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@@ -1,49 +1,15 @@ -Project Gutenberg's The Key to the Bronte Works, by John Malham-Dembleby - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Key to the Bronte Works - The Key to Charlotte Bronte's 'Wuthering Heights,' 'Jane - Eyre,' and her other works. - -Author: John Malham-Dembleby - -Release Date: September 3, 2012 [EBook #40655] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK THE KEY TO THE BRONTE WORKS *** - - - - -Produced by StevenGibbs and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 40655 *** THE KEY TO THE - BRONTE WORKS. + BRONTË WORKS. THE KEY TO THE - BRONTE WORKS + BRONTË WORKS - THE KEY TO CHARLOTTE BRONTE'S "WUTHERING HEIGHTS," + THE KEY TO CHARLOTTE BRONTË'S "WUTHERING HEIGHTS," "JANE EYRE," AND HER OTHER WORKS. SHOWING THE METHOD OF THEIR CONSTRUCTION AND THEIR @@ -69,7 +35,7 @@ CONTENTS. CHAP. PAGE - I. OUTLINE OF CHARLOTTE BRONTE'S LIFE 13 + I. OUTLINE OF CHARLOTTE BRONTË'S LIFE 13 II. ORIGIN OF THE CANDLE-BEARING BEDSIDE VISITANT AND THE UNCOUTH SERVANT IN "WUTHERING HEIGHTS" AND @@ -79,16 +45,16 @@ CONTENTS. IN "WUTHERING HEIGHTS"--ORIGIN OF THE INSANE LADY AND THE WHITE VEIL SCENE IN "JANE EYRE" 33 - IV. A RAINY DAY IN CHARLOTTE BRONTE'S CHILDHOOD: + IV. A RAINY DAY IN CHARLOTTE BRONTË'S CHILDHOOD: THE OPENING INCIDENT IN THE AUTOBIOGRAPHIES OF THE HEROINES OF "WUTHERING HEIGHTS" AND "JANE EYRE" 37 - V. CHARLOTTE BRONTE'S FRIEND, TABITHA AYKROYD, THE - BRONTES' SERVANT, AS MRS. DEAN OF "WUTHERING + V. CHARLOTTE BRONTË'S FRIEND, TABITHA AYKROYD, THE + BRONTËS' SERVANT, AS MRS. DEAN OF "WUTHERING HEIGHTS," AND AS BESSIE AND HANNAH OF "JANE EYRE" 43 - VI. CHARLOTTE BRONTE'S CHILD APPARITION IN "THE + VI. CHARLOTTE BRONTË'S CHILD APPARITION IN "THE PROFESSOR," "WUTHERING HEIGHTS," AND "JANE EYRE" 52 VII. THE ORIGINALS OF GIMMERTON, GIMMERDEN, GIMMERTON @@ -96,10 +62,10 @@ CONTENTS. ETC., IN "WUTHERING HEIGHTS," AND OF THE FAIRY CAVE AND THE FAIRY JANET IN "JANE EYRE" 57 - VIII. THE RIVERS OR BRONTE FAMILY IN "JANE EYRE" 69 + VIII. THE RIVERS OR BRONTË FAMILY IN "JANE EYRE" 69 IX. ORIGIN OF THE YORKSHIRE ELEMENT IN CHARLOTTE - BRONTE'S HUNSDEN OF "THE PROFESSOR"; HEATHCLIFFE + BRONTË'S HUNSDEN OF "THE PROFESSOR"; HEATHCLIFFE OF "WUTHERING HEIGHTS"; ROCHESTER OF "JANE EYRE"; AND YORKE OF "SHIRLEY" 83 @@ -109,26 +75,26 @@ CONTENTS. XI. CATHERINE AND HEATHCLIFFE OF "WUTHERING HEIGHTS" AS JANE AND ROCHESTER OF "JANE EYRE" 93 - XII. EUGENE SUE AND CHARLOTTE BRONTE'S BRUSSELS LIFE. + XII. EUGÈNE SUE AND CHARLOTTE BRONTË'S BRUSSELS LIFE. I. MDLLE. LAGRANGE AND HER MANUSCRIPT "CATHERINE BELL, THE ORPHAN" 104 - XIII. EUGENE SUE AND CHARLOTTE BRONTE'S BRUSSELS LIFE. + XIII. EUGÈNE SUE AND CHARLOTTE BRONTË'S BRUSSELS LIFE. II. ACCUSATIONS AND PROTESTATIONS! 120 XIV. THE RECOIL, I. 130 XV. THE RECOIL, II. 143 - XVI. THE BRONTE POEMS 156 + XVI. THE BRONTË POEMS 156 APPENDIX. MINOR IDENTIFICATIONS OF PERSONS AND PLACES IN THE - BRONTE WORKS 159 + BRONTË WORKS 159 - THE HEGER PORTRAIT OF CHARLOTTE BRONTE IN THE + THE HÉGER PORTRAIT OF CHARLOTTE BRONTË IN THE NATIONAL PORTRAIT GALLERY 162 INDEX 169 @@ -141,63 +107,63 @@ APPENDIX. PREFACE. -_The Key to the Bronte Works_ is the absolutely necessary companion -volume to Charlotte Bronte's _Wuthering Heights_, _Jane Eyre_, +_The Key to the Brontë Works_ is the absolutely necessary companion +volume to Charlotte Brontë's _Wuthering Heights_, _Jane Eyre_, _Shirley_, _The Professor_, and _Villette_. Without it the reader cannot know the real Currer Bell and her people, or see her works as they were to herself. Great indeed and continuous has been the task of writing this volume: a comprehension of my duty to law and literature, to -posterity and to Charlotte Bronte, set aside any other consideration. It +posterity and to Charlotte Brontë, set aside any other consideration. It could be no compliment to my learned and distinguished subscribers to -assume importance would attach to _The Key to the Bronte Works_ were the -volume a mere skimming of extant Bronte biography, albeit that has its -province of interest. _The Key to the Bronte Works_, I repeat, is the -only book which shows us the life and works of Charlotte Bronte as +assume importance would attach to _The Key to the Brontë Works_ were the +volume a mere skimming of extant Brontë biography, albeit that has its +province of interest. _The Key to the Brontë Works_, I repeat, is the +only book which shows us the life and works of Charlotte Brontë as intimately known to herself. Herein is my task accomplished; herewith is my reward. To quote my words from a private correspondence with Sir Charles Holroyd, Kt., Director of the National Gallery, London:-- - "After her return from Brussels in 1844, Charlotte Bronte + "After her return from Brussels in 1844, Charlotte Brontë conceived the idea of perpetuating the drama of her life. Again and again, true artist as she was, she cleared her presentations, till finally the world had those great works which stand as a signal testimony to the high value of the true artist, and as testimony to the divine origin of real inspiration. And now priest, statesman, writer--whatsoever a man may be, he will - discover in the works of Charlotte Bronte salutary instruction, + discover in the works of Charlotte Brontë salutary instruction, and at the same time will perceive with thrilling admiration the greatness of Art when she is at one with Genius. As I pen these lines to you, Sir Charles, I am reminded of the evanescence of the halo of romance round so many historic characters and personages - when sober history speaks apart; but Charlotte Bronte we find to + when sober history speaks apart; but Charlotte Brontë we find to be a greater luminary the closer we approach her." The utmost possible interest attaches to my sensational evidence, now -first showing Charlotte Bronte to be the author and heroine of +first showing Charlotte Brontë to be the author and heroine of _Wuthering Heights_, a book many have declared "the finest work of genius written by a woman," and some look upon as "one of the greatest novels in our or any other literature." In view of my evidence it will -be impossible hereafter to convince the world that Charlotte Bronte did -not write _Wuthering Heights_. _The Key to the Bronte Works_ in his +be impossible hereafter to convince the world that Charlotte Brontë did +not write _Wuthering Heights_. _The Key to the Brontë Works_ in his hands, every reader is an expert upon the subject. By resort to each -indexed reference to Charlotte Bronte's methods I have discovered, and +indexed reference to Charlotte Brontë's methods I have discovered, and named Methods I. and II., sensational ratification of all I say hereon will be found. It will presently seem incredible the chief argument hitherto advanced -against my assertion that Charlotte Bronte wrote _Wuthering Heights_ was +against my assertion that Charlotte Brontë wrote _Wuthering Heights_ was that _Wuthering Heights_ and _Jane Eyre_ are "totally dissimilar in style, thought, etc.," for my evidence is proof absolute to the -opposite. A recent writer on the Brontes[1] says _Wuthering Heights_ +opposite. A recent writer on the Brontës[1] says _Wuthering Heights_ contains nothing whatsoever biographically, or in any way, suggestive of -Emily Bronte and her personality, and admits upon the other hand that -the characteristic of Charlotte Bronte's writing is her full and +Emily Brontë and her personality, and admits upon the other hand that +the characteristic of Charlotte Brontë's writing is her full and intimate self-revelation of the incidents of her own life. Nothing can recall these words. They are a frank, or an ingenuous, statement of irrefutable fact; and though the writer did not journey to the logical conclusion, it is well he is associated with this fundamental admission. The same significant truth is voiced still more recently by another -writer, who says: "_Wuthering Heights_ reveals nothing of Emily Bronte. +writer, who says: "_Wuthering Heights_ reveals nothing of Emily Brontë. Not one of the characters thought or felt as did the quiet, retiring" Emily[2]. @@ -207,38 +173,38 @@ discoveries I now present, and is ready further to substantiate my conclusions. One of these detached pieces of evidence shows that the younger Catherine and Hareton Earnshaw--the two lovers who at the close of _Wuthering Heights_ become teacher and pupil--latterly were to -Charlotte Bronte herself and M. Heger. Apparently she did not wish to +Charlotte Brontë herself and M. Héger. Apparently she did not wish to end _Wuthering Heights_ without a picture of reconciled relations -between two characters who could present a phase of M. Heger and -herself. The teacher and pupil relations between Miss Bronte and M. -Heger were most dear and gladdening to her memory. We have a glimpse of +between two characters who could present a phase of M. Héger and +herself. The teacher and pupil relations between Miss Brontë and M. +Héger were most dear and gladdening to her memory. We have a glimpse of them in _Villette_, _Shirley_, and in _The Professor_, Chapter XIX., where Crimsworth is reading a book with Francis Evans Henri, whom he is teaching to read and pronounce English. These two characters represent -M. Heger and Charlotte Bronte; and Miss Bronte taught M. Heger to read +M. Héger and Charlotte Brontë; and Miss Brontë taught M. Héger to read and pronounce English out of her own favourite old books, "consecrated to her by other associations," to quote her own words in _Wuthering Heights_, Chapter XXXI., though often in _The Professor_ she alternates the position of the characters by an interchange of the sexes, a method -of Miss Bronte I have discovered and termed her Method I. Let the reader +of Miss Brontë I have discovered and termed her Method I. Let the reader peruse carefully the scene in _The Professor_ in the light of my -reference to Eugene Sue and Charlotte Bronte's old copy in English of +reference to Eugène Sue and Charlotte Brontë's old copy in English of _The Imitation of Christ_ at Brussels, and in the light of the "reading and pronouncing" scenes in Chapters XXX., XXXI., and XXXII., of _Wuthering Heights_; also:-- - Charlotte Bronte in a letter:-- _Wuthering Heights_, + Charlotte Brontë in a letter:-- _Wuthering Heights_, Chapter XXXI.:-- "If you could see and hear "I heard him trying to read to the efforts I make to teach himself, and pretty blunders he - [M. Heger] to pronounce ... and makes!... it was extremely funny + [M. Héger] to pronounce ... and makes!... it was extremely funny [his] unavailing attempts to ... still, he has no right to imitate you would laugh to all appropriate what is mine, and eternity."--Mrs. GASKELL'S make it ridiculous to me with - _Life of Charlotte Bronte_. his vile mistakes and + _Life of Charlotte Brontë_. his vile mistakes and mispronunciations! Those books, both prose and verse, are consecrated to me by other @@ -251,7 +217,7 @@ unable to devote himself to the reading lesson because of the distraction of the heroine's interesting physiognomy. In this connection we may glance at the following little parallel of the hen-killing figure, with which, like the foregoing, I do not deal in the course of -_The Key to the Bronte Works_. Again we perceive Charlotte Bronte's +_The Key to the Brontë Works_. Again we perceive Charlotte Brontë's Method I.:-- _Wuthering Heights._ _Jane Eyre._ @@ -275,10 +241,10 @@ Method I.:-- placidity, you stick a sly penknife under my ear." -Mr. Rochester and Jane Eyre were of course M. Heger and Miss Bronte. It +Mr. Rochester and Jane Eyre were of course M. Héger and Miss Brontë. It is indeed important and interesting to find at the old farmstead of Wuthering Heights scenes reminiscent of the intimately pedagogic -relations that existed between Charlotte Bronte and M. Heger of the +relations that existed between Charlotte Brontë and M. Héger of the school at Brussels. Discovering _Wuthering Heights_ and _Jane Eyre_ are practically as the @@ -287,55 +253,55 @@ most satisfactory and conclusive evidence in the world. Herewith we see both volumes agree in scenes and chapters virtually word for word, and from beginning to end. Both works we now find are one in origin, each containing not less than four identical characters portrayed by -Charlotte Bronte from her own life, she herself being the original of -the heroine in each book, and her friend M. Heger in the main the -original of the hero thereof. Charlotte Bronte's brother, Branwell -Bronte, in agreement with her estimate of him as a wreck of selfishness, +Charlotte Brontë from her own life, she herself being the original of +the heroine in each book, and her friend M. Héger in the main the +original of the hero thereof. Charlotte Brontë's brother, Branwell +Brontë, in agreement with her estimate of him as a wreck of selfishness, is the unhappy fool of both books; while her life-long companion, Tabitha Aykroyd, who was to her as nurse, mother, and friend, is therein the indispensable domestic servant and motherly good woman of the humble class. I will not occupy my preface with an enumeration of the many important -and interesting Bronte discoveries I have been enabled to make and -present herewith in _The Key to the Bronte Works_. I may briefly +and interesting Brontë discoveries I have been enabled to make and +present herewith in _The Key to the Brontë Works_. I may briefly indicate my chief sensational discoveries:--The discovery of the origin of _Wuthering Heights_ and _Jane Eyre_; the discovery that in _Jane -Eyre_ Charlotte Bronte immortalized not only herself and M. Heger, but -also her father, the Rev. Patrick Bronte, her brother, four sisters, her -aunt and a cousin, and Tabitha Aykroyd, the Bronte servant or +Eyre_ Charlotte Brontë immortalized not only herself and M. Héger, but +also her father, the Rev. Patrick Brontë, her brother, four sisters, her +aunt and a cousin, and Tabitha Aykroyd, the Brontë servant or housekeeper; the discovery first revealing the history of Charlotte -Bronte's life at Brussels and friendship with M. Heger, the original of +Brontë's life at Brussels and friendship with M. Héger, the original of her chief heroes; and the discovery of the most sensational fact that -Charlotte Bronte and not Emily wrote _Wuthering Heights_, and was -herself the original of the heroine and M. Heger that of the hero, as I +Charlotte Brontë and not Emily wrote _Wuthering Heights_, and was +herself the original of the heroine and M. Héger that of the hero, as I have mentioned. My warm thanks are due to Mr. Harold Hodge, who commissioned me to write my article "The Key to _Jane Eyre_" for _The Saturday Review_;[3] and to Mr. W. L. Courtney, M.A., LL.D., the editor of _The Fortnightly Review_, -who commissioned me to write my article "The Lifting of the Bronte Veil: -A New Study of the Bronte Family."[4] Mr. Courtney's words of +who commissioned me to write my article "The Lifting of the Brontë Veil: +A New Study of the Brontë Family."[4] Mr. Courtney's words of encouragement--those of a true gentleman and an eminent literary scholar and author--have made bright to me the accomplishment of this work. I thank Lady Ritchie--the gifted author-daughter of Thackeray the writer -of _Vanity Fair_ to whom Charlotte Bronte in her second edition +of _Vanity Fair_ to whom Charlotte Brontë in her second edition dedicated _Jane Eyre_--for her kind permission to use in _The Key to the -Bronte Works_ what her ladyship had written me privately in regard to -her sitting at dinner beside Charlotte Bronte on June 12th, 1850, with -Mr. Thackeray and Mr. George Smith the publisher, when Miss Bronte was +Brontë Works_ what her ladyship had written me privately in regard to +her sitting at dinner beside Charlotte Brontë on June 12th, 1850, with +Mr. Thackeray and Mr. George Smith the publisher, when Miss Brontë was wearing a light green dress, an incident that has relation to the green -dress in the interesting Heger portrait of Charlotte Bronte drawn in +dress in the interesting Héger portrait of Charlotte Brontë drawn in 1850, now the property of the nation and in the National Portrait Gallery, London. I desire to express my gratitude to Miss Catherine Galbraith Welch, who -introduced an outline of my Bronte discoveries to the readers of _The +introduced an outline of my Brontë discoveries to the readers of _The New York Times Saturday Review of Books_. I thank _The Spectator_, _The Outlook_, and other organs for their open acknowledgment of the fact that I have made a discovery at last throwing light upon Charlotte -Bronte's Brussels experiences and her relations with the Hegers at +Brontë's Brussels experiences and her relations with the Hégers at Brussels. And I wish also to thank the anonymous and scholarly writer who penned the long and careful article in _The Dundee Advertiser_ under the heading "The Original of Jane Eyre," containing an encouraging @@ -343,20 +309,20 @@ appreciation of the importance of my discovery I dealt with in my article "The Key to _Jane Eyre_" in _The Saturday Review_. I would like to give a pressure of the hand to my subscribers for the -first edition of _The Key to the Bronte Works_. Your kind letters to me -and your active interest in _The Key to the Bronte Works_ will ever +first edition of _The Key to the Brontë Works_. Your kind letters to me +and your active interest in _The Key to the Brontë Works_ will ever dwell among my pleasant memories. One I grieve will never see on earth these pages--the late Most Honourable Marquis of Ripon, K.G., who numbered with my earliest subscribers. -The readers of _The Key to the Bronte Works_ will love Charlotte Bronte +The readers of _The Key to the Brontë Works_ will love Charlotte Brontë more and know her better than ever they have loved or known her in the past. They will see her books are rich with new-found treasures, and will recognize her to be a world's writer--a character of signal eminence, one of the most illustrious of women. Truth will out, and facts have their appointed day of revelation; thus I -cannot help it that more than sixty years of writing on the Brontes is +cannot help it that more than sixty years of writing on the Brontës is placed out of date by my discoveries. JOHN MALHAM-DEMBLEBY. @@ -364,23 +330,23 @@ placed out of date by my discoveries. -THE KEY TO THE BRONTE WORKS. +THE KEY TO THE BRONTË WORKS. CHAPTER I. -OUTLINE OF CHARLOTTE BRONTE'S LIFE. +OUTLINE OF CHARLOTTE BRONTË'S LIFE. St. Michael the Prince of Messengers--to him was dedicated the little church on the hill at Haworth, in the Parish of Bradford, Yorkshire, whose living gave sustenance to the family of the restless, ambitious -son of Erin, Patrick Bronte.[5] Is it for nothing that a spiritual +son of Erin, Patrick Brontë.