Agnes Grey

Author(s):  
Keyword(s):  
Author(s):  
Anne Brontë ◽  
Sally Shuttleworth

‘How delightful it would be to be a governess!’ When the young Agnes Grey takes up her first post as governess she is full of hope; she believes she only has to remember ‘myself at their age’ to win her pupils’ love and trust. Instead she finds the young children she has to deal with completely unmanageable. They are, as she observes to her mother, ‘unimpressible, incomprehensible creatures’. In writing her first novel, Anne Brontë drew on her own experiences, and one can trace in the work many of the trials of the Victorian governess, often stranded far from home, and treated with little respect by her employers, yet expected to control and educate her young charges. Agnes Grey looks at childhood from nursery to adolescence, and it also charts the frustrations of romantic love, as Agnes starts to nurse warmer feelings towards the local curate, Mr Weston. The novel combines astute dissection of middle-class social behaviour and class attitudes with a wonderful study of Victorian responses to young children which has parallels with debates about education that continue to this day.


2016 ◽  
pp. 135-150 ◽  
Author(s):  
Judith E. Pike
Keyword(s):  

2013 ◽  
Vol 41 (2) ◽  
pp. 251-260 ◽  
Author(s):  
Katherine Hallemeier

For much of the twentieth century, literary criticism tended to be relatively dismissive of Anne Brontë's novels. While recent scholarship has argued for the complexity of gender and class dynamics in Agnes Grey (1847), there is little consensus as to what, precisely, those dynamics are. Elizabeth Hollis Berry suggests that Agnes “takes charge of her life” (58), and Maria H. Frawley argues that her narrative is a “significant statement of self-empowerment” (116). Maggie Berg and Dara Rossman Regaignon, however, highlight the continued subjugation of Agnes in the course of her narrative. These scholars’ divergent readings demonstrate how Agnes Grey and Agnes Grey can be read both as illustrative of what Gayatri Chakravorty Spivak has famously described as the nineteenth century “female individualist” (307), and as instructive of the social strictures that circumscribed this identity. In this essay, I outline how shame works in and through the novel to bridge these opposing readings.


2021 ◽  
pp. 1-2
Author(s):  
Adelle Hay
Keyword(s):  

2021 ◽  
Vol 29 (7) ◽  
pp. 679-694
Author(s):  
Valerie L. Stevens

Abstract Aware of her pupil’s plans to torture and kill a nest of birds, and with no authority to stop him based on her class, gender, and professional positions, the governess-heroine of Anne Brontë’s (2010/1847) Agnes Grey kills the nonhuman animals to keep them from needless suffering. Building on Brontë scholarship as well as animal studies understandings of violence and embodiment, this article considers expectations that Victorian sympathy will be a simplistic and pretty play on reader emotions to argue that nineteenth-century sympathetic feeling was more theoretically and ethically complex than we might imagine. Agnes Grey demonstrates how human-animal violence was thought to be an acceptable expression of middle- and upper-class masculinity, while proper women were expected to be complicit with this treatment of nonhumans. By looking at the close relationship between wanton and merciful embodied violence, the article shows how grotesque Victorian human-animal sympathy could be.


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