte was herself an Anglican. In a letter to her publisher, she claims to "love the Church of England. Her Ministers indeed, I do not regard as infallible personages, I have seen too much of them for that – but to the Establishment, with all her faults – the profane Athanasian Creed excluded – I am sincerely attached."

In a letter to Ellen Nussey she wrote:

If I could always live with you, and daily read the bible with you, if your lips and mine could at the same time, drink the same draught from the same pure fountain of Mercy – I hope, I trust, I might one day become better, far better, than my evil wandering thoughts, my corrupt heart, cold to the spirit, and warm to the flesh will now permit me to be.

The Life of Charlotte Bront?

Portrait by J. H. Thompson at the Bront? Parsonage Museum

Elizabeth Gaskell's biography The Life of Charlotte Bront? was published in 1857. It was an important step for a leading female novelist to write a biography of another, and Gaskell's approach was unusual in that, rather than analysing her subject's achievements, she concentrated on private details of Charlotte's life, emphasising those aspects that countered the accusations of "coarseness" that had been levelled at her writing. The biography is frank in places, but omits details of Charlotte's love for Constantin Heger, a married man, as being too much of an affront to contemporary morals and a likely source of distress to Charlotte's father, widower, and friends. Gaskell also provided doubtful and possibly inaccurate information about Patrick Bront?, including the claim that he did not allow his children to eat meat. This is seemingly refuted by one of Emily Bront?'s diary papers, in which she describes preparing meat and potatoes for dinner at the Parsonage. In a letter to her publisher, Charlotte complains of Gaskell's tendency to depict her as weak and helpless, writing: "She seems determined that I shall be a sort of invalid. Why may I not be well like other people?" It has been argued that Gaskell's approach transferred the focus of attention away from the 'difficult' novels, not just Charlotte's, but all the sisters', and began a process of sanctification of their private lives.

Letters

Charlotte was the most prolific letter-writer of the Bront? siblings, and her correspondence forms the backbone of her biographies. Most of her surviving letters are to her old school friend Ellen Nussey, although her letters to her other school friend Mary Taylor, to whom she confided her imaginary world and literary ambitions, were destroyed.

Nussey Letters

350 of the some 500 letters sent by Charlotte to Ellen Nussey survive, whereas all of Nussey's letters to Charlotte were burned at Nicholls's request. These surviving letters provide most of the information available on Charlotte Bront?'s life.

Charlotte's letters to Nussey have been interpreted by some to have romantic undertones:

What shall I do without you? How long are we likely to be separated? Why are we to be denied each other's society- I long to be with you. Why are we to be divided? Surely, Ellen, it must be because we are in danger of loving each other too well-

Some scholars believe it is possible, given their passionate friendship, that Charlotte Bront? was in a romantic or sexual relationship with Ellen Nussey.

Heger letters

On 29 July 1913 The Times of London printed four letters Charlotte had written to Constantin Heger after leaving Brussels in 1844. Written in French except for one postscript in English, the letters broke the prevailing image of Charlotte as an angelic martyr to Christian and female duties that had been constructed by many biographers, beginning with Gaskell. The letters, which formed part of a larger and somewhat one-sided correspondence to which Heger frequently appears not to have replied, reveal that she had been in love with a married man, although they are complex and have been interpreted in numerous ways, including as an example of literary self-dramatisation and an expression of gratitude from a former pupil.

Letters to George Smith

Charlotte also engaged in frequent correspondence with her editor, George Smith. The often flirtatious tone of these letters has been remarked upon by historians, and her letter to him on hearing of his impending marriage to another has been interpreted as a sign of her despair:

My dear Sir

In great happiness, as in great grief - words of sympathy should be few. Accept my meed of congratulation - and believe me

Sincerely yours,

C. Bront?

Legacy

Kazuo Ishiguro, when asked to name his favourite novelist, answered "Charlotte Bront?'s recently edged out Dostoevsky...I owe my career, and a lot else besides, to Jane Eyre and Villette."