[5] Is it for nothing that a spiritual banner is raised by man and appeal made for the beneficent influence of a conception of definite personal character? Within this sacred -circumscription came to be written the works of Charlotte Bronte, and +circumscription came to be written the works of Charlotte Brontë, and herefrom the words of a Messenger went out to the uttermost parts of the world. @@ -390,13 +356,13 @@ do: blind may be the early groping of Genius, stumbling her feet on the rugged road of a darksome journey begun in the veiling mist of life's dawn, but onward and ever onward is she impelled to the journey's end. Ere Night blots out Genius her Message has accomplished. Glancing back -to the literary strivings of Charlotte Bronte's childhood, and upon -those quaint little efforts [Greek: peri ton apiston], which her young +to the literary strivings of Charlotte Brontë's childhood, and upon +those quaint little efforts [Greek: peri tôn apistôn], which her young brother and sisters sought to emulate,[6] we see her responsive to some inward prompting that told her she must write. Born on April 21st, 1816, at Thornton, near Bradford, during her -father's curacy of that parish, Charlotte Bronte was one of a family of +father's curacy of that parish, Charlotte Brontë was one of a family of six, whose mother died in 1821. The story of her literary beginnings shows them to have been of the kind known to many aspirants. There were the rebuffs of editors and of at least one famous author; and, in @@ -410,10 +376,10 @@ interest to them. Thus her letters[7] are commonly circumstantial and seldom soared beyond the capacity, or exceeded the limits of the departmental interests, of those for whom they were written. -This was primarily the result of Charlotte Bronte's nervous perception +This was primarily the result of Charlotte Brontë's nervous perception of character and recognition of the want of a truly psychical reciprocity with her friends. She tells us that of all living beings -only "Rochester" understood her, and her letters to M. Heger, of her +only "Rochester" understood her, and her letters to M. Héger, of her Brussels school--the original of this character--were not preserved. In the day of high fame, when she corresponded with literary folk, she felt herself as on parade, rushed to make opinions, as say, on Miss @@ -422,23 +388,23 @@ be at the service of bookish letter-writers. Erratically she responded to their promptings, trying not to be ruffled, but she could not reveal her heart. From these letters, and the epistles of the class I have previously mentioned, Mrs. Gaskell in the main wrote her famous -biography. The Charlotte Bronte known of the recipients of this +biography. The Charlotte Brontë known of the recipients of this correspondence her biographer presented, backed with the necessary local -colour. She had enjoyed in the days of Miss Bronte's popularity a short -acquaintance with her; and when, at the death of Currer Bell, Mr. Bronte +colour. She had enjoyed in the days of Miss Brontë's popularity a short +acquaintance with her; and when, at the death of Currer Bell, Mr. Brontë requested her to write his daughter's "life," she was eminently fitted -to give the world Charlotte Bronte as known by her acquaintances. +to give the world Charlotte Brontë as known by her acquaintances. -But of the intimate Charlotte Bronte, and the origin of the Bronte +But of the intimate Charlotte Brontë, and the origin of the Brontë works, the method of their construction, and their relation to the facts and people of her life, Mrs. Gaskell could tell us virtually nothing. Neither could she, nor any succeeding biographer, throw light upon Miss -Bronte's Brussels life, or upon the subject of her friendship with M. -Heger, who is discovered by internal evidence to be the original of -Currer Bell's chief heroes. Charlotte Bronte's was an intensely reserved +Brontë's Brussels life, or upon the subject of her friendship with M. +Héger, who is discovered by internal evidence to be the original of +Currer Bell's chief heroes. Charlotte Brontë's was an intensely reserved nature. She built to herself a universe which she peopled in secret. Her real life she lived out again in her books. Therein appeared the real -Charlotte Bronte, and see we her life and its people as known to +Charlotte Brontë, and see we her life and its people as known to herself. Whether she thought the secrets of her works would be revealed I cannot tell; but as the traveller who in far distant lands inscribes on some lonely rock the relation of his experience, conscious that a @@ -448,36 +414,36 @@ revelation, and in the secure knowledge of the final penetration of truth. We now, sixty years after, find by aid of the many discoveries I have -made and present my readers in the pages of this, _The Key to the Bronte -Works_, that Charlotte Bronte, penning in her connective works the story +made and present my readers in the pages of this, _The Key to the Brontë +Works_, that Charlotte Brontë, penning in her connective works the story of her life, gave us the spectacle of a living drama wherein she was herself a leading actor. Herein we see the imperfections and -shortcomings of human nature, and Charlotte Bronte herself is shown +shortcomings of human nature, and Charlotte Brontë herself is shown standing in the slippery places. Before our eyes flits the procession of the people who moved about her, and the air is filled with the atmosphere through which her genius saw the world. In this new light of revelation we perceive her great message is--the Martyrdom of Virtue. A -more poignant message I know not! And Charlotte Bronte was martyr in +more poignant message I know not! And Charlotte Brontë was martyr in this moving drama--nay, I believe there also was another. Spending two years at a Brussels _pensionnat_ she gained the friendship of Monsieur -Heger, a devout Roman Catholic and a man of intellect who, himself once +Héger, a devout Roman Catholic and a man of intellect who, himself once a teacher at the establishment, as was M. Pelet in _The Professor_ at a -similar school, came to marry the mistress. Miss Bronte went twice to +similar school, came to marry the mistress. Miss Brontë went twice to Brussels, on the first occasion being accompanied by her sister Emily. -Finally, Charlotte Bronte left Brussels abruptly on account, it has been -said, of the harsh attitude of Madame Heger, who even forbade her -husband to correspond with Miss Bronte. Concerning this period and the +Finally, Charlotte Brontë left Brussels abruptly on account, it has been +said, of the harsh attitude of Madame Héger, who even forbade her +husband to correspond with Miss Brontë. Concerning this period and the incidents associated therewith, I have been enabled to lift the veil. We have thus, for the first time, external evidence that shows Charlotte -Bronte, at Brussels, endured the greatest ordeal through which it is the -lot of a woman to pass. We see how she and M. Heger emerged triumphantly +Brontë, at Brussels, endured the greatest ordeal through which it is the +lot of a woman to pass. We see how she and M. Héger emerged triumphantly from dangerous temptation, and how they were aided, the one by her Christian upbringing, the other by the influence of his Church. -It was in January 1844 when Charlotte Bronte returned finally from +It was in January 1844 when Charlotte Brontë returned finally from Brussels; and she and her sisters printed a circular in connection with a project of starting a private school at Haworth, but no progress was -made. Charlotte Bronte's life at this period will be better understood +made. Charlotte Brontë's life at this period will be better understood by a reference to the chapters on "The Recoil" in this work--it was her darkest time: when the human in her cried out--as it has, alas! in so many at the bitter hour. She rebelled. Not violently; but by reproach. @@ -494,11 +460,11 @@ crude animalism, and repulsive hypochondria, all contributed to a sombre and powerful work of art grand in its perpetration, standing alone in solemn majesty like the black rack that stretches low athwart a clear sky--the rearward of the storm. But it bears the story of a sad Night, -and Charlotte Bronte's subsequent works were written in repentance: for +and Charlotte Brontë's subsequent works were written in repentance: for in Heathcliffe and Catherine of _Wuthering Heights_ she had portrayed M. -Heger and herself. +Héger and herself. -In this dark hour of Charlotte Bronte's life, Emily Bronte, to whom she +In this dark hour of Charlotte Brontë's life, Emily Brontë, to whom she afterwards gave _Wuthering Heights_, was writing, on July 30th, 1845,[8] that she, Emily, was "contented and undesponding," and was engaged upon and intended to continue some puerile compositions called _The Gondal @@ -509,20 +475,20 @@ was yet unfinished. While making comparison between Emily's and Charlotte's standpoint at this time--and Charlotte obtained for herself the names of Currer Bell from Montagu's book which, as I show, contained the "plot," etc., of -_Wuthering Heights_, for her own use in the Bronte poem publishing +_Wuthering Heights_, for her own use in the Brontë poem publishing project of 1845-46--it is most important to note that but some months after Emily's diary entry _Wuthering Heights_ was offered by Charlotte to Messrs. Aylott and Jones, with _The Professor_ and _Agnes Grey_--on -April 6th, 1846. The literal evidence of _The Key to the Bronte Works_ +April 6th, 1846. The literal evidence of _The Key to the Brontë Works_ does not require that we ask by what miracle the "contented" Emily -Bronte, who had collaborated three and a half years with Anne on _The +Brontë, who had collaborated three and a half years with Anne on _The Gondal Chronicles_, and declared an intention at the end of July 1845 to "stick firmly" to their composition, could come, in addition to preparing her poems for the press, to begin and to finish _Wuthering Heights_ by or before April 6th, 1846.[9] -After Charlotte Bronte's return from Brussels the degeneracy of her only -brother, Patrick Branwell Bronte, a young man ambitious, but not +After Charlotte Brontë's return from Brussels the degeneracy of her only +brother, Patrick Branwell Brontë, a young man ambitious, but not successful, as an artist, made him an object of her disgust and antipathy, and we find she portrayed him unflinchingly as Hindley Earnshaw of _Wuthering Heights_, and again as John Reed of _Jane Eyre_. @@ -531,14 +497,14 @@ somewhat recently to dissipate the tradition.[10] But Charlotte, after the deaths of her elder sisters, Maria and Elizabeth, the eldest of the family, obviously was piqued from childhood by the advantage Branwell's sex gave him over her seniority, more especially as he seems to have -been brutal to her:--See "A Rainy Day in Charlotte Bronte's Childhood," -in _The Key to the Bronte Works_. +been brutal to her:--See "A Rainy Day in Charlotte Brontë's Childhood," +in _The Key to the Brontë Works_. -It may be observed Charlotte Bronte went to three schools, and that each +It may be observed Charlotte Brontë went to three schools, and that each had a remarkable influence upon her life and literature. The first was the Clergy Daughters' School in the Kendal locality, to which her sisters Maria, Elizabeth, and Emily also went upon the death of the -ailing Mrs. Bronte at Haworth. The second was Miss Wooler's school +ailing Mrs. Brontë at Haworth. The second was Miss Wooler's school already mentioned, and the third the Brussels _pensionnat_. The fact that _Jane Eyre_ virtually opens with the Clergy Daughters' School incidents--incidents drawn from her child-memory regarding the temporary @@ -548,13 +514,13 @@ fidelity to truth in so far as regarded herself and her associations. The story of how this famous work was sent in 1847 to a firm of publishers who had just declined her novel _The Professor_ is well known history, as is the relation of the subsequent success of the book and -the elevation of Charlotte Bronte to the highest recognition. +the elevation of Charlotte Brontë to the highest recognition. _Wuthering Heights_ had been published as Ellis Bell's work, a _nom de -guerre_ that also had appeared over Emily Bronte's poems. It was issued +guerre_ that also had appeared over Emily Brontë's poems. It was issued under the condition that the next book by its author went to the same publisher, a Mr. Newby, which, of course, made impossible thereafter -Charlotte Bronte's acknowledging her authorship of this work, as the +Charlotte Brontë's acknowledging her authorship of this work, as the next book by the author of _Wuthering Heights_, her _Jane Eyre_, was published by another house. But there are evidences in _Shirley_ that despite her nervous apprehensions, and her letters show she was very @@ -567,10 +533,10 @@ Bell married her father's curate, the Rev. A. B. Nicholls, whom she previously had refused. She married him, it may be, as a final immolation of herself on the altar of Right and Duty. Her married life was but for some few months--it was so short we yet call her Charlotte -Bronte. Her father outlived her by six years. The last survivor of the -young Brontes, she died in March 1855, within a month of old Tabitha +Brontë. Her father outlived her by six years. The last survivor of the +young Brontës, she died in March 1855, within a month of old Tabitha Aykroyd, her best loved woman friend and companion apart from her own -kinsfolk. Charlotte Bronte, with other members of her family, rests in +kinsfolk. Charlotte Brontë, with other members of her family, rests in the grey fabric which is the modern representative of that early described as the church of St. Michael the Archangel de Haworth. Her message is yet with us; the tablets of her life she has bequeathed to @@ -587,14 +553,14 @@ THE ORIGIN OF THE CANDLE-BEARING BEDSIDE VISITANT AND THE UNCOUTH SERVANT IN "WUTHERING HEIGHTS" AND "JANE EYRE." -My evidence shows that between 1837 and 1847 Charlotte Bronte was +My evidence shows that between 1837 and 1847 Charlotte Brontë was perusing very attentively a little volume entitled _Gleanings in Craven, or the Tourist's Guide_, by one Frederic Montagu of Lincoln's Inn, son of Basil Montagu, second (natural) son of John Montagu, fourth Earl of Sandwich, whose ancestor brought Charles II. over from Holland on the Restoration in 1660 and therefor received his earldom.[11] The book, which had never been associated by any person with the name or works of -Charlotte Bronte till I wrote my article, "The Key to _Jane Eyre_," upon +Charlotte Brontë till I wrote my article, "The Key to _Jane Eyre_," upon it for _The Saturday Review_, was in the form of "Six letters to a friend in India," addressed as, "My dear Howard ... now at Bombay," and was dedicated by special permission to the Duke of Devonshire, a fact @@ -605,11 +571,11 @@ Messrs. Simpkin, Marshall & Co. were the London publishers. Frederick Montagu was a gentleman travelling in Yorkshire for his health's sake it seems, and it occurred to him to relate in epistolary form the story of his adventures. He had read the local writers, but it -is most clear Charlotte Bronte was particularly influenced in the +is most clear Charlotte Brontë was particularly influenced in the construction of her great masterpieces, _Wuthering Heights_ and _Jane Eyre_, by his purely personal contributions. It was not only as a gleaner of local hearsay that Montagu wrote the long panegyric upon Miss -Currer which obviously resulted in Charlotte Bronte's choosing the name, +Currer which obviously resulted in Charlotte Brontë's choosing the name, but as one whose attention had been drawn to her literary eminence. Thomas Frognall Dibdin, who in his _Reminiscences of a Literary Life_ (1836) spoke so good a word for Basil Montagu, Frederic's father,[12] @@ -628,7 +594,7 @@ in Montagu's _Gleanings in Craven_:-- within her sweet influence:--I believe it may be truly said no person is more deservedly loved and respected than Miss Currer. -As to "Bell," which like "Currer," came to be chosen by Charlotte Bronte +As to "Bell," which like "Currer," came to be chosen by Charlotte Brontë from Montagu's book for her pen-name in the poem publishing project of autumn 1845--only some months before _Wuthering Heights_ was supposed to have been written--Montagu says:-- @@ -645,11 +611,11 @@ Indeed, Casterton Hall was the original of Brocklehurst Hall in _Jane Eyre_, and here resided the Rev. W. Carus-Wilson, the original of Mr. Brocklehurst, "the black marble clergyman" of the school at Lowood; while Kirkby-Lonsdale was the original of Lowton of _Jane Eyre_. These -facts compel us to perceive that Charlotte Bronte would naturally be led +facts compel us to perceive that Charlotte Brontë would naturally be led by Montagu's words, to recall she too as regards her education had been associated with the locality mentioned. These references seem to have made Currer Bell relate in _Jane Eyre_ her experiences in that district. -Neither Miss Bronte nor Mrs. Gaskell, her biographer, gave any +Neither Miss Brontë nor Mrs. Gaskell, her biographer, gave any information as to the origin of the "Currer" and "Bell" of Currer Bell, but it is known the "Bell" was not chosen from the name of the Rev. A. Bell Nicholls whom she afterwards married.[14] @@ -657,21 +623,21 @@ Bell Nicholls whom she afterwards married.[14] A further personal contribution by Montagu, one he based on gossip rather than on tradition, was the story of a foundling who, he says, was discovered by a shepherd on a rocky elevation. This I find Charlotte -Bronte evolved into "a cuckoo story." The circumstance that this male +Brontë evolved into "a cuckoo story." The circumstance that this male child was found on the craggy summit of a hill may have dictated to her the name of the foundling Heathcliffe of _Wuthering Heights_. I moreover find that, influenced by Montagu's quaint descriptions of the -wild and remote neighbourhood, Charlotte Bronte made Malham and the +wild and remote neighbourhood, Charlotte Brontë made Malham and the valley of Malham the background of her story, _Wuthering Heights_. With Malham, Montagu associated the names of Linton and Airton (Hareton); the Fairy Cave, the Crags, glens, mists; a grey old church in the valley, -the "Kirk" by Malham, Kirkby Malham Church, which Charlotte Bronte calls +the "Kirk" by Malham, Kirkby Malham Church, which Charlotte Brontë calls in _Wuthering Heights_ Gimmerton Kirk; a rapid stream and a Methodist chapel. And he draws attention to Malham, being at the foot of a range of steep mountains--"the Heights," and having an annual sheep fair, when over one hundred thousand sheep are shown at one time, the which -observation was, we now discover, responsible for Charlotte Bronte's +observation was, we now discover, responsible for Charlotte Brontë's choice of "Gimmerton" and "Gimmerden," from "gimmer," a female sheep, and meaning respectively the village of sheep and the valley of sheep, a characteristic of hers being that she often chose her names on what she @@ -680,26 +646,26 @@ termed the _lucus a non lucendo_ principle.[15] Having in _Wuthering Heights_ made so pointed a reference to the Fairy Cave in the neighbourhood of Gimmerton, and having therein associated with it the names of Airton (Hareton) and Linton, which Montagu -connected with Gimmerton or Malham, Charlotte Bronte had not openly +connected with Gimmerton or Malham, Charlotte Brontë had not openly mentioned in that work the Fairy Janet referred to by Montagu, though she hinted at "the mysteries of the Fairy Cave." But I find that her "elfish" imagination induced her later, in _Jane Eyre_, to appropriate -for herself the role of the Fairy Janet, the Queen of the Malhamdale or +for herself the rôle of the Fairy Janet, the Queen of the Malhamdale or Gimmerden elves, who ruled in the neighbourhood of Gimmerton and of Wuthering Heights, the home of Catherine Earnshaw. Thus we see Charlotte -Bronte primarily associated both Catherine Earnshaw, the heroine of +Brontë primarily associated both Catherine Earnshaw, the heroine of _Wuthering Heights_, and Jane Eyre, the heroine of _Jane Eyre_, with Malham. And discovering the impetuosity of her imaginative nature and its romantic turn, I doubt not she was impatient to begin the tale of the "fairy-born and human-bred" heroine whose surname she took from the River Aire or Ayre, which sprang, as Montagu carefully indicates, from -Malham, or Gimmerton, as Charlotte Bronte would say in her _Wuthering +Malham, or Gimmerton, as Charlotte Brontë would say in her _Wuthering Heights_. From this came the suggestion of the "Rivers" family, with -which I deal later, the names employed by Charlotte Bronte being +which I deal later, the names employed by Charlotte Brontë being River(s), Burn(s), Aire or Eyre, Severn, Reed, and Keeldar. Another of Montagu's personal contributions which greatly influenced -Charlotte Bronte was on the leaf before the mention of John Bell, Esq., +Charlotte Brontë was on the leaf before the mention of John Bell, Esq., and on the same leaf as the mention of Casterton Hall, headed "A Night's Repose." This was the narration of a night's adventure, Montagu telling how he went to a lonely hostelry and found an unwillingness in the @@ -708,13 +674,13 @@ surrounded the hostess and a peculiar, harsh-voiced country-bred man-servant--who came to be the original of Joseph of _Wuthering Heights_. At night the apparition of the hostess appears at Montagu's bedside, white-faced and lighted candle in hand. It is plain the -peculiar man-servant appealed very strongly to Charlotte Bronte, and +peculiar man-servant appealed very strongly to Charlotte Brontë, and thus in both her _Wuthering Heights_ and _Jane Eyre_ transcriptions of the midnight incident this characteristic is marked and recognizable: in -Joseph; and in Grace Poole, by what I have termed Charlotte Bronte's +Joseph; and in Grace Poole, by what I have termed Charlotte Brontë's Method I., interchange of the sexes of characters. In _Wuthering Heights_, by her same Method I., Montagu's inhospitable hostess became -the inhospitable host Heathcliffe; but in each of Charlotte Bronte's +the inhospitable host Heathcliffe; but in each of Charlotte Brontë's versions--_Wuthering Heights_ or _Jane Eyre_--a central figure of the incidents she based upon Montagu's story of "A Night's Repose" was the uncouth, coarse-voiced country-bred servant. @@ -731,7 +697,7 @@ he made of a verse in his Malham letter, likening the moon to were responsible for the "plot" of _Jane Eyre_ including an insane lady who wanders out of her chamber at night and dons a vapoury veil. -And evidence of the enthusiasm with which Charlotte Bronte applied +And evidence of the enthusiasm with which Charlotte Brontë applied herself to _Jane Eyre_ is the fact that she at once took from Montagu's little volume for this her second story based upon the book's suggestions, the names of @@ -740,13 +706,13 @@ suggestions, the names of Linton), Lowood (from Low-wood), Mason, Ingram, Helen,[16] and possibly Millcote (from Weathercote). -Thus far we see Charlotte Bronte drew _Wuthering Heights_ and _Jane +Thus far we see Charlotte Brontë drew _Wuthering Heights_ and _Jane Eyre_ from the same source; that in a word, _Jane Eyre_, was Charlotte's second attempt to utilize and amplify the suggestions in Montagu's work which had appealed to her when she began _Wuthering Heights_, and we see the suggestions she utilized in _Jane Eyre_ always bear unmistakable relationship to those she had utilized in her _Wuthering Heights_. But -the use Charlotte Bronte made of Montagu's book was not in the nature of +the use Charlotte Brontë made of Montagu's book was not in the nature of literary theft; that volume simply afforded suggestions which she enlarged upon. @@ -761,25 +727,25 @@ servant, to whom I have already alluded. The stage properties of this narrative, the characters, and the "action" or plot, I will give side by side, as they appear severally, first in Montagu, next in _Wuthering Heights_, and finally in _Jane Eyre_. Herewith the reader will have -excellent examples of the two chief methods I find Charlotte Bronte +excellent examples of the two chief methods I find Charlotte Brontë employed often when she drew from a character in more than one work or instance, or when she desired to veil the identity of her originals. -Charlotte Bronte's Methods I. and II., being discovered equally in +Charlotte Brontë's Methods I. and II., being discovered equally in _Wuthering Heights_ and _Jane Eyre_ show, as conclusively as any other evidence, that she was the author of both works. No consideration whatsoever can alter the iron fact or depreciate from its significance, -that it was absolutely my discovery of Charlotte Bronte's Methods I. and +that it was absolutely my discovery of Charlotte Brontë's Methods I. and II., which revealed to me the sensational verbal and other parallels between _Wuthering Heights_ and _Jane Eyre_ I give in _The Key to the -Bronte Works_:-- +Brontë Works_:-- Read carefully:-- -Charlotte Bronte's Method I.