The Tenant of Wildfell Hall may be influenced by the works of Mary Wollstonecraft. Priti Joshi, believing that Anne had read her works, argues that she not only refuses the Wollstonecraftian indictment of the feminine, but also rejects its elevation, articulated by Hannah More. Anne Brontë’s feminism, in Joshi’s words, "forges a path between the extremes of Wollstonecraft-More spectrum". In "The Tenant", a reformed masculinity emerges not, as More would have it, under the tutelage of a woman, but by emulating feminine ways. Anne presents the "idle talk" of Linden-Car villagers primary as a way of creating fellowship and community, not only as vicious gossip.
The Tenant of Wildfell Hall father’s farm, and Helen, being a runaway wife, can call neither her home nor her name her own. The emphasis on allusions in the novel, on using the "language of others," according to McDonagh, may be a reflection on the position of being a tenant, which in its subjugation is similar to that of being a wife. Until the passing of the Married Women's Property Act in 1870 a wife had no independent existence under English law, and therefore no right to own property or to enter into contracts separately from her husband, or to sue for divorce, or for