The town of Bronte, Texas, is named for Charlotte Bront? (though the town's name is pronounced "brahnt").

In 1980 a commemorative plaque was unveiled at the Centre for Fine Arts, Brussels, on the site of Madame Heger's school, in honour of Charlotte and Emily.

Publications

Branwell Bront?, Painting of the 3 Bront? Sisters, left to right: Anne, Emily and Charlotte Bront?. Branwell painted himself out of this portrait of his three sisters. National Portrait Gallery, London.

An idealised posthumous portrait by Duyckinick, 1873, based on a drawing by George Richmond

Juvenilia

• The Young Men's Magazine, Volumes 1–3 (August 1830)
• A Book of Ryhmes (1829)
• The Spell
• The Secret
• Lily Hart
• The Foundling
• Albion and Marina
• Tales of the Islanders
• Tales of Angria (written 1838–1839 – a collection of childhood and young adult writings including five short novels)
  • Mina Laury
  • Stancliffe's Hotel
  • The Duke of Zamorna
  • Henry Hastings
  • Caroline Vernon
  • The Roe Head Journal Fragments
  • Farewell to Angria

The Green Dwarf, A Tale of the Perfect Tense was written in 1833 under the pseudonym Lord Charles Albert Florian Wellesley. It shows the influence of Walter Scott, and modifications to Charlotte's earlier gothic style have led Christine Alexander to comment that, in the work, "it is clear that Bront? was becoming tired of the gothic mode per se".

At the end of 1839, Charlotte wrote Farewell to Angria, a manuscript in which she explored her growing dependency on her fantasy world. Fearing for her sanity, and with the sense that she was losing her grip on reality, she finally made the decision to set Angria aside for good. In this document, she speaks of the pain of leaving her 'friends' and venturing into 'lands unknown'.

Novels

• Jane Eyre, published in 1847
• Shirley, published in 1849
• Villette, published in 1853
• The Professor, written before Jane Eyre, was first submitted together with Wuthering Heights by Emily Bront? and Agnes Grey by Anne Bront?. Subsequently, The Professor was resubmitted separately, and rejected by many publishing houses. It was published posthumously in 1857
• Emma, unfinished; Bront? wrote only 20 pages of the manuscript, published posthumously in 1860. In recent decades, at least two continuations of this fragment have appeared:
  • Emma, by "Charlotte Bront? and Another Lady", published 1980; although this has been attributed to Elizabeth Goudge, the actual author was Constance Savery.
  • Emma Brown, by Clare Boylan, published 2003

Poetry

• Bell, Currer; Bell, Ellis; Bell, Acton (1846). Poems.
• Selected Poems of the Bront?s, Everyman Poetry (1997)

Media portrayals

• In the 1946 Curtis Bernhardt film Devotion, a fictionalized biography of the Bront? sisters, Olivia de Havilland plays Charlotte.
• A 15 November 1953 episode of the Loretta Young Show, "The Bronte Story", features Loretta Young as Charlotte.
• The 2018 comic Die features a fictionalised version of Charlotte within the Brontes' fictional kingdom of Angria.
• In the 2022 Frances O'Connor film Emily, about Emily Bront?, Alexandra Dowling plays Charlotte.