--The interchange of sexes. Thus the +Charlotte Brontë's Method I.--The interchange of sexes. Thus the original of A may be a woman, and the original of B a man; but A may be represented as a man, and B as a woman. -Charlotte Bronte's Method II.--Altering the age of a character +Charlotte Brontë's Method II.--Altering the age of a character portrayed. Thus the original of C may be young, and the original of D old; but C may be represented as old, and D as young. @@ -802,7 +768,7 @@ side:-- air of mystery he finds an air of harsh-voiced female surrounds the mystery surrounds the servant (Method I., inhospitable hostess inhospitable host interchange of the - and her deep-voiced, (Charlotte Bronte's sexes). + and her deep-voiced, (Charlotte Brontë's sexes). Yorkshire Method I., dialect-speaking, interchange of the country-bred sexes) and his @@ -830,7 +796,7 @@ side:-- The deep-voiced, dialect-speaking servant Jane first Yorkshire man-servant, a sour encountered after dialect-speaking old man (Charlotte having gone to the - peculiar man-servant Bronte's Method II., attics and through a + peculiar man-servant Brontë's Method II., attics and through a he sees by looking the altering of the trap-door to the down the step-ladder age of a character roof. through the trap. portrayed), comes @@ -840,13 +806,13 @@ side:-- In the literal extracts I now give the reader will perceive that in the description of the bedside, candle-bearing apparition in _Jane Eyre_, -Charlotte Bronte followed Montagu almost word for word, and in the whole +Charlotte Brontë followed Montagu almost word for word, and in the whole staging of the midnight episode at the house of the inhospitable host in _Wuthering Heights_ followed him entirely in outlining the story. Both the _Wuthering Heights_ and _Jane Eyre_ versions give unequivocal evidence of being refractions from Montagu conveyed through one brain alone, the peculiar idiosyncrasy and elective sensitiveness of which are -undeniably recognizable as Charlotte Bronte's:-- +undeniably recognizable as Charlotte Brontë's:-- MONTAGU. _Wuthering Heights._ _Jane Eyre._ @@ -931,7 +897,7 @@ undeniably recognizable as Charlotte Bronte's:-- the ladder. chamber ... and never after this musing; at let anybody lodge any rate I started Before Charlotte there willingly."... wide awake on hearing - Bronte proceeds I sank back in bed a vague murmur.... I + Brontë proceeds I sank back in bed a vague murmur.... I with the dramatic and fell asleep.... wished I had kept my experiences of this Alas! what could it candle burning; the terrible night she be that made me pass night was drearily @@ -956,7 +922,7 @@ undeniably recognizable as Charlotte Bronte's:-- sensational interest, counter-rappings; ... bedside.... Something I am sure, that in at last, to my ... moaned. "Was that both of Charlotte unspeakable relief, Grace Poole?" [the - Bronte's they awoke me.... thick-set servant] + Brontë's they awoke me.... thick-set servant] introductions to the What ... had thought I.... There appearance of the suggested the tumult? was a candle burning candle-bearing, ... the branch of a outside. @@ -986,7 +952,7 @@ undeniably recognizable as Charlotte Bronte's:-- themselves of the nightmare came over arms and wailed clinging, shivering me: I tried to draw piteously in my ear. small "creature," as back my arm, but the - Charlotte Bronte hand clung to it, and I dreamt another + Charlotte Brontë hand clung to it, and I dreamt another calls "it." The a most melancholy dream.... I still "doleful" moaning and voice sobbed.... I carried the unknown the "blast" play discerned ... a little child: I might @@ -999,7 +965,7 @@ undeniably recognizable as Charlotte Bronte's:-- wailing little off, I pulled its retain it.... I creature see my wrist on to the climbed the thin chapter, "Charlotte broken pane, ... wall [of the house] - Bronte's Child rubbing it to and fro with frantic, + Brontë's Child rubbing it to and fro with frantic, Apparition." till the blood ran perilous haste, ... down; ... still it the stones rolled Further, the reader wailed ... and from under my feet, @@ -1084,13 +1050,13 @@ undeniably recognizable as Charlotte Bronte's:-- Truly Montagu's description of the coarse-voiced, thick-set, country-bred servant, and his implication with the mystery of the lonely -house had impressed Charlotte Bronte considerably. Whether she portrayed +house had impressed Charlotte Brontë considerably. Whether she portrayed him as the Joseph of _Wuthering Heights_ or, by her Method I., as the -Grace Poole of _Jane Eyre_, Charlotte Bronte respects the original +Grace Poole of _Jane Eyre_, Charlotte Brontë respects the original associations of this character as they were figured to her by Frederic Montagu's little fiction of "A Night's Repose." Herewith have we evidence as to mental idiosyncrasy and elective-sensitiveness -recognizable as Charlotte Bronte's--proof that her brain and none other +recognizable as Charlotte Brontë's--proof that her brain and none other was responsible for both the _Wuthering Heights_ and the _Jane Eyre_ versions of the midnight incident from Montagu. @@ -1104,11 +1070,11 @@ HEIGHTS"--ORIGIN OF THE INSANE LADY AND THE WHITE VEIL SCENE IN "JANE EYRE." -We have now seen that Montagu's book provided Charlotte Bronte with the +We have now seen that Montagu's book provided Charlotte Brontë with the idea for a lonely house of mystery--a mystery which should surround a host with a peculiar, harsh-voiced, uncouth, north-country servant, and I have shown how that idea was adopted by her for _Wuthering Heights_ -and afterwards for _Jane Eyre_. At one time Charlotte Bronte wrote the +and afterwards for _Jane Eyre_. At one time Charlotte Brontë wrote the _Tale of a Foundling_, and she certainly read with interest a remarkable story told by Montagu of a foundling who, he tells us in the letter next before the Malham letter, was discovered by a shepherd on the top of a @@ -1135,11 +1101,11 @@ The cuckoo story derived obviously from the history Montagu gives of the foundling became thus the backbone of _Wuthering Heights_; but it is possible that the cuckoo story requiring the foundling should be painted with all the viciousness and cruelty of character necessary to his part, -Charlotte Bronte found herself dissatisfied with the story. And +Charlotte Brontë found herself dissatisfied with the story. And portraying herself in the narrative as Catherine Earnshaw, her hero -became M. Heger. This naturally led to an awkward clashing. Whether the +became M. Héger. This naturally led to an awkward clashing. Whether the extreme "demonism" of Heathcliffe must be understood as being in the -main due to his role as the "cuckoo," who was to oust the poor farmer's +main due to his rôle as the "cuckoo," who was to oust the poor farmer's offspring "like unfledged dunnocks," to quote Mrs. Dean, I will not in this chapter inquire. @@ -1148,7 +1114,7 @@ contained excellent "plot" possibilities. This was the question of lunacy being an exception to the objection against the separation of husband and wife, Montagu's relation being Barry Cornwall (to whom, by the way, Thackeray dedicated _Vanity Fair_), who was a Metropolitan -Commissioner in Lunacy. To Charlotte Bronte, however, the subject came +Commissioner in Lunacy. To Charlotte Brontë, however, the subject came simply as a useful suggestion. She had no views upon it, and she desired only that her heroine would marry Rochester, the hero with an insane wife. At heart Charlotte was indifferent as to the vital point, even @@ -1167,7 +1133,7 @@ where the poet speaks of "The Waning Moon" as like-- Out of her chamber led by the insane And feeble wanderings of her fading brain." -Thus was evidently suggested to Charlotte Bronte the hanging up in the +Thus was evidently suggested to Charlotte Brontë the hanging up in the closet of the "vapoury veil" for the stage purposes of the "insane lady"; and in _Jane Eyre_ Montagu's night-wandering, candle-bearing hostess became a lady who passed, after the manner of the lines he @@ -1178,7 +1144,7 @@ quoted,-- became Mrs. Rochester. Norton Conyers, a house near Ripon, it is said, is associated with the story that a mad woman was once confined -there.[17] If Charlotte Bronte was familiar with this story, and we are +there.[17] If Charlotte Brontë was familiar with this story, and we are told the interior is somewhat similar to the descriptions of Thornfield, we can understand that, perusing Montagu's book at the time when she was utilizing his narrative of the candle-bearing, hideous-faced, white-clad @@ -1224,18 +1190,18 @@ lady, who has come out of her chamber, CHAPTER IV. -A RAINY DAY IN CHARLOTTE BRONTE'S CHILDHOOD: THE OPENING INCIDENT IN THE +A RAINY DAY IN CHARLOTTE BRONTË'S CHILDHOOD: THE OPENING INCIDENT IN THE AUTOBIOGRAPHIES OF THE HEROINES OF "WUTHERING HEIGHTS" AND "JANE EYRE." Seeing Catherine Earnshaw, the heroine of _Wuthering Heights_, was -drawn, as I find, by Charlotte Bronte for her autobiographical self, the +drawn, as I find, by Charlotte Brontë for her autobiographical self, the real commencement of that work, in so far as personal narrative was concerned, is the diary extract she wrote of herself in her earliest childhood.[18] In _Jane Eyre_ she placed her earliest childhood memories at the beginning of the story. I will give extracts side by side, when it will be seen they agree practically word for word. It is of course -undeniable that none but Charlotte Bronte herself would or could have +undeniable that none but Charlotte Brontë herself would or could have penned these incidents of her own childhood. _Wuthering Heights._ _Jane Eyre._ @@ -1256,7 +1222,7 @@ penned these incidents of her own childhood. outdoor exercise was out of the question. - Hindley [Branwell Bronte] and Eliza, John [Branwell Bronte], + Hindley [Branwell Brontë] and Eliza, John [Branwell Brontë], his wife [? Sister Maria] basked and Georgiana were now clustered downstairs before a comfortable round their mamma [Aunt fire. Branwell] in the drawing-room @@ -1275,9 +1241,9 @@ penned these incidents of her own childhood. retirement.... With ... [a book] "You forget you have a master in on my knee I was ... happy; ... me," says the tyrant [Hindley: but interruption ... came too - Branwell Bronte]. soon. The ... door opened: + Branwell Brontë]. soon. The ... door opened: "Boh!" cried the voice of John - ... We made ourselves ... snug Reed [Branwell Bronte]. + ... We made ourselves ... snug Reed [Branwell Brontë]. ... in the arch of the dresser. I had just fastened our "It is well I drew the curtain," pinafores together and hung them thought I, ... but Eliza ... @@ -1290,10 +1256,10 @@ penned these incidents of her own childhood. dog-kennel, vowing I hated a good book. - Hindley [Branwell Bronte] I came out immediately, for I + Hindley [Branwell Brontë] I came out immediately, for I hurried up from his paradise on trembled at the idea of being the hearth, and seizing ... us dragged forth by the said Jack - ... hurled both into the [Branwell Bronte]. + ... hurled both into the [Branwell Brontë]. back-kitchen. "What were you doing behind the curtain?" he asked. "I'll teach @@ -1312,7 +1278,7 @@ penned these incidents of her own childhood. red-room."... ... How little did I dream that ... All John Reed's [Branwell - Hindley [Branwell Bronte] would Bronte's] violent tyrannies ... + Hindley [Branwell Brontë] would Brontë's] violent tyrannies ... ever make me cry so.... My head turned in my disturbed mind.... aches, till I cannot keep it on My head still ached ... no one the pillow; and still I can't reproved John [Branwell].... How @@ -1324,25 +1290,25 @@ penned these incidents of her own childhood. Thus we see the "volume-hurling" incident with which John Reed is associated had its origin in some incident connected with Charlotte -Bronte's childhood and her brother Branwell. As Catherine, Charlotte -Bronte calls Hindley "a tyrant" in this connection, and as Jane Eyre she +Brontë's childhood and her brother Branwell. As Catherine, Charlotte +Brontë calls Hindley "a tyrant" in this connection, and as Jane Eyre she calls John Reed "a tyrant" here. Branwell, as John Reed, is made to tell Jane in connection with this incident that "all this house belongs to me, or will do"; and as Hindley Earnshaw he tells his sister Catherine, -"You forget you have a master here." By Charlotte Bronte's Method II., +"You forget you have a master here." By Charlotte Brontë's Method II., altering the age of a character portrayed, Branwell is represented in the _Wuthering Heights_ scene as a man in years. Without further appeal it was likely enough that Hindley Earnshaw, Catherine's brother, was -drawn for Charlotte Bronte's brother, seeing Catherine was Charlotte. +drawn for Charlotte Brontë's brother, seeing Catherine was Charlotte. Herewith we find an explanation for a fact Mr. Francis A. Leyland has -strongly emphasized in his work _The Bronte Family_, that in _Wuthering +strongly emphasized in his work _The Brontë Family_, that in _Wuthering Heights_ incidents (the carving-knife incident, etc.) and epithets known -by his intimates to have been common to Branwell Bronte are associated +by his intimates to have been common to Branwell Brontë are associated with Hindley Earnshaw in the days of his moral deterioration. That deterioration is reflected in the portrayal of the latter end of John Reed in _Jane Eyre_; in _Wuthering Heights_ it is given in detail. As -for Emily Bronte, she always liked and commiserated with Branwell -Bronte.[20] +for Emily Brontë, she always liked and commiserated with Branwell +Brontë.[20] I hope the attempt to interfere with this tradition recently has no relation to the fact that I briefly stated in my _Fortnightly Review_ @@ -1351,36 +1317,36 @@ plain to see that if Emily really liked Branwell, as people stated who gleaned from hearsay, she could not have portrayed him as Hindley Earnshaw. But a wrong estimate of the nature of the evidence I promised to bring has been formed if it were thought I should base my book upon -such a point. It is enough that Charlotte Bronte's private letters +such a point. It is enough that Charlotte Brontë's private letters regarding Branwell are quite in agreement with her own harsh portrayals of him in her _Wuthering Heights_ and _Jane Eyre_. It is interesting to recall Branwell avowed he, and not Emily, wrote -_Wuthering Heights_. This fact and the association of Branwell Bronte +_Wuthering Heights_. This fact and the association of Branwell Brontë incidents and epithets with the book induced Mr. Leyland to advocate -Branwell's authorship. _The Key to the Bronte Works_ shows the +Branwell's authorship. _The Key to the Brontë Works_ shows the absurdness of such a claim. Mr. Leyland suggested Branwell may have collaborated with Emily; and he professed to discover a break in the style. I find, however, that though there were violent psychical fluctuations in the mood of the writer of _Wuthering Heights_, the book -is throughout the work of Charlotte Bronte. This may be proved alone by +is throughout the work of Charlotte Brontë. This may be proved alone by the Chapter III., with which I now deal: it is the "key" chapter, and is, so to speak, a microcosm of _Wuthering Heights_, as the reader will perceive by help of my index. Whosoever was the writer of this third chapter wrote the whole of _Wuthering Heights_, and we see it was Currer Bell. -By Charlotte Bronte's Method I., interchange of the sexes, the +By Charlotte Brontë's Method I., interchange of the sexes, the interloper Jane in the early chapters of _Jane Eyre_ and the interloper Heathcliffe in the early chapters of _Wuthering Heights_ become one and the same; and Hindley's tyrannizing over Heathcliffe is John Reed's -(Branwell Bronte's) tyrannizing over Jane Eyre (Charlotte Bronte). +(Branwell Brontë's) tyrannizing over Jane Eyre (Charlotte Brontë). Again, by Method I., interchange of the sexes, old Joseph, in Charlotte's _Wuthering Heights_ version of the rainy day incident in her childhood, serves the part of the servant Tabitha Aykroyd, for whom Bessie in the _Jane Eyre_ version of the rainy day incident was drawn. (See "Joseph" and his bit of garden, _Wuthering Heights_, Chapter -XXXIII.; also my footnote on page 47.) Thus Charlotte Bronte as +XXXIII.; also my footnote on page 47.) Thus Charlotte Brontë as Catherine tells us that when she was banished from the comfortable fire "Joseph" sermonizes, and that she hoped he might give "a short homily for his own sake"; and in the scene in _Jane Eyre_ drawn from the same @@ -1390,7 +1356,7 @@ most wicked and abandoned child ever reared under a roof." Catherine's story of the rainy day in _Wuthering Heights_ was written by her in childhood on "a 'red-hot' Methodist's tract." Hence it is -interesting to read Charlotte Bronte's words in _Villette_, where as +interesting to read Charlotte Brontë's words in _Villette_, where as Lucy Snowe she says she had "once read when a child certain Wesleyan Methodist tracts seasoned with ... excitation to fanaticism." As Caroline Helstone[21] in _Shirley_, Charlotte tells us she had read @@ -1398,7 +1364,7 @@ Caroline Helstone[21] in _Shirley_, Charlotte tells us she had read preternatural warnings, ominous dreams, and frenzied fanaticism; ... from these faded flowers Caroline had in her childhood extracted the honey--they were tasteless to her now." Let the reader compare Charlotte -Bronte's reference to Briar Chapel and the shouts, yells, ejaculations, +Brontë's reference to Briar Chapel and the shouts, yells, ejaculations, frantic cries of "the assembly" in Chapter IX. of _Shirley_ with the references in Chapter III. of _Wuthering Heights_ to the frantic zeal of "the assembly" of the chapel of Gimmerden Sough. It will be at once @@ -1408,7 +1374,7 @@ by the same hand. Thus, in the light of the name Branderham ("Brander'em," from "brander," a hot iron over a fire) for the name of the zealous Rev. Jabes Branderham,[22] of the chapel of Gimmerden Sough, of _Wuthering -Heights_, we see a connection with the play Charlotte Bronte makes upon +Heights_, we see a connection with the play Charlotte Brontë makes upon "burning and fire" in the hymn sung at Briar Chapel in Chapter IX. of _Shirley_:-- @@ -1421,7 +1387,7 @@ _Shirley_:-- And this is with burning And fuel and fire." -In the rainy day incident Charlotte Bronte as Catherine vowed "she hated +In the rainy day incident Charlotte Brontë as Catherine vowed "she hated a good book," and this rebellion against the thrusting upon her of religious "lumber," as she calls it in _Wuthering Heights_, was a characteristic of her childhood shown also in the "Jane Eyre and Mr. @@ -1433,15 +1399,15 @@ Brocklehurst" incident, where the latter asks-- "No? Oh, shocking!" -At heart, however, Charlotte Bronte was a true Christian, though +At heart, however, Charlotte Brontë was