Calm your expectations; reduce them to a lowly standard. Something real, cool and solid lies before you; something unromantic as Monday morning.
Reader, I promised one last post on Charlotte Brontë’s Shirley and here it finally is. This discussion will attempt to tackle structure and history, so do please still your beating hearts if you’re hoping to read about unalloyed romance.
First, a bit of history. 1848 had been a year of upheaval in Europe, with attempted revolutions in several countries — only that in France achieved anything — and including Chartist agitation in Britain. The Chartism movement sought to widen suffrage and reform representation in Parliament, and this year saw demonstrations in England and a monster petition delivered. In the wake of these events Charles Kingsley, best known now for his ‘fairytale’ The Water-Babies (1863), published Alton Locke in 1850, an early novel of his which underlined the clergyman’s sympathy for the working man, for Chartist principles and Christian socialism.
After the relative success of Jane Eyre (1847) Charlotte Brontë also contemplated a novel based on Chartist agitation, determined to produce something as “unromantic as Monday morning”. In the event she revised her plans which were ultimately to result in Shirley.