Wednesday, 26 October 2016

Yorkshire and Irish roots explored: talks by Blake Morrison and Monica Wallace on Saturday 22 October 2016

Ireland and Yorkshire were both featured in our day of talks on 22 October. The Yorkshire writer Blake Morrison, who is half Irish, spoke about growing up near Haworth and his play We Are Three Sisters. Monica Wallace, who recently returned to her native Dublin after five years working in Brussels, returned to Belgium to give us a talk on Charlotte Brontë’s Irish honeymoon.

Blake Morrison and the Brontës

Blake Morrison began his talk by drawing out parallels between his own childhood and the Brontës’. He told us about growing up near Skipton close to the Yorkshire-Lancashire border, in an old rectory at the top of the village, not far from Pendle Hill where the ‘Pendle Witches’ famous in local legend were hanged in 1612. His mother was Irish and his father, as a doctor (in fact both parents were doctors) was an important man in the village just as Patrick Brontë the parson was in Haworth. He told us about reading Jane Eyre in secret as a teenager – in secret because it was not considered boys’ reading in the laddish Yorkshire culture of the time; it was not on the curriculum at the boys’ grammar school he attended – and about the affinity he felt with the young Jane and the novel’s power as a book for young adults. Blake told us how he found out that his mother was hiding her copy of Lady Chatterley’s Lover in her bedside table around the same time that he was hiding his of Jane Eyre (a novel that when it first came out was also regarded as a ‘naughty’ book!).

Blake Morrison

Blake went on to tell us how he came to write his play about the Brontës, We are three sisters. First he recounted how an earlier Brontë-inspired stage production, a musical version of Wuthering Heights he wrote in 1986, was never performed; four other musical versions of the novel were doing the rounds at the time and in the end Heathcliff with lyrics by Tim Rice, starring Cliff Richard, was the only one to be staged. To give us a taste of his own version of Wuthering Heights, Blake read us the ballad Isabella’s Song, which starts:

As I stepped out one summer night

to feed my white ring-dove

a shadow fell across the gate

and swore undying love.

The shadow stretched out tall and slim,

its face was black as night.

It spoke to me of wedding-rings

and bridesmaids bathed in light ….

The full poem can be read in his book of verse A discoverie of Witches (2012) prompted by the Pennine landscape in which he grew up. In a very different mood, the collection also includes the Ballad of the Yorkshire Ripper, an exploration - in dialect - of the deeds and motives of Peter Sutcliffe, convicted of killing 13 women in 1981. Morrison has never shrunk from tackling such subjects, and has written a book on the James Bulger murder case.

Blake Morrison chatting to a
Brussels Brontë Group member

Turning to the genesis of his play We Are Three Sisters, in which he took up the challenge of re-writing Chekhov’s play with Charlotte, Emily and Anne as the sisters, Blake told us that when a theatre critic friend first suggested the idea to him, he dismissed it as ‘bonkers’. He was however persuaded to go ahead with the project by the artistic director of the theatre company Northern Broadsides, which staged the play in 2011.

In Blake’s play, Moscow, to which Chekhov’s three sisters long to go, has become London, and, similarly, various characters in the Chekhov play are replaced by equivalent characters from the Brontës’ circle (their doctor, Patrick’s curate). Blake explained that although he used the Brontës own words in his text where possible, the use of Chekhov’s play as a basis meant he had to take some liberties with the Brontës’ life story, with sometimes amusing results. For example, in his play the woman with whom Branwell is believed to have had an affair, his employer’s wife Lydia Robinson, turns up at the Parsonage, which she never visited in real life. Members of our group read out extracts from two scenes in the play: Charlotte and Anne telling Emily about their trip to reveal their identity to the publisher George Smith in London, and Charlotte telling her father about the publication of Jane Eyre.

Contrary to the common perception of the Brontës’ lives as eventless, Blake found them full of interest and drama and wanted to show Haworth as less bleak than it is generally portrayed. His play has many touches of humour and he describes it as a ‘tragi-comedy’, much like the original Chekhov.

In the course of the talk, in addition to some of his poems, Blake read us extracts from his memoir And when did you last see your father? Made into a film in 2007 starring Jim Broadbent and Colin Firth, it contains many memories of his childhood. By the end of his time with us we had gained many insights into his personal background and the wide range of his literary output as well as becoming acquainted with his Brontë play.

Charlotte Brontë in Ireland

It was good to welcome back Monica Wallace, who has spoken to our group before and was an active member of it when working in Brussels as transport attaché for Ireland in 2009-14. She is now back in Dublin, working for the Irish transport department. For this presentation she researched the family of Charlotte Brontë’s husband, the Anglican clergyman Arthur Bell Nicholls, and the route taken by the couple on their honeymoon in the summer of 1854 at the start of their brief marriage (Charlotte died 9 months later in March 1855).

The Brussels Brontë Group
Monica Wallace

Monica began by filling us in on Nicholls’ family – born in County Antrim as one of a large family that was struggling financially, he was adopted at a young age by a more affluent uncle, his mother’s brother Alan Bell, who ran a school in Banagher. Arthur never saw his own parents again; his mother died 5 years later. Like Charlotte, he had a stint as a badly-paid teacher when he helped out at his uncle’s school. His biographer Alan Adamson (whose widow Monica met on a trip to Canada) speculates that despite Arthur’s happiness in his new family, he probably suffered from insecurity as a result of these upheavals and financial problems in his early days.