a true Christian, though disliking excessive zealousness in the demonstrations of the members of any church. Read what M. Emanuel says in Chap. XXXVI. of _Villette_; the last paragraph. Lockwood tells us in the incident connected with Catherine's diary that "a glare of white letters started from the dark as vivid as spectres--the air swarmed with Catherines." This, Charlotte -Bronte's idea of spectral writing running in the air, occurs in Chap. +Brontë's idea of spectral writing running in the air, occurs in Chap. XV. of _Jane Eyre_, where Rochester speaks of a phantom hag (see -Charlotte Bronte's phantom hag in Chap. XII. of _Wuthering Heights_), +Charlotte Brontë's phantom hag in Chap. XII. of _Wuthering Heights_), who "wrote in the air a memento which ran in lurid hieroglyphics all along the house-front." Says Lockwood in _Wuthering Heights_, continuing:--"An immediate interest kindled within me for the unknown @@ -1452,23 +1418,23 @@ Catherine, and I began ... to decipher her hieroglyphics"--the diary. CHAPTER V. -CHARLOTTE BRONTE'S FRIEND, TABITHA AYKROYD, THE BRONTES' SERVANT, +CHARLOTTE BRONTË'S FRIEND, TABITHA AYKROYD, THE BRONTËS' SERVANT, AS MRS. DEAN OF "WUTHERING HEIGHTS," AND AS BESSIE AND HANNAH OF "JANE EYRE." -It is a remarkable fact that of all the members of Charlotte Bronte's +It is a remarkable fact that of all the members of Charlotte Brontë's home circle the one to whom, excepting herself, she gave most prominence -in her works was Tabitha Aykroyd, the Brontes' servant or housekeeper. -For I find this good woman was portrayed by Charlotte Bronte as Mrs. +in her works was Tabitha Aykroyd, the Brontës' servant or housekeeper. +For I find this good woman was portrayed by Charlotte Brontë as Mrs. Dean of _Wuthering Heights_, Bessie and Hannah of _Jane Eyre_, and, on occasion, as Mrs. Pryor of _Shirley_. Indeed, strange though it may sound to say, my discovery that Tabitha Aykroyd, as she appealed to Currer Bell, was the original of these characters, alone explains the chief mystery of _Wuthering Heights_, and shows clearly enough Charlotte -Bronte was its heroine and its author. In a word, we see by this +Brontë was its heroine and its author. In a word, we see by this discovery that _Wuthering Heights_ is book the first of Charlotte -Bronte's life as told by herself from old Tabitha's standpoint, and +Brontë's life as told by herself from old Tabitha's standpoint, and _Jane Eyre_ book the second, giving her life's story and confession as related by herself entirely from her own point of view. @@ -1479,9 +1445,9 @@ rough-hearted but genuine nature wherein Charlotte was concerned. "Tabby," said Mrs. Gaskell, "had a Yorkshire keenness of perception into character, and it was not everybody she liked." That Tabitha Aykroyd -would readily appeal to Charlotte Bronte as fitted for the narrator of +would readily appeal to Charlotte Brontë as fitted for the narrator of the histories in _Wuthering Heights_ we may easily perceive by reading -Mrs. Gaskell's further words on this Bronte servant:-- +Mrs. Gaskell's further words on this Brontë servant:-- "When Charlotte was little more than nine years old ... an elderly woman of the village came to live as servant at the parsonage. She remained @@ -1543,7 +1509,7 @@ II., altering the age of characters portrayed:-- driven off the destitute Jane Eyre], still, such as she was, I preferred her to any one else at Gateshead Hall. -"Mrs. Dean"[24] in her turn says of "Catherine"--Charlotte Bronte:-- +"Mrs. Dean"[24] in her turn says of "Catherine"--Charlotte Brontë:-- "She was never so happy as when we were all scolding her at once and she defying us.... I vexed her frequently by trying to bring @@ -1569,7 +1535,7 @@ Jane suggests Bessie dislikes her, to which is replied:-- hardy?" The idiosyncratic appeal Tabitha Aykroyd made to Charlotte is related -identically wherever she is portrayed. That Charlotte Bronte had been +identically wherever she is portrayed. That Charlotte Brontë had been initially entranced by her fairy tales, and the old songs she sang, is shown more especially in the phases she gives of Tabitha as Bessie and as Ellen Dean. Thus we read in _Jane Eyre_, Chap. IV., in the close of @@ -1580,12 +1546,12 @@ told me some of her most enchaining stories, and sang me some of her sweetest songs. Even for me life had its gleams of sunshine." And in _Wuthering Heights_, Chap. XXII., Ellen Dean says of Miss Catherine Linton (see my reference to this character as a phase of Charlotte -Bronte, in my preface):--"From dinner to tea she would lie doing nothing +Brontë, in my preface):--"From dinner to tea she would lie doing nothing except singing old songs--my nursery lore--to herself, ... half thinking, half dreaming, happier than words can express." So in the same work, Chap. XXIV., the same Catherine says:--"He was charmed with two or three pretty songs [I sang]--_your_ songs, Ellen." The italics are -Charlotte Bronte's. +Charlotte Brontë's. _Jane Eyre_, Chap. III., says:-- @@ -1603,7 +1569,7 @@ _Jane Eyre_, Chap. III., says:-- another ballad. Tabby Aykroyd going to the Parsonage when the motherless Charlotte -Bronte was but nine, Charlotte seems to have been drawn to look upon +Brontë was but nine, Charlotte seems to have been drawn to look upon her as a new-found friend, and afterwards she idealized those memories associated with her. It is noticeable she had been impressed in childhood by her singing and the sympathetic sweetness of her voice. @@ -1611,7 +1577,7 @@ There is a world of meaning--a gracious waiving aside of qualifying fact in the sentence, "Bessie had a sweet voice--at least I thought so." Charlotte was fond of Scottish ballads, and in _Villette_, Chapter XXV., she identifies herself in her phase as Paulina (see my further reference -to this phase of Charlotte Bronte) with a a love for a Scottish song. +to this phase of Charlotte Brontë) with a a love for a Scottish song. With Tabitha Aykroyd she loved to associate the singing of her favourite ballads, as we have seen in her reference to the songs of Tabitha in her phases as Bessie of _Jane Eyre_ and Mrs. Dean of _Wuthering Heights_. @@ -1623,23 +1589,23 @@ began:-- The mither beneath the mools heard that."' Whether traits of Nancy Garrs or her sister, or Martha Brown, the other -Bronte servants, contributed to Charlotte's portrayal is doubtful. I +Brontë servants, contributed to Charlotte's portrayal is doubtful. I think they did not. We see in this chapter the original of Bessie of _Jane Eyre_ was certainly the original of Mrs. Dean of _Wuthering -Heights_--Tabitha Aykroyd; and as Charlotte Bronte portrayed Mrs. Dean +Heights_--Tabitha Aykroyd; and as Charlotte Brontë portrayed Mrs. Dean as an elderly woman servant, before she began _Jane Eyre_, we must decide the question of the real age of the original of Bessie by that fact. Confirming is the portrayal of the same character by Charlotte as the elderly Hannah in _Jane Eyre_. See my chapter on "The Rivers or -Bronte Family."[25] +Brontë Family."[25] -Of "Dean" or Tabitha Aykroyd in the role of Hannah of the family "Jane" +Of "Dean" or Tabitha Aykroyd in the rôle of Hannah of the family "Jane" says:--"I had a feeling that she did not understand me, ... that she was prejudiced against me." Nevertheless she says to her: "You ... have been an honest and faithful servant, I will say so much for you." Much stress is placed by Tabitha Aykroyd, as Nelly Dean, and Bessie, on -Charlotte Bronte's passionateness. Says Mrs. Dean of Catherine in +Charlotte Brontë's passionateness. Says Mrs. Dean of Catherine in _Wuthering Heights_: "The doctor had said that she would not bear crossing much, she @@ -1651,21 +1617,21 @@ Thus I find there is a connection between Catherine's "fit of frenzy" and delirium in _Wuthering Heights_, Chapters XI. and XII., and the scenes attendant upon Jane's fit of frenzy in _Jane Eyre_, Chapters I., II., III. The one is told by Charlotte as from Tabitha Aykroyd's -(Bessie's) standpoint, the other from Catherine's (Charlotte Bronte's), -an inversion of attitude which proves Charlotte Bronte to be the author +(Bessie's) standpoint, the other from Catherine's (Charlotte Brontë's), +an inversion of attitude which proves Charlotte Brontë to be the author and heroine of _Wuthering Heights_. _Wuthering Heights._ _Jane Eyre._ - Charlotte Bronte in the locked Charlotte Bronte in the locked + Charlotte Brontë in the locked Charlotte Brontë in the locked chamber, and Tabitha Aykroyd, chamber, and Tabitha Aykroyd, - the Bronte servant, told by the Bronte servant, told by + the Brontë servant, told by the Brontë servant, told by Tabitha, as it were. Charlotte. -------- -------- - She [Catherine--Charlotte I [Jane--Charlotte Bronte] sat - Bronte] rang the bell till it looking at the white bed, ... + She [Catherine--Charlotte I [Jane--Charlotte Brontë] sat + Brontë] rang the bell till it looking at the white bed, ... broke.... I [Tabitha--Nelly occasionally turning a Dean] entered leisurely. It was fascinated eye towards the ... enough to try the temper of a mirror ... I hushed my sobs, @@ -1680,7 +1646,7 @@ and heroine of _Wuthering Heights_. and ... assumed the aspect of thought the swift-darting beam death. was a herald of some coming vision from another world. My - Linton [? Mr. Bronte] looked heart beat thick, my head grew + Linton [? Mr. Brontë] looked heart beat thick, my head grew terrified. "There is nothing the hot; a sound filled my ears matter," ... and I which I deemed the rushing of [Tabitha--Mrs. Dean] told him wings: something seemed near me; @@ -1688,13 +1654,13 @@ and heroine of _Wuthering Heights_. exhibiting a fit of frenzy. I endurance broke down; I rushed incautiously gave the account to the door and shook the lock aloud, ... she [Charlotte in desperate effort. Steps came - Bronte] started up ... and then running along the ... passage, + Brontë] started up ... and then running along the ... passage, rushed from the room. The master ... Bessie and Abbot entered. directed me to follow; I did to her chamber door; she ... "Miss Eyre, are you ill?" said secured it against me.... On the Bessie [Tabitha Aykroyd]. third day Catherine [Charlotte - Bronte] un-barred her door, ... "What a dreadful noise! It went + Brontë] un-barred her door, ... "What a dreadful noise! It went desired a basin of gruel, for through me!" exclaimed Abbot. she believed she was dying. "Take me out!" was my cry. @@ -1722,7 +1688,7 @@ and heroine of _Wuthering Heights_. looked upon me [Charlotte] as a ... "As soon as ever I barred compound of virulent passions, the door," proceeded Catherine mean spirit, and dangerous - [Charlotte Bronte], "utter duplicity.... I suppose I had a + [Charlotte Brontë], "utter duplicity.... I suppose I had a darkness overwhelmed me, and I species of fit: unconsciousness fell on the floor. I couldn't closed the scene.... The next explain ... how certain I felt thing I remembered is waking ... @@ -1746,7 +1712,7 @@ and heroine of _Wuthering Heights_. only can feel. By her Method II.: altering the age of a character portrayed, Charlotte -Bronte gives us Tabitha Aykroyd as a young woman in Bessie; and by the +Brontë gives us Tabitha Aykroyd as a young woman in Bessie; and by the same Method II, in the scene just read from _Wuthering Heights_, we have an instance of her presenting, as an incident in womanhood, an incident which the testimony of _Jane Eyre_ and other evidences show occurred @@ -1756,17 +1722,17 @@ dread was "such dread as children only can feel"; and she goes on to say feel the reverberation to this day." Thus in both _Wuthering Heights_ and _Jane Eyre_ Charlotte paints an excellent picture of the matter-of-fact but good-hearted Tabitha Aykroyd going to the room in -response to her, Charlotte Bronte's, frantic appeal, sceptical and +response to her, Charlotte Brontë's, frantic appeal, sceptical and certainly unsympathetic. The part played by the wild summoning of Tabitha to the room, the references to "a fit," the ghost and haunted chamber, the dread of the mirror, the suggestion that the frenzy of fear was wilfully assumed, the piercing scream, Tabitha Aykroyd with her basin and her final suggestion -of sleep, are in themselves ample evidence that Charlotte Bronte in both +of sleep, are in themselves ample evidence that Charlotte Brontë in both _Wuthering Heights_ and _Jane Eyre_ drew this scene from an experience of the kind in her own childhood. In each work stress is laid by her -upon her own hypersensitiveness, and we learn how the Bronte household +upon her own hypersensitiveness, and we learn how the Brontë household misunderstood her excessive passionateness and misread it as wicked acting[26]. @@ -1774,30 +1740,30 @@ We see Tabitha best in Mrs. Dean of _Wuthering Heights_, as Hannah of the Rivers family of _Jane Eyre_, and by Currer Bell's Method II., alteration of age of the character portrayed, as Bessie of that work. Tabitha Aykroyd lives and breathes her life through the pages of -Charlotte Bronte's _Wuthering Heights_ and _Jane Eyre_ to-day, and ever +Charlotte Brontë's _Wuthering Heights_ and _Jane Eyre_ to-day, and ever will she remain in literature, a real Yorkshire woman amazingly translated from the wide Yorkshire hearth with its great, wind-whitened fire and smell of hot cakes, to the pages of two of the finest examples of the English novel. Her portrayal I declare to be one of the most -admirable achievements in the works of Charlotte Bronte. +admirable achievements in the works of Charlotte Brontë. CHAPTER VI. -CHARLOTTE BRONTE'S CHILD APPARITION IN "THE PROFESSOR," "WUTHERING +CHARLOTTE BRONTË'S CHILD APPARITION IN "THE PROFESSOR," "WUTHERING HEIGHTS," AND "JANE EYRE." -Mrs. Gaskell, the Bronte biographer, relates that a friend of Charlotte -Bronte said Charlotte had told her "a misfortune was often preceded by +Mrs. Gaskell, the Brontë biographer, relates that a friend of Charlotte +Brontë said Charlotte had told her "a misfortune was often preceded by the dream which she gives to Jane Eyre of carrying a wailing child. She, -Charlotte Bronte, described herself as having the most painful sense of +Charlotte Brontë, described herself as having the most painful sense of pity for the little thing.... The misfortunes she mentioned were not always to herself. She thought such sensitiveness to omens was ... present to susceptible people...." This in the main explains the origin -of the child-apparition as an omen of disaster in Charlotte Bronte's +of the child-apparition as an omen of disaster in Charlotte Brontë's works. It would seem by Charlotte's statement in _Jane Eyre_ that Tabitha @@ -1805,9 +1771,9 @@ Aykroyd, as "Bessie," was responsible for the origin of this little superstition; and it is instructive to find the child-apparition as an ill-omen in connection with Tabitha Aykroyd as Mrs. Dean in _Wuthering Heights_. I have shown John Reed and Hindley Earnshaw represent Branwell -Bronte; we may notice, therefore, that the child-apparition is given +Brontë; we may notice, therefore, that the child-apparition is given equally in _Wuthering Heights_ and in _Jane Eyre_ as coming before -disaster or disgrace to Branwell Bronte. +disaster or disgrace to Branwell Brontë. _Wuthering Heights._ _Jane Eyre._ @@ -1815,7 +1781,7 @@ disaster or disgrace to Branwell Bronte. Tabitha Aykroyd's child-apparition Tabitha Aykroyd's child-apparition as a token of calamity to Branwell as a token of calamity to Branwell - Bronte. Bronte. + Brontë. Brontë. -------- -------- @@ -1823,7 +1789,7 @@ disaster or disgrace to Branwell Bronte. came to a stone which serves as things! ... and so are signs.... a guide-post to ... the Heights Sympathies I believe exist (for and the village.... Hindley instance, between far-distant - [Branwell Bronte] and I held it ... wholly estranged relatives). + [Branwell Brontë] and I held it ... wholly estranged relatives). a favourite spot twenty years When I was a ... girl I heard before, ... and ... it appeared Bessie [Tabitha Aykroyd] say that I beheld my ... playmate that to dream of children was a @@ -1832,7 +1798,7 @@ disaster or disgrace to Branwell Bronte. earth."[27] had gone ... that had not brought ... the dream of an "Poor Hindley!" [Branwell infant which I ... watched - Bronte] I exclaimed playing with daisies on a lawn + Brontë] I exclaimed playing with daisies on a lawn involuntarily. I started--my or ... dabbling its hands in bodily eye was cheated in the running water.[27] It was a belief that the child lifted its wailing child this night, ... a @@ -1852,16 +1818,16 @@ disaster or disgrace to Branwell Bronte. "I hope no one is dead," I said. And the man replies that John - Reed [Branwell Bronte] had got + Reed [Branwell Brontë] had got into great trouble and was dead. -Branwell Bronte was not dead when Charlotte Bronte wrote those two +Branwell Brontë was not dead when Charlotte Brontë wrote those two versions, but it seems certain that an apparition of a child in some period of Charlotte's life preceded a further debasement of Branwell, the original of Hindley Earnshaw and John Reed. We may note Charlotte -Bronte's Method II., in regard to Hindley. +Brontë's Method II., in regard to Hindley. -In Charlotte Bronte's _The Professor_ we find reference to her +In Charlotte Brontë's _The Professor_ we find reference to her child-phantom wailing outside, and to the eerie, premonitory signal made against a lattice, as in her _Wuthering Heights_:-- @@ -1921,15 +1887,15 @@ against a lattice, as in her _Wuthering Heights_:-- let you in, not if you beg for twenty years." -In _Wuthering Heights_ Charlotte Bronte has worked the child-phantom +In _Wuthering Heights_ Charlotte Brontë has worked the child-phantom into the story proper, setting it for the spirit of the departed Catherine, who as a child again (Method II., altering age of the character portrayed) seeks Heathcliffe. The building of the child-phantom in the plot of _Wuthering Heights_ created a peculiar -state of affairs; but as we have seen by Charlotte Bronte's reference to +state of affairs; but as we have seen by Charlotte Brontë's reference to it in the extract from _The Professor_, she was impressed by its possibilities of giving a weird spiritual atmosphere, and she did not -extend the idea in _The Professor_. The substance of Charlotte Bronte's +extend the idea in _The Professor_. The substance of Charlotte Brontë's two versions of the child-phantom wailing outside a house for admittance is identical:-- @@ -1952,23 +1918,23 @@ is identical:-- Thus we perceive the famous child-phantom incident in Chapter III. of _Wuthering Heights_ had its origin (1) in Montagu's lonely-house -incident; (2) in Charlotte Bronte's awe of a child-apparition; (3) in -Charlotte Bronte's Method II., alteration of age of character portrayed, +incident; (2) in Charlotte Brontë's awe of a child-apparition; (3) in +Charlotte Brontë's Method II., alteration of age of character portrayed, by which Catherine the woman becomes a child again; and (4) in Charlotte -Bronte's notion, as evidenced in _Shirley_, Chapter XXIV., that a loved +Brontë's notion, as evidenced in _Shirley_, Chapter XXIV., that a loved dead one can "revisit those they leave"; can "come in the elements"; that "wind" could give "a path to Moor(e)"--Heath(cliffe), "passing the casement sobbing"; that the loved dead one could "haunt" the wind. -These, then, we see were the notions in Charlotte Bronte's head +These, then, we see were the notions in Charlotte Brontë's head responsible for Catherine's returning so sensationally to the abode of her lover as a child-spectre. For Catherine's love for Wuthering Heights was not simply because of the place and its moors, as so many writers have wrongly contended, but because it was associated with Heathcliffe.