By Neil Gaiman
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The dark garden is an erotic mise-en-scéne that Charlotte Brontë repeatedly experiments with in Angria and which will recur in Jane Eyre r . 39. 150. 40. 122. Masculinity, Power and Playy 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. , pp. 374–375. 370. 433. 370. Jane Lazarre, ‘“Charlotte’s Web”: Reading Jane Eyre Over Time’ in Between Women ed. 223. Adrienne Rich, ‘Jane Eyre: The Temptations of a Motherless Woman’ repr. 89. Helene Moglen, Charlotte Brontë: The Self Conceived (New York: Norton, 1976), pp.
148. 118. 78. Carla Kaplan, The Erotics of Talk: Women’s Writing and Feminist Paradigms (New York and Oxford: Oxford University Press, 1996), p. 98. Such feminist discontents also inform reading of novels by Emily and Anne. ’ Margaret Homans, Bearing the Word: Language and Female Experience in Nineteenth-Century Women’s Writing (University of Chicago Press, 1986). Tales of Angria, pp. 209–304. The tomb, of Rosamund Wellesley is an obvious analogue to the one created for his mistress, Fair Rosamund, by Henry II.
From this description, those who have not read this story might suppose that it is a Gothic tale. A young woman, immured in a lonely retreat, is pursued by two villainous men in the position of fathers who are determined to exert sexual control over her, a control that is finally won when Zamorna seduces her into a liaison that will exclude her permanently from society: ‘she is destroyed’, her father laments. But, as with all the Angrian fiction, the genre and tone of the story exhibit a sprightly resistance to this kind of monolithic interpretation: this is equally a tale aboutt Gothic, whose selfawareness about genre keeps us permanently on the edge between fearing for Caroline’s predicament and laughing at the infatuation she has formed with Zamorna as Byronic hero and at the farcical ways in which Northangerland, Zamorna and Caroline pursue each other.