References

Sources

• Alexander, Christine (March 1993). "'That Kingdom of Gloo': Charlotte Bront?, the Annuals and the Gothic". Nineteenth-Century Literature. 47 (4): 409–436. doi:10.2307/2933782. JSTOR 2933782.
• Fraser, Rebecca (2008). Charlotte Bront?: A Writer's Life (2 ed.). New York: Pegasus Books LLC. p. 261. ISBN 978-1-933648-88-0.
• Lane, Margaret (1953). The Bront? Story: a reconsideration of Mrs. Gaskell's Life of Charlotte Bront?.
• Miller, Lucasta (2002). The Bront? Myth. London: Vintage. ISBN 978-0-09-928714-8.
• Miller, Lucasta (2005). The Bront? Myth. New York: Anchor. ISBN 978-1400078356.
• Paddock, Lisa; Rollyson, Carl (2003). The Bront?s A to Z. New York: Facts on File. ISBN 978-0-8160-4303-3.
• Phillips-Evans, James (2012). The Longcrofts: 500 Years of a British Family. Amazon. pp. 260–261. ISBN 978-1481020886.
• Potter, Dawn (Summer 2010). "Inventing Charlotte Bront?". The Sewanee Review. 118 (3): 393–399. doi:10.1353/sew.2010.0014. S2CID 161213323.
•  This article incorporates text from a publication now in the public domain: Cousin, John William (1910). A Short Biographical Dictionary of English Literature. London: J. M. Dent & Sons – via Wikisource.

Further reading

• The Letters of Charlotte Bront?, 3 volumes edited by Margaret Smith, 2007
• The Life of Charlotte Bront?, Elizabeth Gaskell, 1857
• Charlotte Bront?, Winifred Gérin
• Charlotte Bront?: a passionate life, Lyndal Gordon
• The Literary Protégées of the Lake Poets, Dennis Low (Chapter 1 contains a revisionist contextualisation of Robert Southey's infamous letter to Charlotte Bront?)
• Charlotte Bront?: Unquiet Soul, Margot Peters
• In the Footsteps of the Bront?s, Ellis Chadwick
• The Bront?s, Juliet Barker
• Charlotte Bront? and her Dearest Nell, Barbara Whitehead
• The Bront? Myth, Lucasta Miller
• A Life in Letters, selected by Juliet Barker
• Charlotte Bront? and Defensive Conduct: The Author and the Body at Risk, Janet Gezari, University of Pennsylvania Press, 1992
• Charlotte Bront?: Truculent Spirit, by Valerie Grosvenor Myer, 1987
• Charlotte Bront? and her Family, Rebecca Fraser
• The Oxford Reader's Companion to the Bront?s, Christine Alexander & Margaret Smith
• Charlotte & Arthur, Pauline Clooney (2021) ISBN 978-1916501676. Reimagining Charlotte Bront?'s honeymoon in Ireland & Wales.
• A Bront? Family Chronology, Edward Chitham
• The Crimes of Charlotte Bront?, James Tully, 1999
• Daly, Michelle (2013). I Love Charlotte Bront?. Michelle Daly. ISBN 978-0957048751. A book about Bront? through the eyes of a working-class woman
• Heslewood, Juliet (2017). Mr Nicholls. Yorkshire: Scratching Shed. ISBN 978-0993510168. Fictionalised account of Arthur Bells Nicholls' romance of Charlotte Bront?
• O'Dowd, Michael (2021). Charlotte Bront?, An Irish Odyssey: My Heart is Knit to Him-The Honeymoon. Pardus Media. ISBN 978-1914939051. Charlotte Bront? and Arthur Bell Nicholls' wedding trip and Irish Odyssey.

External links

• Website of the Bront? Society and Parsonage Museum in Haworth, Yorkshire
• Modern Day Images of Charlotte Bront? Residences (Archived)
• Charlotte Bront? at the Internet Book List
• Charlotte's Web: A Hypertext on Charlotte Bront?'s Jane Eyre (Archived)
• Rare Charlotte Bronte book coming home after museum's auction success
• Poems by Charlotte Brontё

• The Bront?s
• Charlotte Bront?: An Independent Will 2016 exhibition at the Morgan Library & Museum

Electronic editions

• Works by Charlotte Bront? in eBook form at Standard Ebooks
• Works by Charlotte Bront? at Project Gutenberg
• Works by Charlotte Bront? at Faded Page (Canada)
• Works by or about Charlotte Bront? at the Internet Archive
• Works by Charlotte Bront? at LibriVox (public domain audiobooks)
• Works by Charlotte Bront? in the online library ARHEVE.org and in the free ARHEVE app