[29] Let my reader peruse again the "wailing child" passages I quote from _Wuthering Heights_ and _Jane Eyre_ in Chapter II. of _The -Key to the Bronte Works_. +Key to the Brontë Works_. -Truly the testimony of Charlotte Bronte's child-phantom were alone the +Truly the testimony of Charlotte Brontë's child-phantom were alone the sign-manual that she and none other wrote _Wuthering Heights_. @@ -1981,7 +1947,7 @@ PENISTON CRAGS, THE FAIRY CAVE, ETC., IN "WUTHERING HEIGHTS," AND OF THE FAIRY CAVE AND THE FAIRY JANET IN "JANE EYRE." -The uncommon stress Charlotte Bronte has laid upon the outlandishness of +The uncommon stress Charlotte Brontë has laid upon the outlandishness of the _Wuthering Heights_ country and its solitudes assuredly would have been absent from that work had she drawn her background from the comparatively characterless Haworth moors on the skirts of manufacturing @@ -1991,7 +1957,7 @@ scenery in Yorkshire. There has been a noticeable tendency on the part of town-bred, and also of romantic, biographers to be awed by the ordinary moorland surroundings of Haworth, and to associate with them all the wildness of the Craven or Scottish Highlands, though Miss Mary -Robinson, whose work entitled _Emily Bronte_ is in effect an +Robinson, whose work entitled _Emily Brontë_ is in effect an "appreciation" of _Wuthering Heights_, says frankly regarding the house standing beyond the street on the summit of Haworth Hill, shown as the original of _Wuthering Heights_, that to her thinking "this fine old @@ -2004,12 +1970,12 @@ of the name and title of "Wuthering Heights" I reveal in the final chapter on "The Recoil." The following passage from _Wuthering Heights_ tells that Charlotte -Bronte's imagination was enjoying the latitude of a half-realized, +Brontë's imagination was enjoying the latitude of a half-realized, suggested background. It reads just like the traveller Montagu with his horse, attendant servant on horseback, roadside inns, hostlers, and description of country. But the connection of Montagu with Lockwood of _Wuthering Heights_ we have already seen in the early chapters of _The -Key to the Bronte Works_:-- +Key to the Brontë Works_:-- 1802--This September I was invited to devastate the moors of a friend in the North, and on my journey ... I unexpectedly came @@ -2043,10 +2009,10 @@ So we too would imagine, judging by Montagu's description of the district in his little work. Throughout _Wuthering Heights_ we hear mention of Gimmerton, but it is -apparent the village was "dim and dreamy" to Charlotte Bronte--somewhere +apparent the village was "dim and dreamy" to Charlotte Brontë--somewhere about the little valley we should imagine, to conclude by general observations. However, clear it is that Gimmerton and Gimmerden were -drawn by Charlotte Bronte merely from impressions created in her mind by +drawn by Charlotte Brontë merely from impressions created in her mind by other than a personal acquaintance with the district. Where then, and in what peculiar circumstances, did Charlotte receive these suggestions--suggestions that must have appealed to her at a time @@ -2060,7 +2026,7 @@ the valley of Malham. This district Montagu describes as being "most interesting ... in its own variety of wildness." I believe Kilnsey Crags, which Montagu describes on the last page of the -letter next to that written from Malham, figured in Charlotte Bronte's +letter next to that written from Malham, figured in Charlotte Brontë's mind as the originals of Peniston Crags ("Peniston" may have been suggested by Montagu's mention of Pennigent). Montagu's description of Kilnsey Crags I will place side by side with the reference to Peniston @@ -2080,7 +2046,7 @@ Crags in _Wuthering Heights_:-- [by contrasting] lay in shadow. Clearly Joseph's "leading of lime" from Peniston Crags in _Wuthering -Heights_ was suggested to Charlotte Bronte by the "Kiln" of Kilnsea +Heights_ was suggested to Charlotte Brontë by the "Kiln" of Kilnsea Crags, and Montagu's reference to the crags being limestone. Dean describes them to Cathy, and her words are simply Montagu's description--treated antithetically--of Gordale Scar in the Malham @@ -2116,20 +2082,20 @@ the Crags, but we have no description in _Wuthering Heights_:-- a favourite. The name of Linton appears in Montagu in the letter next that in which -he describes the Fairy Cave. We may understand that Charlotte Bronte's +he describes the Fairy Cave. We may understand that Charlotte Brontë's romantic imagination was entranced, as she says Catherine Linton's was, with the mention of the Fairy Cave; and _Jane Eyre_ is testimony that after writing _Wuthering Heights_ she turned again to consider its possibilities of suggestion. -In fact, I find that Charlotte Bronte when she chose the name of Janet +In fact, I find that Charlotte Brontë when she chose the name of Janet Eyre for herself was also calling herself the Fairy Janet. And where, -then, read Charlotte Bronte of the fairy Janet Eyre? The evidence of +then, read Charlotte Brontë of the fairy Janet Eyre? The evidence of Montagu's work proves that when she wrote the name Eyre, she was implying by this Derbyshire variant the name Aire or Ayre, meaning the -river Ayre. Where acquired Charlotte Bronte so intimate an acquaintance +river Ayre. Where acquired Charlotte Brontë so intimate an acquaintance with the history of the Fairy Janet of the Aire as to take upon herself -poetically, the role of that Craven elf and her name? +poetically, the rôle of that Craven elf and her name? Mr. Harry Speight recently, in _The Craven Highlands_, told us "the Fairy Jennet or Janet was queen of the Malhamdale elves" who frequented @@ -2181,10 +2147,10 @@ my hand by 'a fay,' with injunctions not to divulge the secrets of the order. I would have promised but awoke from this pleasant dream." We will now read Montagu's description of the Fairy Janet, and a fairy -coming to him at sundown when adapted by Charlotte Bronte in _Jane +coming to him at sundown when adapted by Charlotte Brontë in _Jane Eyre_. -Adele asks Rochester whether she is to go to school without her +Adèle asks Rochester whether she is to go to school without her governess, Jane Eyre:-- "Yes," he replied; ... "for I am to take mademoiselle to the moon, @@ -2194,7 +2160,7 @@ governess, Jane Eyre:-- "... But you can't get her there...." - "Adele ... late one evening ... I sat down to rest me on a stile + "Adèle ... late one evening ... I sat down to rest me on a stile ... when something came up the path.... Our speechless colloquy was to this effect-- @@ -2209,10 +2175,10 @@ governess, Jane Eyre:-- "Mademoiselle [Jane Eyre] is a fairy," he said, whispering mysteriously. -But Adele assures him she made no account of his "_contes de fee_." +But Adèle assures him she made no account of his "_contes de fée_." For the present it is enough to know that in the main and ostensibly the -Fairy Janet Eyre was Charlotte Bronte's adaptation of Montagu's Fairy +Fairy Janet Eyre was Charlotte Brontë's adaptation of Montagu's Fairy Janet, the queen-elf of the Malhamdale fairies, said to frequent the enchanted land round the source of the Aire. @@ -2243,7 +2209,7 @@ thrown water upon it, he demands:-- "In the name of all the elves in Christendom, is that Jane Eyre?" -And so I might continue. It is observable Charlotte Bronte never allows +And so I might continue. It is observable Charlotte Brontë never allows Rochester to call Jane Eyre "Janet" and "fairy" in the same breath. She permits the use of Janet, however, when the fairy notion is concealed, as when Rochester says: @@ -2251,19 +2217,19 @@ as when Rochester says: "Just put your hand in mine, Janet, that I may have the evidence of touch as well as sight, to prove you are near me." -Certain it is that in Charlotte Bronte's inmost heart her +Certain it is that in Charlotte Brontë's inmost heart her autobiographical self was called Janet Aire.[32] -Charlotte Bronte's conceptions, when she let her imagination have play +Charlotte Brontë's conceptions, when she let her imagination have play and forgot the world of readers were, like Jane Eyre's thoughts, "elfish." See the fairy tale, _The Adventures of Ernest Alembert_ -(attributed by Charlotte Bronte to her pen in her fifteenth year). It -has been remarked this story is not in the handwriting Charlotte Bronte +(attributed by Charlotte Brontë to her pen in her fifteenth year). It +has been remarked this story is not in the handwriting Charlotte Brontë affected at this period, and that the manuscript has not Charlotte's customary title-page.[33] In view of the evidence of _The Key to the -Bronte Works_, it is of interest to make a comparison between _Alembert_ +Brontë Works_, it is of interest to make a comparison between _Alembert_ and Montagu's _Gleanings in Craven_, published eight years later than -the date Charlotte Bronte ascribed to its completion. The association of +the date Charlotte Brontë ascribed to its completion. The association of the family of Lambert with hypothetical high treason and with being extinct; with the Malham country as described by Montagu--the references, so frequent in his pages, to the awe inspired by the @@ -2272,13 +2238,13 @@ range of crags, the lake, the fairy cave, the fairy and the admittance into faerydom; to "the mellow hum of the bee," etc., are interesting in the extreme, seeing by aid of Montagu that Malham as presented by him became Gimmerton of _Wuthering Heights_. Whether "coincidence" has to do -with this matter of _Alembert_ and Montagu, or Charlotte Bronte has for +with this matter of _Alembert_ and Montagu, or Charlotte Brontë has for some reason ante-dated _Alembert_, I leave to the reader to decide. MONTAGU. _The Adventures of Ernest Alembert._ - Montagu, speaking of the church Charlotte Bronte begins by + Montagu, speaking of the church Charlotte Brontë begins by of Kirkby-Malham, "in the ... relating that there once lived vale of Malham," says:--"Some of an Ernest Alembert. One of the the Lamberts are buried Alemberts having been "beheaded" @@ -2323,13 +2289,13 @@ some reason ante-dated _Alembert_, I leave to the reader to decide. cave--the cave of the Fairy cave. Farther on the guide Janet. Montagu falling asleep as vanishes, but [A]lembert wakes it were, a fairy comes to his to find him by his side as a - side and tells him he is in the fairy [Charlotte Bronte, Method + side and tells him he is in the fairy [Charlotte Brontë, Method realm of fairies. She promises I., interchange of the sexes], to induct him into the wonders who addresses [A]lembert as of faeryland, and "the mellow follows:-- horn of the herald bee" summoned her attendants. And so on. See "I am a fairy. You have been, - Charlotte Bronte's mention in and still are, in the land of + Charlotte Brontë's mention in and still are, in the land of _Alembert_ of "the mellow hum of fairies. Some wonders you have the bee." seen; many more you shall see if you choose to follow me." And so @@ -2338,18 +2304,18 @@ some reason ante-dated _Alembert_, I leave to the reader to decide. I have often wondered why no one has ever observed before that the hand which wrote _The Adventures of Ernest Alembert_ must assuredly have written every line of _Wuthering Heights_. We may well understand why -Charlotte Bronte in _Wuthering Heights_ wrote of Catherine Linton that +Charlotte Brontë in _Wuthering Heights_ wrote of Catherine Linton that "the mentioning the Fairy Cave quite turned her head" with interest. And that the original of the Fairy Cave in _Wuthering Heights_ was the Fairy Cave of Malhamdale Montagu mentions at such length in his Malham letter, the use of the names Linton and Airton in the connection irrefutably proves without other appeal: Hareton--that variant of Aire, cannot be associated with Derbyshire like "Eyre"; and despite the use of -"Eyre," Aire was the name in Charlotte Bronte's mind, just as "Airton" +"Eyre," Aire was the name in Charlotte Brontë's mind, just as "Airton" was when she wrote "Hareton." Both the "boy-guide" and "Gimmerton's mist" were obviously suggested to -Charlotte Bronte for _Wuthering Heights_ by Montagu, the original, as I +Charlotte Brontë for _Wuthering Heights_ by Montagu, the original, as I have shown, of Lockwood:-- MONTAGU. _Wuthering Heights._ @@ -2368,14 +2334,14 @@ have shown, of Lockwood:-- locality. Montagu's frequent references to the mountainous character of the Malham -country were doubtless responsible for Charlotte Bronte's choice of the +country were doubtless responsible for Charlotte Brontë's choice of the word "heights" used in her title. Why the name of Gimmer, from "gimmer" a female sheep, and signifying with "ton" the place of sheep, was chosen by her for Gimmerton, is clear when we read the etymology Montagu gives of Skipton. He mentions Skibden and Skipton, proceeding to explain that "Skipton, or Sceptown (from the Saxon word 'scep,' a sheep)" meant "the town of sheep"; and Montagu tells us a native spoke of the village as -"the town of Malham." Hence we perceive why Charlotte Bronte coined +"the town of Malham." Hence we perceive why Charlotte Brontë coined "Gimmerton," the village of sheep, and "Gimmerden," the valley of sheep, for Malham and Malhamdale with the source of the Aire, the Fairy Cave, the Sough, the adjacent crags, the heights, the glens, the rising mists, @@ -2395,7 +2361,7 @@ portions by a rapid stream"--"the beck down Gimmerton." "There is a Methodist chapel at Malham," he states, and says that the old church of Kirkby-Malham "is in the very bosom of the vale of Malham." Thus Gimmerton Kirk, in the lonely valley of Gimmerton,[36] was Charlotte -Bronte's name in _Wuthering Heights_ for the kirk by Malham, in the +Brontë's name in _Wuthering Heights_ for the kirk by Malham, in the lonely vale of Malham. This insight into the origin of the name of "kirk" for a Yorkshire church excuses what, without it, would have been an anachronistic misnomer. As for the Nonconformists' place of worship, @@ -2404,14 +2370,14 @@ place--I can't say which it is at Gimmerton--a chapel." In the light of the foregoing evidence it is impossible to ignore the reference Montagu makes to "the sinks," where the water from Malham Tarn -sinks underground for a considerable distance. Whether Charlotte Bronte +sinks underground for a considerable distance. Whether Charlotte Brontë thought this would produce a quag in the neighbourhood I cannot tell; but if she has used the word "sough" (pronounced _suff_) in its ordinary acceptance in Yorkshire, she originally meant "a subterranean passage or tunnel, draining water as from a sink," if I may quote a definition in Dr. Joseph Wright's _English Dialect Dictionary_. There is every sign in her writings of a loose, composite adaptation of Montagu's topography, -etc., yet Charlotte Bronte was ever jealous of associations, and under a +etc., yet Charlotte Brontë was ever jealous of associations, and under a guise or not she frequently preserved carefully recognizable characteristics necessary to locality and to personality; and we see Montagu had associated a sough with Malham. We have mention of Gimmerton @@ -2426,7 +2392,7 @@ The influence of Montagu's descriptions of this wild locality is likewise observable in the scenery and the background of _Jane Eyre_,[37] as I mentioned in the article "The Key to _Jane Eyre_" I wrote in _The Saturday Review_. The yews and evergreens, mentioned by -Montagu in connection with Malham, and introduced by Charlotte Bronte, +Montagu in connection with Malham, and introduced by Charlotte Brontë, with other trees of the fir-tribe, in descriptions of Morton in _Jane Eyre_, Chap. XXX., etc., and in _Wuthering Heights_, are not common to Haworth. @@ -2436,15 +2402,15 @@ Haworth. CHAPTER VIII. -THE RIVERS OR BRONTE FAMILY IN "JANE EYRE." +THE RIVERS OR BRONTË FAMILY IN "JANE EYRE." -Charlotte Bronte, while she often portrayed the main characters of her +Charlotte Brontë, while she often portrayed the main characters of her stories from people in her own life, was quite at home with them in whatsoever condition or surroundings she placed them.[38] She loved the memory of Tabitha Aykroyd--that faithful servant, companion, and friend; -hated the vices of her brother Branwell Bronte, and was obsessed by -thoughts of M. Heger, her Brussels friend. So she placed the good old +hated the vices of her brother Branwell Brontë, and was obsessed by +thoughts of M. Héger, her Brussels friend. So she placed the good old housekeeper of the parsonage--under an ecclesiastical cognomen truly--as Mrs. Dean at Wuthering Heights; set up her brother Branwell on the same premises as Hindley Earnshaw, and put her Brussels friend in the @@ -2452,51 +2418,51 @@ position of master of that abode. In _Jane Eyre_ Tabitha Aykroyd is Bessie of Mrs. Reed's household, and Hannah of the Rivers family; Branwell is among better surroundings as -John Reed, and M. Heger is portrayed more proportionately as the master -of Thornfield; while in the same work Charlotte Bronte portrays her own -sister Maria Bronte, and makes her say she is a native of Northumberland +John Reed, and M. Héger is portrayed more proportionately as the master +of Thornfield; while in the same work Charlotte Brontë portrays her own +sister Maria Brontë, and makes her say she is a native of Northumberland and describe the scenery round her birthplace there! -In _Shirley_ Charlotte admits to having placed Emily Bronte as "Shirley +In _Shirley_ Charlotte admits to having placed Emily Brontë as "Shirley Keeldar," surrounded by the environment of a wealthy woman--a landed proprietress in the Dewsbury neighbourhood; and she gives us phases of -M. Heger as a resident of Yorkshire, in the two Moores. +M. Héger as a resident of Yorkshire, in the two Moores. _Villette_ contains in Dr. John, towards the close, a portrait of the Rev. Mr. Nicholls, who became her husband, as a resident of the foreign town Villette--for I find the character Dr. John was a portrait not wholly drawn, as is supposed, from Mr. Smith of Messrs. Smith & Elder, -the Bronte publishers; and glimpses of Mr. Thackeray as a Villette -lecturer appear in a flitting usurpation of M. Heger's rights as the +the Brontë publishers; and glimpses of Mr. Thackeray as a Villette +lecturer appear in a flitting usurpation of M. Héger's rights as the original of M. Paul. -Charlotte Bronte's thus placing given characters against any background +Charlotte Brontë's thus placing given characters against any background is doubtless responsible for the fact that when I wrote the _Fortnightly -Review_ article, "The Lifting of the Bronte Veil: A New Study of the -Bronte Family," in March, 1907, nigh on sixty years of readers of the -Bronte works had failed to recognize Charlotte Bronte had portrayed in -_Jane Eyre_ not only herself and her sister, Maria Bronte, as was -commonly known, but also her brother, Branwell Bronte; her Aunt -Branwell; her cousin, Eliza Branwell; her sister, Elizabeth Bronte; her -sister, Emily Bronte; her sister, Anne Bronte; her father, the Rev. -Patrick Bronte; and also Tabitha Aykroyd, the Bronte servant. Perhaps it +Review_ article, "The Lifting of the Brontë Veil: A New Study of the +Brontë Family," in March, 1907, nigh on sixty years of readers of the +Brontë works had failed to recognize Charlotte Brontë had portrayed in +_Jane Eyre_ not only herself and her sister, Maria Brontë, as was +commonly known, but also her brother, Branwell Brontë; her Aunt +Branwell; her cousin, Eliza Branwell; her sister, Elizabeth Brontë; her +sister, Emily Brontë; her sister, Anne Brontë; her father, the Rev. +Patrick Brontë; and also Tabitha Aykroyd, the Brontë servant. Perhaps it was because readers believed Morton was Hathersage, Derbyshire, that a -suspicion of the Rivers family being the Bronte family at Haworth never +suspicion of the Rivers family being the Brontë family at Haworth never had been entertained. -I found, however, that all the above-mentioned members of the Bronte +I found, however, that all the above-mentioned members of the Brontë family were placed in _Jane Eyre_ under a "Rivers" surname; and proceeding into the inquiry as to their identity, I perceived this -discovery of the Bronte family in _Jane Eyre_ numbered with the more -important of my Bronte discoveries, and that despite her purposed and +discovery of the Brontë family in _Jane Eyre_ numbered with the more +important of my Brontë discoveries, and that despite her purposed and reasonable cross-scents--the spired church, the mention of knife-grinders, and the hinting at the proximity of Sheffield, all so necessary in her day to permit the portrayal of phases of the life at -Haworth Parsonage--Morton to Charlotte Bronte was in the main Haworth. +Haworth Parsonage--Morton to Charlotte Brontë was in the main Haworth. What importance would attach to a discovery of an unknown portrait group of his family deliberately painted from life by an old master! Such is -the importance of this discovery of the Bronte family drawn by the pen -of Charlotte Bronte herself in _Jane Eyre_. Currer Bell portrayed with +the importance of this discovery of the Brontë family drawn by the pen +of Charlotte Brontë herself in _Jane Eyre_. Currer Bell portrayed with unvarying truth; and with cunning artistry she brought forward in her literary legacy to the English novel the sure characteristics--the very soul, the shallowness, the pretty affectionateness, the cooing @@ -2505,8 +2471,8 @@ loved and feared. Now, in the selection of a Christian name for the heroine Jane Eyre, in whom she had portrayed herself, there was every reason why Charlotte -Bronte would be unlikely to adopt the second name of her sister, Emily -Jane. We have seen, however, that Charlotte Bronte had been led by +Brontë would be unlikely to adopt the second name of her sister, Emily +Jane. We have seen, however, that Charlotte Brontë had been led by Montagu's mention of the Fairy Jannet, or Janet, poetically to make her heroine a Fairy Janet. This evidence shows, therefore, that "Jane" was really only secondary. The Fairy Cave which this fairy was supposed to @@ -2514,18 +2480,18 @@ frequent is near Malham or Gimmerton, and, as