Shirley by Charlotte BrontĂ« (best books to read for teens .TXT) đ
Description
Shirley, published in 1849, was Charlotte BrontĂ«âs second novel after Jane Eyre. Published under her pseudonym of âCurrer Bell,â it differs in several respects from that earlier work. It is written in the third person with an omniscient narrator, rather than the first-person of Jane Eyre, and incorporates the themes of industrial change and the plight of unemployed workers. It also features strong pleas for the recognition of womenâs intellect and right to their independence of thought and action.
Set in the West Riding of Yorkshire during the Napoleonic period of the early 19th Century, the novel describes the confrontations between textile manufacturers and organized groups of workers protesting the introduction of mechanical looms. Three characters stand out: Robert Moore, a mill-owner determined to introduce modern methods despite sometimes violent opposition; his young cousin Caroline Helstone, who falls deeply in love with Robert; and Shirley Keeldar, a rich heiress who comes to live in the estate of Fieldhead, on whose land Robertâs mill stands. Robertâs business is in trouble, not so much because of the protests of the workers but because of a government decree which prevents him selling his finished cloth overseas during the duration of the war with Napoleon. He receives a loan from Miss Keeldar, and her interest in him seems to be becoming a romantic one, much to the distress of Caroline, who pines away for lack of any sign of affection from Robert.
Shirley Keeldar is a remarkable female character for the time: strong, very independent-minded, dismissive of much of the standard rules of society, and determined to decide on her own future. Interestingly, up to this point, the name âShirleyâ was almost entirely a male name; Shirleyâs parents had hoped for a boy. Such was the success of BrontĂ«âs novel, however, that it became increasingly popular as a female name and is now almost exclusively so.
Although never as popular or successful as the more classically romantic Jane Eyre, Shirley is nevertheless now highly regarded by critics.
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- Author: Charlotte Brontë
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He lay tossing on his thorny bed one evening, Henry, who would not quit him, watching faithfully beside him, when a tapâ âtoo light to be that of Mrs. Gill or the housemaidâ âsummoned young Sympson to the door.
âHow is Mr. Moore tonight?â asked a low voice from the dark gallery.
âCome in and see him yourself.â
âIs he asleep?â
âI wish he could sleep. Come and speak to him, Shirley.â
âHe would not like it.â
But the speaker stepped in, and Henry, seeing her hesitate on the threshold, took her hand and drew her to the couch.
The shaded light showed Miss Keeldarâs form but imperfectly; yet it revealed her in elegant attire. There was a party assembled below, including Sir Philip Nunnely; the ladies were now in the drawing-room, and their hostess had stolen from them to visit Henryâs tutor. Her pure white dress, her fair arms and neck, the trembling chainlet of gold circling her throat and quivering on her breast, glistened strangely amid the obscurity of the sickroom. Her mien was chastened and pensive. She spoke gently.
âMr. Moore, how are you tonight?â
âI have not been very ill, and am now better.â
âI heard that you complained of thirst. I have brought you some grapes; can you taste one?â
âNo; but I thank you for remembering me.â
âJust one.â
From the rich cluster that filled a small basket held in her hand she severed a berry and offered it to his lips. He shook his head, and turned aside his flushed face.
âBut what, then, can I bring you instead? You have no wish for fruit; yet I see that your lips are parched. What beverage do you prefer?â
âMrs. Gill supplies me with toast-and-water. I like it best.â
Silence fell for some minutes.
âDo you suffer?â âhave you pain?â
âVery little.â
âWhat made you ill?â
Silence.
âI wonder what caused this fever? To what do you attribute it?â
âMiasma, perhapsâ âmalaria. This is autumn, a season fertile in fevers.â
âI hear you often visit the sick in Briarfield, and Nunnely too, with Mr. Hall. You should be on your guard; temerity is not wise.â
âThat reminds me, Miss Keeldar, that perhaps you had better not enter this chamber or come near this couch. I do not believe my illness is infectious. I scarcely fearââ âwith a sort of smileâ ââyou will take it; but why should you run even the shadow of a risk? Leave me.â
âPatience, I will go soon; but I should like to do something for you before I departâ âany little serviceâ ââ
âThey will miss you below.â
âNo; the gentlemen are still at table.â
âThey will not linger long. Sir Philip Nunnely is no wine-bibber, and I hear him just now pass from the dining-room to the drawing-room.â
âIt is a servant.â
âIt is Sir Philip; I know his step.â
âYour hearing is acute.â
âIt is never dull, and the sense seems sharpened at present. Sir Philip was here to tea last night. I heard you sing to him some song which he had brought you. I heard him, when he took his departure at eleven oâclock, call you out on to the pavement, to look at the evening star.â
âYou must be nervously sensitive.â
âI heard him kiss your hand.â
âImpossible!â
âNo: my chamber is over the hall, the window just above the front door; the sash was a little raised, for I felt feverish. You stood ten minutes with him on the steps. I heard your discourse, every word, and I heard the salute.â âHenry, give me some water.â
âLet me give it him.â
But he half rose to take the glass from young Sympson, and declined her attendance.
âAnd can I do nothing?â
âNothing; for you cannot guarantee me a nightâs peaceful rest, and it is all I at present want.â
âYou do not sleep well?â
âSleep has left me.â
âYet you said you were not very ill?â
âI am often sleepless when in high health.â
âIf I had power, I would lap you in the most placid slumberâ âquite deep and hushed, without a dream.â
âBlank annihilation! I do not ask that.â
âWith dreams of all you most desire.â
âMonstrous delusions! The sleep would be delirium, the waking death.â
âYour wishes are not so chimerical; you are no visionary.â
âMiss Keeldar, I suppose you think so; but my character is not, perhaps, quite as legible to you as a page of the last new novel might be.â
âThat is possible. But this sleepâ âI should like to woo it to your pillow, to win for you its favour. If I took a book and sat down and read some pages? I can well spare half an hour.â
âThank you, but I will not detain you.â
âI would read softly.â
âIt would not do. I am too feverish and excitable to bear a soft, cooing, vibrating voice close at my ear. You had better leave me.â
âWell, I will go.â
âAnd no good night?â
âYes, sir, yes. Mr. Moore, good night.â (Exit Shirley.)
âHenry, my boy, go to bed now; it is time you had some repose.â
âSir, it would please me to watch at your bedside all night.â
âNothing less called for. I am getting better. There, go.â
âGive me your blessing, sir.â
âGod bless you, my best pupil!â
âYou never call me your dearest pupil!â
âNo, nor ever shall.â
Possibly Miss Keeldar resented her former teacherâs rejection of her courtesy. It is certain she did not repeat the offer of it. Often as her light step traversed the gallery in the course of a day, it did not again pause at his door; nor did her âcooing, vibrating voiceâ disturb a second time the hush of the sickroom. A sickroom, indeed, it soon ceased to be; Mr. Mooreâs good constitution quickly triumphed over his indisposition. In a few days he shook it off, and resumed his duties as tutor.
That âauld lang syneâ had still its authority both with preceptor and scholar was proved by the manner in which he sometimes promptly passed the distance she usually maintained between them, and put down her high reserve with a firm, quiet hand.
One afternoon the Sympson family
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