[2] The Brontë siblings began writing prose and poetry related to their paracosmic fantasy world in the 1820s, and in December 1827 produced a novel, Glass Town.[7]: xxvii Between 1829 and 1830, Charlotte produced a dozen issues for the siblings' The Young Men's Magazine and an additional four volumes of Tales of the Islanders (about twenty thousand words) along with "many long stories, plays and poems" and a catalogue to keep track of her work.[9] Charlotte's "predilection for romantic settings, passionate relationships, and high society is at odds with Branwell's obsession with battles and politics and her young sisters' homely North Country realism, none the less at this stage there is still a sense of the writings as a family enterprise".[...] The Brontës filled this imaginative space with their own version of early nineteenth-century society with its international relations and domestic affairs [...].[1] In this manuscript, "Branwell drew a map of the Glass Town Federation complete with mountain ranges, rivers and trade routes.[...] Although both were regular characters in Charlotte and Branwell's early Glass Town writings [...], it is not until 1834, the siblings' new kingdom Angria, and Zamorna's subsequent marriage to Northangerland's daughter, Mary, that the duo's incredible dynamic is fully unleashed.[21] Thomas James Wise had acquired a large amount of the manuscripts from Nicholis and "subsequently sold off most of the collection in small bits and pieces [...].Over ten publicly accessible repositories in the U.S. and England contain significant amounts of manuscripts, sometimes dividing single works among them; and numerous private collectors and other libraries have a page or more, all of which had to be found, identified, dated and virtually stitched into original places to create the chronological record".[24] Upon the publication of Tales of Glass Town, Angria, and Gondal: Selected Writings by Oxford World's Classics, The Guardian highlighted that the Brontë siblings created depictions of "fantastical, magical kingdoms, steeped in violence, politics, lust and betrayal.[9] Claire Harman, a British biographer, highlighted that the Brontë juvenilia consists of poetry, plays, and magazines "with accompanying maps and histories" and is over 50,000 words; "much of it set in imaginary places like Glass Town and Angria, with interlocking casts of countless characters.[26] Culture24 highlighted that "the Brontës featured themselves as Gods in their worlds, of which they wrote long sagas in tiny micro-script, as well as using both fictional and real-life characters, reminiscent of the creations of JRR Tolkein [sic] and CS Lewis.[1] Emma Butcher wrote, in the Victorian Periodicals Review, that "the Brontë children grew up in an era when post-Waterloo commentary on events and personalities kept the Napoleonic Wars at the forefront of popular discussion.
Charlotte Brontë's manuscript
The Foundling
(1833) is part of the
British Library
's collection. Set in Verdopolis and "sub-titled ‘A Tale of Our Own Times’, the story has magical elements but also touches on themes relevant to Victorian society, such as child cruelty, social class, orphans and inheritance".
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