I have said, the Fairy Janet is termed "the queen of the Malhamdale elves that frequent the enchanted land round the source of the Aire." Montagu mentions the fact that the river Ayre takes its rise at Malham--at Malham Tarn, and hence -Charlotte Bronte seems to have named her heroine originally Janet Aire. +Charlotte Brontë seems to have named her heroine originally Janet Aire. Obvious it is she would be led, naturally, to use later some variant of Aire or Ayre; and the fact that she visited in the summer of 1845 (evidence shows she had read Montagu at the time)[39] her friend Miss Nussey, then at Hathersage in Derbyshire, where Eyre is a common name, would suggest she was led to adopt this variant through her visit there. -We already have seen Charlotte Bronte used the variant of "Hare" for +We already have seen Charlotte Brontë used the variant of "Hare" for "Air" in _Wuthering Heights_ for the boy Hareton from Montagu's boy-guide, Robert Airton. And that she wished in _Jane Eyre_ to break through the confines of the variant she had chosen for Aire, and give open expression to her original and poetic idea, is seen plainly enough -where Adele asks:-- +where Adèle asks:-- "And Mademoiselle--what is your name?" @@ -2537,33 +2503,33 @@ Having made this interesting discovery, I further found that, not satisfied with appropriating for herself the "stream" surname, she placed such a surname upon those who were related to her and whom she had portrayed in _Jane Eyre_. So she used Burns from "burn," a stream -spelt with an "s," for Maria Bronte; Rivers, from a river also spelt -with an "s," for Emily Bronte, Anne Bronte, and the Rev. Patrick Bronte, +spelt with an "s," for Maria Brontë; Rivers, from a river also spelt +with an "s," for Emily Brontë, Anne Brontë, and the Rev. Patrick Brontë, with Tabitha Aykroyd in attendance as Hannah; Reed, from the river of that name for Charlotte's Aunt Branwell, her cousin Eliza Branwell, and -her brother, Branwell Bronte; Severn, from the river of that name for -her sister Elizabeth Bronte--just as she used Aire from the river of +her brother, Branwell Brontë; Severn, from the river of that name for +her sister Elizabeth Brontë--just as she used Aire from the river of that name for herself, as Janet Aire. -A reference to Mrs. Gaskell's Bronte _Life_ were sufficient to establish -the identifications, when I say that by Charlotte Bronte's Method II. +A reference to Mrs. Gaskell's Brontë _Life_ were sufficient to establish +the identifications, when I say that by Charlotte Brontë's Method II. (the alteration of the age of a character portrayed) the Rev. Patrick -Bronte is represented as a young man in the Rev. St. John Eyre +Brontë is represented as a young man in the Rev. St. John Eyre Rivers--certainly a very necessary obfuscation, for it is to be seen the home at Morton gives a most enlightening insight into the life at the Haworth Parsonage. A death is supposed to have occurred in the Rivers -family; and when it is remembered Thornfield to Charlotte Bronte -represented the Hegers' establishment at Brussels, and that she left +family; and when it is remembered Thornfield to Charlotte Brontë +represented the Hégers' establishment at Brussels, and that she left Brussels the first time on account of the death of her aunt, Miss Elizabeth Branwell who, after being the female head of the parsonage some years, died there in the close of 1842, we may know for whom the -Rivers family were really in mourning. Charlotte Bronte tells us that, +Rivers family were really in mourning. Charlotte Brontë tells us that, looking through the window of Moor House--Haworth Parsonage:-- I could see ... an elderly woman [Tabitha Aykroyd--the Mrs. Dean of _Wuthering Heights_], somewhat rough-looking, but scrupulously clean, like all about her, ... knitting a stocking.... Two young, - graceful women [Emily and Anne Bronte]--ladies in every + graceful women [Emily and Anne Brontë]--ladies in every point--sat, one in a low rocking-chair, the other on a lower stool; both wore deep mourning, ... which sombre garb singularly set off very fair necks and faces: a large old ... dog [Emily had @@ -2584,7 +2550,7 @@ looking through the window of Moor House--Haworth Parsonage:-- as silent as if all the figures had been shadows and the fire-lit apartment a picture. - "Listen, Diana [Emily Bronte]", said one of the absorbed students, + "Listen, Diana [Emily Brontë]", said one of the absorbed students, ... and in a low voice she read ... in German.... The other girl, who had lifted her head to listen to her sister, repeated, while she gazed at the fire, a line.... "Good!" ... she exclaimed, while @@ -2608,7 +2574,7 @@ looking through the window of Moor House--Haworth Parsonage:-- to-night." "I think we have.... I wonder when St. John [the Rev. Patrick - Bronte] will come home." + Brontë] will come home." "Surely he will not be long now: it is just ten" (looking at a little gold watch she drew from her girdle). "It rains fast. @@ -2617,7 +2583,7 @@ looking through the window of Moor House--Haworth Parsonage:-- Charlotte seems to have portrayed particularly those happy months at home in 1842, when, after the death of their aunt, all three sisters -were together and their brother Branwell was away. It is Anne Bronte +were together and their brother Branwell was away. It is Anne Brontë who, as Mary Rivers, consults her watch. For the circumstances in which she acquired this gold watch see the will of Miss Elizabeth Branwell, her aunt.[40] @@ -2628,30 +2594,30 @@ her aunt.[40] it looks so lonesome wi' the chair empty and set back in a corner." -The Bronte sisters were "always children in the eyes of Tabitha." +The Brontë sisters were "always children in the eyes of Tabitha." Continuing her description of her sisters, Charlotte as Jane says:-- Both were fair complexioned and slenderly made; both possessed - faces full of distinction and intelligence. One [Emily Bronte] to + faces full of distinction and intelligence. One [Emily Brontë] to be sure had hair a shade darker than the other, and there was a - difference in their style of wearing it: Mary's [Anne Bronte's] + difference in their style of wearing it: Mary's [Anne Brontë's] pale brown locks were parted and braided smooth; Diana's [Emily - Bronte's] duskier tresses covered her neck with thick curls.... + Brontë's] duskier tresses covered her neck with thick curls.... [She] had a voice toned to my ear, like the cooing of a dove. She possessed eyes whose gaze I delighted to encounter. Her whole face - seemed to me full of charm, Mary's [Anne Bronte's] countenance was + seemed to me full of charm, Mary's [Anne Brontë's] countenance was equally intelligent--her features equally pretty; but her expression was more reserved; and her manner, though gentle, more distant. Diana looked and spoke with a certain authority [it was - Emily Bronte's manner]: she had a will.... It was my nature to + Emily Brontë's manner]: she had a will.... It was my nature to feel pleasure in yielding to an authority supported like hers; and to bend, where my conscience and self-respect permitted, to an active will. -The following is the portrait of Charlotte Bronte's father (Method II., +The following is the portrait of Charlotte Brontë's father (Method II., the altering the age of the character portrayed) as her imagination pictured him to have been in his young days. St. John's was the Rev. -Patrick Bronte's college at Cambridge:-- +Patrick Brontë's college at Cambridge:-- Mr. St. John ... had he been a statue instead of a man ... could not have been easier. He was ... tall, slender; his face riveted @@ -2665,12 +2631,12 @@ Patrick Bronte's college at Cambridge:-- about his nostril, his mouth, his brow, which ... indicated elements within either restless, or hard or eager. -Charlotte Bronte's references herewith, and in other instances, to the +Charlotte Brontë's references herewith, and in other instances, to the passionate nature of her father are interesting reading, especially in view of the fact that this point has been the subject of controversy. To return to _Jane Eyre_:-- - Mr. Rivers [Mr. Bronte] now closed his book, approached the table, + Mr. Rivers [Mr. Brontë] now closed his book, approached the table, and, as he took a seat, fixed his pictorial-looking eyes full upon me. There was an unceremonious directness, a searching, decided steadfastness in his gaze now which told that intention ... had @@ -2681,7 +2647,7 @@ return to _Jane Eyre_:-- combination of keenness and reserve was considerably more calculated to embarrass than to encourage. -Mrs. Gaskell states that even in his old age Mr. Bronte[41] was a tall +Mrs. Gaskell states that even in his old age Mr. Brontë[41] was a tall and a striking-looking man, with a nobly shaped head and erect carriage, and that in youth he must have been unusually handsome. And to use the words of Hannah, "Mr. St. John when he grew up would go to college and @@ -2694,10 +2660,10 @@ be a parson." Continuing, Mrs. Gaskell further says:-- Celtic origin in the straight Greek lines and long oval of his face. -Another writer accentuating this says Mr. Bronte was "proud of his Greek -profile," and we have now seen that Charlotte Bronte herself says his -(St. John's) face was "like a Greek face, pure in outline." Mr. Bronte -had also "fine blue eyes," like Mr. St. John. "His (Mr. Bronte's) +Another writer accentuating this says Mr. Brontë was "proud of his Greek +profile," and we have now seen that Charlotte Brontë herself says his +(St. John's) face was "like a Greek face, pure in outline." Mr. Brontë +had also "fine blue eyes," like Mr. St. John. "His (Mr. Brontë's) passionate nature was compressed down with stoicism, but it was there, notwithstanding all his philosophic calm and dignity of demeanour, though he did not speak when displeased. He was an active walker, @@ -2705,7 +2671,7 @@ stretching away over the moors for many miles. He dined alone, and did not require companionship." Which is, of course, all consonant with what we read of St. John Eyre -Rivers. Charlotte Bronte continues:-- +Rivers. Charlotte Brontë continues:-- As to Mr. St. John, the intimacy which had arisen so naturally ... between me and ... [my] sisters did not extend to him. One reason @@ -2759,14 +2725,14 @@ Rivers. Charlotte Bronte continues:-- understanding: he had no more found it ... than had I: with my concealed and racking regrets for my broken idol and lost elysium. -"Charlotte Bronte," says Miss Laura C. Holloway, "early exhibited +"Charlotte Brontë," says Miss Laura C. Holloway, "early exhibited antagonistic feelings towards the Calvinistic views of her father." And so I might continue at great length. Excluding the love passages necessary to "story" and the missionary suggestions for which it seems -that Brussels priest whom I may call Charlotte Bronte's Fenelon was -originally responsible, the portrayal of the Rev. Patrick Bronte, like +that Brussels priest whom I may call Charlotte Brontë's Fénelon was +originally responsible, the portrayal of the Rev. Patrick Brontë, like that of Charlotte's sisters, is absolutely true to prototype and -fact.[42] We discover that at heart Charlotte Bronte loved her father, +fact.[42] We discover that at heart Charlotte Brontë loved her father, hence she honoured him--the head of the "Rivers" family--by giving him the final word in her autobiography, speaking of him as he appeared to her: an old man whose days were drawing to a close. Jane relates of @@ -2776,7 +2742,7 @@ Morton:-- well-built though small house, which I had no doubt was the parsonage. -In Charlotte Bronte's mind this was Haworth Parsonage; but it is clear +In Charlotte Brontë's mind this was Haworth Parsonage; but it is clear that, despite the church "spire" and other efforts at obfuscation, she did not dare to portray her sisters and father in the parsonage. Thus she placed the family in another house. And now we will have another @@ -2806,12 +2772,12 @@ Yorkshire dialect:-- argumentative point]. She did not know where there was such a family for being united. -Emily Bronte as Diana says it is "a privilege we exercise in our home to +Emily Brontë as Diana says it is "a privilege we exercise in our home to prepare our own meals when ... so inclined, or when Hannah [Tabby] is baking, brewing, washing or ironing," which of course was true at Haworth Parsonage. To give yet another description:-- - The Rivers [Brontes] clung to the purple moors behind and around + The Rivers [Brontës] clung to the purple moors behind and around their dwelling with a perfect enthusiasm of attachment. I could comprehend the feeling, and share both its strength and truth. I saw the fascination of the locality, ... my eye feasted on the @@ -2822,29 +2788,29 @@ Haworth Parsonage. To give yet another description:-- theirs. Then follow pictures of the life at Haworth Parsonage, which tell us how -Charlotte Bronte adored her sisters; and with the modesty of true genius +Charlotte Brontë adored her sisters; and with the modesty of true genius she places herself at their feet, as it were. We have a sketch of Tabitha Aykroyd ironing Aunt Branwell's lace frills and crimping her nightcap borders in _Jane Eyre_, Chapter I., wherein both figure as Bessie and Aunt Reed. Years ago it came to be thought the original of -Jane Eyre's Aunt Reed was Miss Branwell, the aunt of the Bronte +Jane Eyre's Aunt Reed was Miss Branwell, the aunt of the Brontë children, though one writer identified her with a certain Mrs. Sidgwick -whose son threw a book at Miss Bronte in her governess days, because +whose son threw a book at Miss Brontë in her governess days, because "the son of Mrs. Reed" threw a Bible at Jane Eyre. The fact the rainy-day narrations in _Wuthering Heights_ and _Jane Eyre_ establish, -that Charlotte Bronte associated a "volume-hurling" incident with her -childhood and Branwell Bronte's "tyranny," disposed finally of the +that Charlotte Brontë associated a "volume-hurling" incident with her +childhood and Branwell Brontë's "tyranny," disposed finally of the Sidgwick identifications. John Reed we have now seen was, like Hindley -Earnshaw, Catherine's brother, drawn by Charlotte Bronte from her -brother Branwell Bronte. Always she wrote of him vindictively, and with +Earnshaw, Catherine's brother, drawn by Charlotte Brontë from her +brother Branwell Brontë. Always she wrote of him vindictively, and with a retributive justice, her strong characteristic. At about the period when Currer Bell was penning _Wuthering Heights_ and _Jane Eyre_ Branwell was a source of considerable distress to her. He was disgraced; his habits were the reverse of temperate, and it was daily feared that in a fit of delirium he might make an attempt upon his own life. Indeed -Charlotte Bronte palpably writes of Branwell Bronte and those miserable +Charlotte Brontë palpably writes of Branwell Brontë and those miserable associations which brought trouble upon Mrs. Gaskell's first edition of -the Bronte _Life_, in _The Professor_, Chapter XX., where she says:-- +the Brontë _Life_, in _The Professor_, Chapter XX., where she says:-- Limited as had yet been my experience of life, I had once had the opportunity of contemplating, near at hand, an example of the @@ -2865,19 +2831,19 @@ exclaims at the last of her favourite:--"John is sunken and degraded, his look is frightful--I feel ashamed for him when I see him." It was near the time that Aunt Branwell died at Haworth there was this decided degradation of her favourite nephew Branwell. For story purposes -Charlotte Bronte makes her aunt a married woman in _Jane Eyre_, and +Charlotte Brontë makes her aunt a married woman in _Jane Eyre_, and places her nephew Branwell and her niece Eliza Branwell in the relation of children to her as John and Eliza Reed--Georgiana is no doubt a -Bronte relative of whom we have not heard, and Charlotte thought vain. +Brontë relative of whom we have not heard, and Charlotte thought vain. The fact that in _Jane Eyre_, Chapter XXI., her name is mentioned in connection with "a title," would show Currer Bell early apportioned her a place in the book by reason of Montagu's reference to a Lady Georgiana. -A child, sympathetic and intensely emotional, Charlotte Bronte, +A child, sympathetic and intensely emotional, Charlotte Brontë, evidently, felt injustices with an acuteness not easy to understand without reading her _Wuthering Heights_ and _Jane Eyre_ by aid of _The -Key to the Bronte Works_. It would be like Maria Bronte to protest with +Key to the Brontë Works_. It would be like Maria Brontë to protest with her younger sister on her holding resentment against Aunt Branwell; and with the inference that she herself had endured her harshness, she says as Helen Burns:--"What a singularly deep impression her injustice seems @@ -2890,7 +2856,7 @@ Aunt Reed, we are told: "she was now very thin, and there was something ascetic in her look." She wore "a nun-like ornament of a string of ebony beads and a crucifix. This I felt sure was Eliza, though I could trace little resemblance to her former self in that elongated and colourless -visage." In 1840 Charlotte Bronte wrote of her "Cousin Eliza Branwell" +visage." In 1840 Charlotte Brontë wrote of her "Cousin Eliza Branwell" that she spoke of nothing but botany, her own conversion, Low Church, Evangelical clergy, and the Millennium.[43] And thus in _Jane Eyre_ we read of Cousin Eliza Reed, by way of emphasis on this side of her @@ -2919,8 +2885,8 @@ character:-- The river Reed, I may remark, has its rise close to the Cheviot Hills, within about five miles of the source of the Keeldar Burn, which name -Charlotte Bronte used later in _Shirley_ for the surname of Shirley -Keeldar who, the world knows, is really Emily Bronte. To quote a ballad +Charlotte Brontë used later in _Shirley_ for the surname of Shirley +Keeldar who, the world knows, is really Emily Brontë. To quote a ballad of Leyden, "The heath-bell blows where Keeldar flows, @@ -2929,15 +2895,15 @@ of Leyden, The Reed has a Rochester near, which doubtless provided a name for Charlotte's hero. -Having now the key to this method of Charlotte Bronte, we also discover +Having now the key to this method of Charlotte Brontë, we also discover portrayed in _Jane Eyre_ an utterly neglected sister of Currer Bell in -Julia Severn, called after a river. Remembering that Emily Bronte would -be younger than Charlotte, we perceive Julia must mean Elizabeth Bronte, +Julia Severn, called after a river. Remembering that Emily Brontë would +be younger than Charlotte, we perceive Julia must mean Elizabeth Brontë, born, like Emily, in July. We almost had forgotten this sister was at the Clergy Daughters' School. One of two things was responsible, it seems, for the choice of "Julia": either her natal month or her going to -the above school in July. Elizabeth Bronte, the second sister of -Charlotte Bronte, was born at Hartshead, near Dewsbury. +the above school in July. Elizabeth Brontë, the second sister of +Charlotte Brontë, was born at Hartshead, near Dewsbury. "Miss Temple," cries Mr. Brocklehurst, "... what--_what_ is that girl with curled hair--red hair, ma'am, curled--curled all over?" @@ -2946,28 +2912,28 @@ Charlotte Bronte, was born at Hartshead, near Dewsbury. hair curls naturally." Thus from this discovery the world learns for the first time that Diana -Rivers represents Emily Bronte, afterwards Shirley Keeldar;[44] Mary -Rivers, Annie or Anne Bronte; St. John Eyre Rivers, the Rev. Patrick -Bronte; and the elderly Hannah, the old, dialect-speaking Tabitha -Aykroyd--the original of Charlotte Bronte's Mrs. Dean and Bessie; that +Rivers represents Emily Brontë, afterwards Shirley Keeldar;[44] Mary +Rivers, Annie or Anne Brontë; St. John Eyre Rivers, the Rev. Patrick +Brontë; and the elderly Hannah, the old, dialect-speaking Tabitha +Aykroyd--the original of Charlotte Brontë's Mrs. Dean and Bessie; that Aunt Reed represents Aunt Branwell; Cousin Eliza Reed, Cousin Eliza -Branwell; John Reed, Charlotte Bronte's brother Branwell; and Julia -Severn, her sister Elizabeth Bronte, all of whom but for _The Key to the -Bronte Works_ would have remained for ever hidden and unrecognized in +Branwell; John Reed, Charlotte Brontë's brother Branwell; and Julia +Severn, her sister Elizabeth Brontë, all of whom but for _The Key to the +Brontë Works_ would have remained for ever hidden and unrecognized in _Jane Eyre_. I have refrained from extending this volume with full extracts from the -Bronte books, once having indicated the place and nature of my +Brontë books, once having indicated the place and nature of my references. I must emphasize, however, that in dealing with the Rivers -family Charlotte Bronte gives most appealing portrayals of the various +family Charlotte Brontë gives most appealing portrayals of the various phases of the life at Haworth Parsonage:--The studying, the painting,[45] the minor interesting domestic incidents dear to her -memory, the parting of the Bronte sisters with St. John (Mr. Bronte), +memory, the parting of the Brontë sisters with St. John (Mr. Brontë), the "house-cleaning"--so very "Yorkshire"!