Monica also filled us in on some of the developments in Irish history in Nicholls’ and Patrick Brontë’s lifetimes, for example Daniel O’Connell’s campaign for Catholic Emancipation, which was followed with interest by the Brontës; the Anglican Patrick Brontë initially opposed it but changed his position. She sketched conditions in Ireland at the time of Charlotte’s visit and the often condescending attitudes of English visitors to the country, such as Thackeray.

The Brussels Brontë Group
Monica Wallace fills us in on Arthur Nicholls' family

She then took us on a richly-illustrated tour of the honeymoon route, starting in Dún Laoghaire (where Monica herself lives) and thence to Cuba House, the family home in Banagher, via Dublin. From there, Charlotte and Arthur went on to visit Kilkee, Tarbert in Co. Limerick and Tralee, the Lakes of Killarney and the Gap of Dunloe (where Charlotte escaped unharmed when thrown from her horse) in Co. Kerry. We saw some of the hotels where they stayed and learned that at that period hotels were strictly segregated into Protestant and Catholic.

We gleaned fascinating snippets about Arthur’s family, such as that one of his brothers had a daughter named Charlotte Brontë Nicholls, and Banagher: Anthony Trollope lived there in the 1840s in the first years of his marriage and is sure to have met the Bells.

Arthur Bell Nicholls

Charlotte may have had some misapprehensions about the Bell family. For example, she appears to have believed that Cuba House was owned by the family (in fact it came courtesy of the school of which Alan Bell was headmaster) and that Nicholls’ aunt Bell was educated in England (actually she spent just one week at an English boarding school before being brought back to Ireland as her family missed her). What is certain is that where the Bell family was concerned Charlotte was forced to abandon her prejudices against Ireland, and had nothing but praise for her in-laws’ ‘gentility’ and kindness. She also gave positive reports of her new husband as she began to really get to know him for the first time, in his native country and his family circle.

Helen MacEwan

Monday, 24 October 2016

The Professor in Germany

The first German translation of The Professor was published in 1858 in Stuttgart, translated "Aus dem Englischen von Dr. Büchele", as it says on the title page.

Title page of the 1858 German The Professor

This edition was republished in facsimile form in 2015 by Reink Books, as a print on demand book. A 2016 copy has also been spotted (but we have not included it in the statistical analysis article for that year).

The second and only other translation was published for the first time in 1990, by Ars Vivendi from Cadolzburg (302 pp.). It was done by Gottfried Röckelein, who also translated Jane Eyre.

Cover of the 1990 German The Professor

Tuesday, 18 October 2016

Villette in Germany – Part two

After the two translations of Villette published in Berlin and Stuttgart in 1853, described earlier, it took until 1971 before a new translation, by Christiane Agricola, was published in Germany. So far it has reached 14 editions, the last one having been published in 2015. The two other translations in German were Swiss. Agricola (1927-2009), was from Leipzig, in (the former state of) East Germany. She also translated Jane Austen's Northanger Abbey, and Welsh and Scottish folk tales (even from Welsh apparently!).  

The first edition (686 pp.) was published by List from Leipzig. It had an afterword by Helmut Findeisen (from Dresden probably). One suspects that was a marxist interpretation of the novel. No doubt it is a good translation. It is nr. 8 on the list of longest running translations, with a fine 44 years between the first and (so far) last edition, making her the top scorer for the German language.

Cover of the 1971 Leipzig Villette

It was republished the next year by the same publisher, List, but this time in Munich, in West Germany. As it had only 657 pages, with no mention of an afterword, it must be that it was dropped.

Cover of the 1972 Munich Villette

Tuesday, 11 October 2016

Villette and The Professor in German and French. Part one - Switzerland


The story of Villette in Switzerland begins in April 1856, with an ad for La Maitresse d'Anglais, the Belgian-French (abridged) translation published in 1855. It’s just an internet find but it helps to give an idea about how the novel spread around Europe. In this case to the French speaking part of Switzerland.

Head of the Feuille d’avis de Neuchatel
 of 19 April 1856

Part of page 2 of the Feuille d’avis
de Neuchatel of 19 April 1856

The German speaking part of the country will have learnt about the novel earlier, in view of the 1853 German translations. The first new German translation of Villette came in 1947. It was published in
Zürich, Switzerland, by Manesse (584 pp.). As far as is known this is the oldest illustrated Villette cover of a translation. It took until 1971 before Germany had its first new translation. Switzerland also has French translations, and it’s even got a Swiss-Italian Jane Eyre.

Monday, 19 September 2016

'The Professor' in Russian and Ukrainian

The first Russian translation of The Professor was published in 1857, in the journal Otechestvennye zapisky (Notes of the Fatherland) nr. 115, pp. 107-202 and 621-730. The second translation was first published in 1997 by Mir I Semya (382 pp.).  There have been more translators but the title is always the same: Учитель (Utchitel, The teacher). This translation was done by Natalia Fleishman, who also did the annotations. An afterword was written by Yekaterina Teplova. The book has illustrations by Ljudmila Sergeeva.

Cover of the 1997 Russian
The Professor

The second and third editions of the Fleishman translation were published in 2006 by Tekst from Moscow (284 pp.).

Cover of the first 2006 Russian
The Professor

Cover of the second 2006 Russian
The Professor