--the preparations for -Christmas, the return home of the Bronte girls, and many other facts and +Christmas, the return home of the Brontë girls, and many other facts and associations that render _Jane Eyre_ in the light of _The Key to the -Bronte Works_ the surpassing of all Bronte biographies. Presented for -posterity by her own sure hand, Charlotte Bronte's picture is bright and +Brontë Works_ the surpassing of all Brontë biographies. Presented for +posterity by her own sure hand, Charlotte Brontë's picture is bright and exhilarating; and as we glance uneasily again to Mrs. Gaskell's sombre portrayal, we on a sudden remember that biographer wrote in the shadow of death. But it is with life we have to do. @@ -2977,49 +2943,49 @@ of death. But it is with life we have to do. CHAPTER IX. -THE ORIGIN OF THE YORKSHIRE ELEMENT IN CHARLOTTE BRONTE'S HUNSDEN OF +THE ORIGIN OF THE YORKSHIRE ELEMENT IN CHARLOTTE BRONTË'S HUNSDEN OF "THE PROFESSOR"; HEATHCLIFFE OF "WUTHERING HEIGHTS"; ROCHESTER OF "JANE EYRE"; AND YORKE OF "SHIRLEY." -M. Heger, Miss Bronte's Brussels friend, by the showing of all evidence +M. Héger, Miss Brontë's Brussels friend, by the showing of all evidence was essentially the original of her leading male characters.[46] M. Sue's _Miss Mary_ and its "Manuscript of Mdlle. Lagrange," which I -present farther on, are sufficient testimony that M. Heger was the -original of the inner Heathcliffe and Rochester, and Charlotte Bronte's +present farther on, are sufficient testimony that M. Héger was the +original of the inner Heathcliffe and Rochester, and Charlotte Brontë's other chief male characters. An inquiry, therefore, is at once required as to the significance of Mrs. Gaskell's statement that she suspected -Charlotte Bronte drew from the sons of the Taylor family[47] "all that +Charlotte Brontë drew from the sons of the Taylor family[47] "all that was of truth in the characters of the heroes of her first two works." That the Yorkshire element of her heroes was provided by a living model or models from one family, is proved by a consistency of the characterization in this regard. I find, truly enough, that male members of the Taylor family were indeed the originals to which she referred in -the composition of a Yorkshire-Heger.[48] The Taylors, of the Red House, +the composition of a Yorkshire-Héger.[48] The Taylors, of the Red House, Gomersall, (obviously the Briarmains of the Yorkes), and of Hunsworth, -were mill-owner friends, and Independents, with whom Charlotte Bronte -visited. In _Shirley_ Miss Bronte ostensibly portrayed Mr. Taylor and +were mill-owner friends, and Independents, with whom Charlotte Brontë +visited. In _Shirley_ Miss Brontë ostensibly portrayed Mr. Taylor and his two daughters, her friends Mary and Martha, as Mr. Yorke and Rose and Jessie. Mary and Martha Taylor were at school with Charlotte at Roe Head, near Dewsbury and Huddersfield. They were also at Brussels with -Charlotte, though not at the Hegers'. Martha was taken ill and died at +Charlotte, though not at the Hégers'. Martha was taken ill and died at Brussels; a touching reference to her death is made where she is portrayed as Jessie Yorke, in _Shirley_, Chapter XXIII. Mary Taylor -(Rose Yorke) was in New Zealand when Charlotte Bronte died. Her fondness +(Rose Yorke) was in New Zealand when Charlotte Brontë died. Her fondness for travel is mentioned in the _Shirley_ chapter named. The male members of this family were thought by Currer Bell most characteristic Yorkshire folk, hence the name of Yorke. I mention Yorke Hunsden as one of the -Yorkshire-Hegers of Miss Bronte's method of dual portraiture. I believe +Yorkshire-Hégers of Miss Brontë's method of dual portraiture. I believe this important character in _The Professor_ will be found, like his -fellows, to be entirely a Taylor-Heger. The name for Hunsden was +fellows, to be entirely a Taylor-Héger. The name for Hunsden was apparently dictated by the Taylors' connection with Hunsworth, and it may be noted his Christian name of Yorke came to be later the surname of Mr. Taylor as portrayed in _Shirley_. -But the Heger element was always superior to the Yorkshire element in -Charlotte Bronte's heroes. The latter might provide useful and necessary +But the Héger element was always superior to the Yorkshire element in +Charlotte Brontë's heroes. The latter might provide useful and necessary external characteristics, but the "intensitives" were the lines she drew -from her model, M. Heger. Of him as M. Pelet in _The Professor_, she +from her model, M. Héger. Of him as M. Pelet in _The Professor_, she writes:-- His face was pale, his cheeks were sunk, and his eyes hollow; his @@ -3028,16 +2994,16 @@ writes:-- countenance; his physiognomy was _fine et spirituelle_. This "melancholy almost suffering expression of countenance" she thus -described was evidently once a marked characteristic of M. Heger's +described was evidently once a marked characteristic of M. Héger's physiognomy. A reference to it occurs in M. Sue's _Miss Mary_, in the French and "adapted" version, where we find M. de Morville, whom I -identify as a phase of M. Heger, sitting in a reverie:-- +identify as a phase of M. Héger, sitting in a reverie:-- - ... l'expression de legere souffrance habituelle a sa physionomie, - d'ailleurs si ouverte, s'est compliquee d'une sorte de contrainte + ... l'expression de légère souffrance habituelle à sa physionomie, + d'ailleurs si ouverte, s'est compliquée d'une sorte de contrainte lorsqu'il se trouve au milieu de sa famille. Seul, et ne subissant - pas cette contrainte ... M. de Morville semble profondement - attriste. + pas cette contrainte ... M. de Morville semble profondément + attristé. Thus, of Yorke Hunsden in _The Professor_, we read:-- @@ -3059,11 +3025,11 @@ And again of Hunsden, in the same vein:-- him now the mien of a morose bull, and anon, that of an ... arch girl. -Regarding these facial metamorphoses Charlotte Bronte wrote similarly -concerning M. Heger.[49] +Regarding these facial metamorphoses Charlotte Brontë wrote similarly +concerning M. Héger.[49] -I remark that M. Heger's harshness evidently had impressed Charlotte -Bronte considerably at first, and thus reflects her thoughts on this +I remark that M. Héger's harshness evidently had impressed Charlotte +Brontë considerably at first, and thus reflects her thoughts on this point in the introduction of the phases she gives of him in her books. So we read of Yorke Hunsden, of Heathcliffe, and of Rochester:-- @@ -3097,20 +3063,20 @@ So we read of Yorke Hunsden, of Heathcliffe, and of Rochester:-- he would go on. We read of Rochester:--"The frown, the roughness of the stranger -set me at my ease"; and in _Villette_, we read of M. Heger as M. +set me at my ease"; and in _Villette_, we read of M. Héger as M. Paul:--"Once ... I held him harsh and strange, ... the darkness, the manner displeased me. Now ... I preferred him before all humanity," -which explains why Charlotte Bronte wrote of Rochester:--"The sarcasm +which explains why Charlotte Brontë wrote of Rochester:--"The sarcasm that had repelled, the harshness that had startled me once, were only like keen condiments in a choice dish," and explains why she admits to the piquancy in exploiting the possibilities of Heathcliffe's startling harshness. -And again, as further evidence of the influence of M. Heger over her +And again, as further evidence of the influence of M. Héger over her Yorkshire Hunsden, we find this character in the close of _The Professor_ implicated with a mysterious "Lucia," whom he would have married but could not, which Lucia we discover to have meant really the -original of the Lucy Snowe of _Villette_--Charlotte Bronte herself. +original of the Lucy Snowe of _Villette_--Charlotte Brontë herself. It is obvious that while Currer Bell, for "story" and other purposes, made use of a composite method in presenting a portrait, she drew from @@ -3120,13 +3086,13 @@ presenting also a phase of another clergyman, the Rev. Hammond Roberson; and as with Dr. John Bretton, a composite character drawn from the two Scotsmen, Mr. Smith her publisher, and the Rev. A. B. Nicholls, who subsequently became her husband. Doubtless, characteristics in the -Taylors were similar to some of M. Heger's. Perhaps the fact that they +Taylors were similar to some of M. Héger's. Perhaps the fact that they spoke French and sojourned on the Continent, accentuated to her these -characteristics. In a letter, Miss Bronte described all the Taylors as +characteristics. In a letter, Miss Brontë described all the Taylors as "Republicans." And so of Yorke Hunsden in _The Professor_, Chap. XXIV., we read, "republican, lord-hater, as he was, Hunsden was proud of his old ----shire blood ... and family standing." Thus, in _Shirley_, Chap. -IV., in which work that character appears stripped of the Heger element, +IV., in which work that character appears stripped of the Héger element, as Mr. Yorke, we read of the latter:-- Kings and nobles and priests ... were to him an abomination.... @@ -3136,24 +3102,24 @@ as Mr. Yorke, we read of the latter:-- wound ... without ... caring how deep he thrust.... Mr. Yorke's family was the first and oldest in the district. -_Via_ Yorke Hunsden of _The Professor_ and Mr. Yorke of _Shirley_ the +_Viâ_ Yorke Hunsden of _The Professor_ and Mr. Yorke of _Shirley_ the reader has returned to a character who typified more than any other of -Charlotte Bronte's Yorkshire-Heger portrayals the merciless, strong and +Charlotte Brontë's Yorkshire-Héger portrayals the merciless, strong and shrewd-natured Taylor--Heathcliffe of _Wuthering Heights_. But the Yorkshire element in Heathcliffe was a caricature and an exaggeration for the purposes of the "cuckoo story," resulting from the tale Montagu tells of a foundling; and the emphasis laid upon his barbarity was largely a result, too, of the consideration I mention in the chapters -entitled "The Recoil," which consideration had to do with the Heger +entitled "The Recoil," which consideration had to do with the Héger phase of Heathcliffe. The fact that evidence shows Heathcliffe to have been, like Hunsden and Rochester, a composite character drawn from a -dual model--the Taylor-Heger model--traceable in origin absolutely to -Charlotte Bronte's idiosyncratic estimate of two male characters who are +dual model--the Taylor-Héger model--traceable in origin absolutely to +Charlotte Brontë's idiosyncratic estimate of two male characters who are shown to have seriously interested her, in itself sufficiently demonstrates her authorship of _Wuthering Heights_, and is indeed of great interest. -If reference be made to a letter written by Charlotte Bronte in +If reference be made to a letter written by Charlotte Brontë in 1846, the year when she offered _Wuthering Heights_ to a publisher, it will be found she mentioned that one of the Taylors had--like Heathcliffe--suffered in the teens of years from hypochondria, "a most @@ -3161,11 +3127,11 @@ dreadful doom," Charlotte called it, and related she herself had endured it for a year.[51] Having herself suffered thus, there was a temptation--at what I -elsewhere call the dark season of Charlotte Bronte's inner life, at the +elsewhere call the dark season of Charlotte Brontë's inner life, at the season of the recoil--to present in her work _Wuthering Heights_ the -Yorkshire-Heger with the hypochondria of her Yorkshire model, and let +Yorkshire-Héger with the hypochondria of her Yorkshire model, and let his demon be the original of her Catherine Earnshaw--be herself. To this -temptation Charlotte Bronte gave no opposition, much to her regret +temptation Charlotte Brontë gave no opposition, much to her regret later. Herewith we have the origin of Heathcliffe's miserable hypochondria and monomania--his digging for Catherine in the grave till his spade scraped the coffin, in _Wuthering Heights_, Chap. XXIX., and @@ -3185,7 +3151,7 @@ abided with him:-- absorbing subject. In the light of the foregoing, therefore, we may understand the truth of -Charlotte Bronte's narration in _The Professor_, Chap. XXIII.:-- +Charlotte Brontë's narration in _The Professor_, Chap. XXIII.:-- My nerves ... jarred ... A horror of great darkness fell upon me; I felt my chamber invaded by one I had known formerly, ... I was @@ -3203,10 +3169,10 @@ Charlotte Bronte's narration in _The Professor_, Chap. XXIII.:-- Both by reason of Mrs. Gaskell's suspicion that she had drawn from them in the portrayals of the heroes of her first books and by reason of the undeniable evidence of her works, we must accept the Taylors as the -originals of most that was "Yorkshire" in Charlotte Bronte's Yorke +originals of most that was "Yorkshire" in Charlotte Brontë's Yorke Hunsden, Heathcliffe, Rochester, and Yorke, understanding the term in Currer Bell's implication of "independent," "hard," and "open-spoken." -But M. Heger contributed what Charlotte Bronte calls in Chap. XXVII. of +But M. Héger contributed what Charlotte Brontë calls in Chap. XXVII. of _Villette_, in speaking of him as M. Paul Emanuel--"that swart, sallow, southern darkness which spoke his Spanish blood," and this gave colour to the physiognomy of "the swart, sallow" Heathcliffe and Rochester.[52] @@ -3227,7 +3193,7 @@ AND THE SAME. Without herewith further entering into the question as to the original of the morose and harsh characters who were the heroes of Charlotte -Bronte's novels, I will at once show she had drawn from the same model +Brontë's novels, I will at once show she had drawn from the same model in both _Wuthering Heights_ and _Jane Eyre_. I have given in the foregoing chapter the introduction of Lockwood to Heathcliffe and that of Jane to Rochester side by side. Let us also read the following:-- @@ -3264,11 +3230,11 @@ of Jane to Rochester side by side. Let us also read the following:-- Heathcliffe and Rochester are both black-avised, stubborn of countenance, negligent as to external appearance, moody, proud in carry, -and morose. Charlotte Bronte tells us of one that on external judgment +and morose. Charlotte Brontë tells us of one that on external judgment "most people would have thought him" possessed of a disqualification, and of the other that "some people might suspect him" of having a disqualification. And in each case a similar offset--the internal -reading of the man's character--is brought forth by Charlotte Bronte as +reading of the man's character--is brought forth by Charlotte Brontë as Lockwood or Jane:--"A sympathetic cord within" tells the former that Heathcliffe's reserve read as under-bred pride springs from an aversion to "manifestations of mutual kindliness"; and Jane, commenting on @@ -3277,7 +3243,7 @@ knew ... his kindliness to me was balanced by unjust severity to others." I find the singular expression indicated by the "hell's light" epithets -applied to Heathcliffe's eyes was an expression Charlotte Bronte had +applied to Heathcliffe's eyes was an expression Charlotte Brontë had apparently noticed in the original of this character. Rochester's eyes in _Jane Eyre_ have "strange gleams," and we are told "his eye had a tawny--nay, a bloody light in its gloom," and so forth. Indeed, @@ -3303,18 +3269,18 @@ whose "olive cheek" and "deep eyes" Jane describes:-- His cheeks were sallow and half-covered with black whiskers, the brows were lowering, the eyes deep-set and singular. I remembered the eyes. His upright carry suggested his having been in the army - [M. Heger had fought as a soldier] ... His countenance ... looked + [M. Héger had fought as a soldier] ... His countenance ... looked intelligent. A half-civilized ferocity lurked in the depressed brows and eyes full of black fire, but it was subdued, and his manner was even dignified, though too stern for grace. In view of the general evidence that Heathcliffe, like Rochester, was -drawn by Charlotte Bronte from M. Heger, her Brussels friend the +drawn by Charlotte Brontë from M. Héger, her Brussels friend the professor, it is not surprising that Heathcliffe's was "a deep voice and foreign in sound." Her reference in _Wuthering Heights_ to his Spanish extraction reminds us of M. Paul Emanuel's "jetty hair and Spanish face" in _Villette_, and of course it is well known M. Paul Emanuel was drawn -by Currer Bell from M. Heger. +by Currer Bell from M. Héger. @@ -3326,10 +3292,10 @@ OF "JANE EYRE." We have already seen Catherine in _Wuthering Heights_ represented -Charlotte Bronte as intimately portrayed by herself in the work, and +Charlotte Brontë as intimately portrayed by herself in the work, and that Heathcliffe was drawn by her from the original of the Rochester of -_Jane Eyre_. So faithfully did Charlotte Bronte tell again in _Jane -Eyre_ the history of her life in relation to her family and M. Heger, +_Jane Eyre_. So faithfully did Charlotte Brontë tell again in _Jane +Eyre_ the history of her life in relation to her family and M. Héger, that she gives the main lines of her biography in both works. I will show them side by side. @@ -3341,7 +3307,7 @@ literally herewith. _Wuthering Heights._ _Jane Eyre._ Opening scene: A rainy day in Opening scene: A rainy day in - Catherine's (Charlotte Bronte's) Jane's (Charlotte Bronte's) + Catherine's (Charlotte Brontë's) Jane's (Charlotte Brontë's) childhood. She is treated childhood. She is treated unkindly by the rest of the unkindly by the rest of the household. It is impossible to household. It is impossible to @@ -3351,25 +3317,25 @@ literally herewith. This group included in This group included in particular, little Catherine particular, little Jane tells us tells us with bitter feeling, with bitter feeling, John Reed - Hindley Earnshaw (Branwell (Branwell Bronte), who - Bronte), who luxuriated in the luxuriated in the warmth of the + Hindley Earnshaw (Branwell (Branwell Brontë), who + Brontë), who luxuriated in the luxuriated in the warmth of the warmth of the fire with other fire with other members of the members of the family. family. Nevertheless, though banished, Nevertheless, though banished - Catherine (Charlotte Bronte) herself, Jane (Charlotte Bronte) + Catherine (Charlotte Brontë) herself, Jane (Charlotte Brontë) makes herself snug in a recess makes herself snug in a recess behind a curtain, and believes behind a curtain, and believes herself secure, when Hindley herself secure, when John Reed - Earnshaw (Branwell Bronte), (Branwell Bronte), coming up + Earnshaw (Branwell Brontë), (Branwell Brontë), coming up coming up from his paradise on from his paradise on the hearth, the hearth, makes her come out makes her come out of the recess of the recess precipitantly, precipitantly. He hurls the book after she has hurled the book she was reading. Little Jane - she was reading. Little (Charlotte Bronte) sees a tyrant - Catherine (Charlotte Bronte) in John Reed (Branwell Bronte). + she was reading. Little (Charlotte Brontë) sees a tyrant + Catherine (Charlotte Brontë) in John Reed (Branwell Brontë). sees a tyrant in Hindley He tells her that he is the - Earnshaw (Branwell Bronte). He master of the house, or soon + Earnshaw (Branwell Brontë). He master of the house, or soon tells her that he is the master will be. of the house. @@ -3380,8 +3346,8 @@ literally herewith. she says, as a result of his a result of his behaviour. behaviour. - Little Catherine (Charlotte Little Jane (Charlotte Bronte), - Bronte), although she was held although she was held to be + Little Catherine (Charlotte Little Jane (Charlotte Brontë), + Brontë), although she was held although she was held to be to be passionate, and was passionate, and was treated treated harshly and almost as an harshly and almost an outsider outsider by the rest of the by the rest of the household, @@ -3390,29 +3356,29 @@ literally herewith. in a woman-servant, Nelly Dean, woman-servant, Bessie, who has a who has a remarkable gift of remarkable gift of narrative, narrative, like Tabitha Aykroyd, like Tabitha Aykroyd, whom - whom Charlotte Bronte loved, and Charlotte Bronte loved, and who + whom Charlotte Brontë loved, and Charlotte Brontë loved, and who who came to the Haworth came to the Haworth parsonage parsonage when Charlotte was when Charlotte was about nine about nine years of age. But years of age. But even Bessie even Nelly Dean (Tabitha (Tabitha Aykroyd) sometimes Aykroyd) sometimes tasked and tasked and scolded Jane - scolded Catherine (Charlotte (Charlotte Bronte) unreasonably, - Bronte) unreasonably, and and mistrusted her. + scolded Catherine (Charlotte (Charlotte Brontë) unreasonably, + Brontë) unreasonably, and and mistrusted her. mistrusted her. She even believes that Catherine She even believes that Jane - (Charlotte Bronte) is an actor (Charlotte) is an actor and + (Charlotte Brontë) is an actor (Charlotte) is an actor and and feigns in regard to certain feigns in regard to certain fits fits of frenzy. of frenzy. On the occasion of one of these On the occasion of one of these bouts of frenzy, Catherine bouts of frenzy, Jane (Charlotte - (Charlotte Bronte) is in a room, Bronte) is in a room, the door + (Charlotte Brontë) is in a room, Brontë) is in a room, the door the door of which has been of which has been locked. locked. In a paroxysm of alarm, In a paroxysm of alarm, Jane - Catherine (Charlotte Bronte) (Charlotte Bronte) summons + Catherine (Charlotte Brontë) (Charlotte Brontë) summons summons Mrs. Dean (Tabitha Bessie (Tabitha Aykroyd) Aykroyd) frantically, and with a frantically, and with a piercing piercing scream. The latter scream. The latter enters @@ -3438,8 +3404,8 @@ literally herewith. of fit. Mrs. Dean (Tabitha) suggests Bessie (Tabitha) suggests sleep - sleep to Catherine (Charlotte to Jane (Charlotte Bronte). - Bronte). + sleep to Catherine (Charlotte to Jane (Charlotte Brontë). + Brontë). Mrs. Dean (Tabitha) believes Bessie (Tabitha) believes that that to see the apparition of a the apparition of a child is a @@ -3450,7 +3416,7 @@ literally herewith. may be a sign of calamity to and the day following Bessie's Catherine's (Charlotte's) husband brings word of the brother, Hindley Earnshaw disgrace of John Reed (Branwell - (Branwell Bronte). He is really Bronte, Charlotte's brother). + (Branwell Brontë). He is really Brontë, Charlotte's brother). in disgrace. Catherine falls in love with Jane falls in love with a @@ -3471,7 +3437,7 @@ literally herewith. cloven tree by saying that which is one at the root, but whosoever would come between divided by storm. Thus she them to divide them would meet believes in the "twin-soul" or - the fate of Milo, who, of the elective affinities, and + the fate of Mïlo, who, of the elective affinities, and course, endeavoured to drive says of Rochester:-- asunder a cloven tree held firmly at its base, and was @@ -3496,7 +3462,7 @@ literally herewith. the sexes of characters.) Catherine dreams she is in Jane finds refuge with the - heaven, but broke her heart to Rivers family (the Bronte family + heaven, but broke her heart to Rivers family (the Brontë family come to earth again, upon which at Haworth). She is tempted to the angels flung her out near take to a religious Heathcliffe's abode, where she life:--"Angels beckoned, and @@ -3509,11 +3475,11 @@ literally herewith. The two parted lovers, however, The two parted lovers, however, meet again, and by Charlotte meet again, and by Charlotte - Bronte's Method I., (interchange Bronte's Method I., (interchange + Brontë's Method I., (interchange Brontë's Method I., (interchange of the sexes of characters of the sexes of characters portrayed), we arrive at another portrayed), we arrive at another of my sensational and important of my sensational and important - Bronte discoveries. Bronte discoveries. + Brontë discoveries. Brontë discoveries. THE RETURN OF THE RUNAWAY LOVER THE RETURN OF THE RUNAWAY LOVER @@ -3536,7 +3502,7 @@ literally herewith. narrow front-door was unclosing, "... Is that you?" and some shape was about to issue from the grange. - It was a deep voice, and foreign [Charlotte Bronte's _Wuthering + It was a deep voice, and foreign [Charlotte Brontë's _Wuthering in sound.... Something stirred Heights_ version of the returned in the porch; and moving nearer runaway lover, is also staged at I distinguished a tall man "the grange."] It opened slowly: @@ -3676,7 +3642,7 @@ literally herewith. provoking it.... I'm an angel!" (Later on in _Wuthering Heights_ - Charlotte Bronte, temporarily + Charlotte Brontë, temporarily neglecting her use of Method I., interchange of the sexes, in this connection, makes @@ -3693,7 +3659,7 @@ literally herewith. The above parallel descriptions, it will be found, agree practically word for word. I will now give the substance side by side, and let the -reader keep in mind Charlotte Bronte's Method I., interchange of the +reader keep in mind Charlotte Brontë's Method I., interchange of the sexes of characters:-- _Wuthering Heights._ _Jane Eyre._ @@ -3783,13 +3749,13 @@ sexes of characters:-- have the main narrative of the the main narrative of the heroine and hero of _Wuthering heroine and hero of _Jane Eyre_, Heights_, obviously written by obviously written by Charlotte - Charlotte Bronte from facts in Bronte from facts in her own + Charlotte Brontë from facts in Brontë from facts in her own her own life. life. -The absolute dependence of Charlotte Bronte's _Wuthering Heights_, _Jane -Eyre_, and _Villette_ upon her own inner life in relation to M. Heger is +The absolute dependence of Charlotte Brontë's _Wuthering Heights_, _Jane +Eyre_, and _Villette_ upon her own inner life in relation to M. Héger is proved by the evidence in the chapter on "The Rivers Family," in the -chapters on "Eugene Sue and Charlotte Bronte's Brussels Life," and in +chapters on "Eugène Sue and Charlotte Brontë's Brussels Life," and in those entitled "The Recoil." @@ -3797,71 +3763,71 @@ those entitled "The Recoil." CHAPTER XII. -EUGENE SUE AND CHARLOTTE BRONTE'S BRUSSELS LIFE. +EUGÈNE SUE AND CHARLOTTE BRONTË'S BRUSSELS LIFE. I. MDLLE. LAGRANGE AND HER MANUSCRIPT "CATHERINE BELL THE ORPHAN." -When Mrs. Gaskell published her Bronte biography it was discovered that -while she had been enabled by aid of the mass of commonplace Bronte +When Mrs. Gaskell published her Brontë biography it was discovered that +while she had been enabled by aid of the mass of commonplace Brontë correspondence to present an interesting picture of the domestic conditions at the Haworth parsonage, she had yet been unable to throw -any light upon that episode in Charlotte Bronte's life which, it had +any light upon that episode in Charlotte Brontë's life which, it had been suspected, was responsible for the extraordinary love passages in -the Bronte works and Miss Bronte's insistence in choosing the hero of +the Brontë works and Miss Brontë's insistence in choosing the hero of each of her books from the same model. It is therefore most miraculous and sensational that after having found Montagu's _Gleanings in Craven_ was the key to _Wuthering Heights_ and _Jane Eyre_, I should further come to discover, what the world had thought would never be found: external evidence throwing light upon Miss -Bronte's real relations with the Hegers at Brussels, to whose +Brontë's real relations with the Hégers at Brussels, to whose _pensionnat_ she went in the 'forties. This discovery was the subject of -my article "The Lifting of the Bronte Veil" Mr. W. L. Courtney +my article "The Lifting of the Brontë Veil" Mr. W. L. Courtney commissioned me to write in the _Fortnightly Review_. Therein I showed -Eugene Sue had presented the whole history of M. Heger's passion for -Charlotte Bronte, and Madame Heger's jealousy, in a work entitled _Miss +Eugène Sue had presented the whole history of M. Héger's passion for +Charlotte Brontë, and Madame Héger's jealousy, in a work entitled _Miss Mary ou l'Institutrice_, published in 1850-51--seven years before the publication of Mrs. Gaskell's _Life_, and before the publication of -either _The Professor_ or _Villette_; and we saw that M. Heger knew all -Miss Bronte's literary secrets in 1850. +either _The Professor_ or _Villette_; and we saw that M. Héger knew all +Miss Brontë's literary secrets in 1850. -Skilfully enough Eugene Sue in this story--the first version of which +Skilfully enough Eugène Sue in this story--the first version of which was issued serially in September 1850, from _The Weekly Times_ Office, London, whence were published many of M. Sue's serials;[56] the second, an abridged and altered version for French readers, published in Paris -in March 1851--gave two phases of Charlotte Bronte, something after the -method we see Miss Bronte herself employed in _Jane Eyre_, wherein she +in March 1851--gave two phases of Charlotte Brontë, something after the +method we see Miss Brontë herself employed in _Jane Eyre_, wherein she gave two phases of Tabitha Aykroyd, one in the beginning as Bessie, another later on as Hannah of the Rivers family.[57] -Indeed it will be found that in this work Eugene Sue also imitated -Charlotte Bronte's Method I., interchange of the sexes of characters +Indeed it will be found that in this work Eugène Sue also imitated +Charlotte Brontë's Method I., interchange of the sexes of characters portrayed from life. -The two phases of Miss Bronte in this romance are Miss Mary Lawson, an +The two phases of Miss Brontë in this romance are Miss Mary Lawson, an Irish governess at the de Morville establishment; and Mademoiselle Lagrange, a former governess at the same house. The Mademoiselle Lagrange is, however, always referred to in the abstract, and serves to -illustrate, it appears, Miss Bronte before her first departure from and -return to Brussels, as well as after, for she was twice at the Hegers. -And it may be observed that Charlotte Bronte was called "Mademoiselle -Charlotte" at the Heger _pension_ when she was governess there in 1843. -Certainly the choice of Lagrange for Miss Bronte was pertinent: _la +illustrate, it appears, Miss Brontë before her first departure from and +return to Brussels, as well as after, for she was twice at the Hégers. +And it may be observed that Charlotte Brontë was called "Mademoiselle +Charlotte" at the Héger _pension_ when she was governess there in 1843. +Certainly the choice of Lagrange for Miss Brontë was pertinent: _la grange_ is French for "the barn," and may have been suggested by the Eyre of _Jane Eyre_, which to a French ear would recall _aire_--a barn -floor. Mdlle. Lagrange who had left the de Morville (_Anglice_, Morton. -As we have seen, Morton of _Jane Eyre_ was Haworth to Charlotte Bronte) +floor. Mdlle. Lagrange who had left the de Morville (_Anglicè_, Morton. +As we have seen, Morton of _Jane Eyre_ was Haworth to Charlotte Brontë) establishment on account of the jealousy of Madame de Morville, whom I -identify as Madame Heger, is a plain-featured literary aspirant, and she +identify as Madame Héger, is a plain-featured literary aspirant, and she writes a manuscript entitled not exactly Currer Bell, but "Kitty Bell, the Orphan." This manuscript has been sent by the author for an opinion of its merits to M. de Morville, who reads it aloud to his family. It is a parody, as -it were, of _Jane Eyre_, with an imitation of Charlotte Bronte's methods +it were, of _Jane Eyre_, with an imitation of Charlotte Brontë's methods of introducing private biographical facts. For instance, in presenting the Lowood school incidents it calls the school "the Kendall Institute," named after "a Mr. Kendall, its founder." Evidently the writer had @@ -3871,37 +3837,37 @@ Kendal, or had heard that in a wise it was connected with a place of that name. Other extraordinary facts with which he shows acquaintance are, that -Charlotte Bronte had a sister Elizabeth at this school; that Helen Burns +Charlotte Brontë had a sister Elizabeth at this school; that Helen Burns was her sister; that there was a West Indian girl at the school; that -Charlotte Bronte was born on or about the 21st of April; that she might +Charlotte Brontë was born on or about the 21st of April; that she might be called Kitty (Currer) Bell at home, but she must be called Catherine -(Catherine Earnshaw); that Miss Bronte was the governess-daughter of an +(Catherine Earnshaw); that Miss Brontë was the governess-daughter of an Irishman; that the original of John Reed was her brother and was no hero, and had shown strange signs of insanity during the last year or two, as it is now known he had at the time; that a female relative had -provided Miss Bronte the money for the _pensionnat_; that skin disorders +provided Miss Brontë the money for the _pensionnat_; that skin disorders as well as the typhus fever were prevalent at the Clergy Daughters' -School (it is in a private letter that Miss Bronte referred to scrofula +School (it is in a private letter that Miss Brontë referred to scrofula at this school); that the original of Mr. Rochester was a foreigner and a resident abroad, an ex-soldier, and married to a lady who was not -pretty, albeit "la vivacite, l'agrement de sa physionomie expressive, -suppleaient a la beaute qui lui manquait"; that Charlotte Bronte had had +pretty, albeit "la vivacité, l'agrément de sa physionomie expressive, +suppléaient à la beauté qui lui manquait"; that Charlotte Brontë had had in her possession since her childhood an old copy in English of _The -Imitation of Christ_; that Miss Bronte was called a _bas bleu_ at the -_pensionnat_; that to form an opinion of her character by Madame Heger's -estimate of her disposition would be completely erroneous; that M. Heger +Imitation of Christ_; that Miss Brontë was called a _bas bleu_ at the +_pensionnat_; that to form an opinion of her character by Madame Héger's +estimate of her disposition would be completely erroneous; that M. Héger was accustomed to read _feuilletons_ aloud; that religious differences existed between her and others at the establishment where Charlotte -Bronte was; that Catherine's (Catherine Earnshaw's) rival was Isabella -(Heathcliffe's wife--Madame Heger of the Rue d'Isabelle); that Miss -Bronte travelled alone to Brussels and was accosted by _deux jeunes +Brontë was; that Catherine's (Catherine Earnshaw's) rival was Isabella +(Heathcliffe's wife--Madame Héger of the Rue d'Isabelle); that Miss +Brontë travelled alone to Brussels and was accosted by _deux jeunes gens_--compare the opening chapters of _Miss Mary_ with Lucy Snowe's arrival at Villette, evidently in some wise founded on fact, as to these two young men. See also _The Professor_, Chapter VII. But to return to "Mdlle. Lagrange's Manuscript," the pseudo _Jane Eyre_, which of course at once identifies its author, Mdlle. Lagrange, as -Charlotte Bronte, I find therein the whole Lowood school incidents--the +Charlotte Brontë, I find therein the whole Lowood school incidents--the typhus fever, the hair-cutting incident, the death of the consumptive Helen Burns, etc., amplified with biographical additions. For instance, take the hair-cutting incident of _Jane Eyre_ as represented in @@ -3928,33 +3894,33 @@ take the hair-cutting incident of _Jane Eyre_ as represented in still by the side of that dark heap of hair, blacker than a raven's wing...[!] -We have seen in the chapter on "The Rivers or Bronte Family in _Jane -Eyre_" that Charlotte Bronte portrayed in the character Julia Severn, +We have seen in the chapter on "The Rivers or Brontë Family in _Jane +Eyre_" that Charlotte Brontë portrayed in the character Julia Severn, who is first mentioned in connection with the hair-cutting incident, her sister Elizabeth, and it is most significant that M. Sue made play upon the name Elizabeth in the connection. In regard to the mention of a West Indian girl at the Lowood school and her being coupled with a fair-haired Yorkshire girl, it is important to note that no reference is made in _Jane Eyre_ to a West Indian girl at this school. It is indeed -astonishing how much M. Sue knew of Charlotte Bronte's private life. +astonishing how much M. Sue knew of Charlotte Brontë's private life. Here we find him telling the world in 1850 of a West Indian girl being -with Charlotte Bronte at the Clergy Daughters' School, and not till +with Charlotte Brontë at the Clergy Daughters' School, and not till seven years later did Mrs. Gaskell learn of the Rev. Patrick -Bronte--Charlotte Bronte was then dead--that a girl from the West Indies +Brontë--Charlotte Brontë was then dead--that a girl from the West Indies had been Charlotte's friend at this school. Her name, he thought, was Mellany Hane, so far as he could remember to pronounce it. Mysteriously enough, the words "West Indies" or "West Indian" in this connection have been deleted from the later editions of Mrs. Gaskell's _Life of -Charlotte Bronte_. See the Second Edition. +Charlotte Brontë_. See the Second Edition. "Lagrange's Manuscript" is of considerable length and interest, and can -be drawn upon in future editions of _The Key to the Bronte Works_. +be drawn upon in future editions of _The Key to the Brontë Works_. Frequently it follows in parallel to _Jane Eyre_, but as parody interspersed with biographical details which must have been intended -chiefly for Charlotte Bronte herself, as scarcely any one else could at +chiefly for Charlotte Brontë herself, as scarcely any one else could at that day have understood the pertinence of the references.[58] Take a -Helen Burns incident whereby M. Sue shows he is aware she was a Bronte -sister, older than Charlotte--Maria Bronte who died of consumption:-- +Helen Burns incident whereby M. Sue shows he is aware she was a Brontë +sister, older than Charlotte--Maria Brontë who died of consumption:-- But the inexorable hand ... was upon Agnes Jones [Helen Burns]. Day by day I saw her pretty cheeks growing thinner and thinner, @@ -3990,17 +3956,17 @@ sister, older than Charlotte--Maria Bronte who died of consumption:-- garden; think of your elder sister who lived with you for six years." -Maria Bronte, Charlotte's eldest sister, and the original of Helen +Maria Brontë, Charlotte's eldest sister, and the original of Helen Burns, died when Charlotte was eight or nine. It is sensational indeed, that M. Sue thus identified Helen Burns seven years before the -publication of Mrs. Gaskell's _Life of Charlotte Bronte_. The death of +publication of Mrs. Gaskell's _Life of Charlotte Brontë_. The death of this character in "Lagrange's Manuscript" is in perfect agreement with that of Helen Burns. I will place the two side by side:-- _Jane Eyre._ "Kitty Bell, the Orphan." Chapter IX. By the Mademoiselle Lagrange, of - Eugene Sue's _Miss Mary ou + Eugène Sue's _Miss Mary ou By Currer Bell. L'Institutrice_. The death of Helen Burns. The death of Agnes Jones. @@ -4077,10 +4043,10 @@ that of Helen Burns. I will place the two side by side:-- Another biographical passage occurs where Catherine Bell first sees the Miss Temple of "Lagrange's Manuscript," who herself, under the name of -Ashton (Eshton),[59] is at times Miss Bronte, who took the name of the +Ashton (Eshton),[59] is at times Miss Brontë, who took the name of the original of Miss Temple (Evans) for herself in the phase of Frances Evans Henri in _The Professor_, a work not published, we must note, till -after Charlotte Bronte's death:-- +after Charlotte Brontë's death:-- "I love you, madam," I said. @@ -4104,8 +4070,8 @@ The above is, of course, not in _Jane Eyre_. There is a stroke of sarcasm in the last sentence. It would appear that Currer Bell playfully had moved her birthday forward two days, in her private conversation with one from whom M. Sue had gleaned information--and this could be -only M. Heger himself. Charlotte Bronte, as Lucy Snowe, in _Villette_, -Chapter XLI., tells us that M. Paul Emanuel (M. Heger) said:-- +only M. Héger himself. Charlotte Brontë, as Lucy Snowe, in _Villette_, +Chapter XLI., tells us that M. Paul Emanuel (M. Héger) said:-- "I wanted to prove to Miss Lucy that I _could_ keep a secret. How often has she taunted me with lack of dignified reserve and needful caution! @@ -4113,7 +4079,7 @@ How many times has she saucily insinuated that all my affairs are the secret of Polichinelle!" And this had doubtless a reference to some such indiscretions as resulted in M. Sue whilst at Brussels (and he was publishing _L'Orgueil_ from Brussels in 1844, in the January of which -year Charlotte Bronte arrived home from the Belgian capital), learning +year Charlotte Brontë arrived home from the Belgian capital), learning the literary secrets of _Jane Eyre_, and perhaps _Wuthering Heights_. A further reference to Currer Bell's literary aspirations--in the spirit @@ -4157,7 +4123,7 @@ of _Jane Eyre_, who is therein represented as a Creole:-- I did my best [continues Catherine Bell] to make a friend of her, but to no purpose. Whatever was the reason she disliked me from the first. ["I am convinced she does not like me," wrote Charlotte - to Emily of Madame Heger.] I felt intuitively she was my enemy.... + to Emily of Madame Héger.] I felt intuitively she was my enemy.... Had we been thrown together when I was a child [!] I should probably have suited her ... for at that time I was a little given to flattery myself. But that was before I had learned how many @@ -4166,13 +4132,13 @@ of _Jane Eyre_, who is therein represented as a Creole:-- I had them myself, whilst my personal appearance was insignificant compared with hers. I was certainly fond of talking of what I knew, which answered very well with those who knew as much, and - was rather pleasing to those who knew more. [M. Heger seems to + was rather pleasing to those who knew more. [M. Héger seems to have found pleasure in his intellectual talks with Currer Bell], but to Isabella [this, as I have said, is the name of Catherine's rival in _Wuthering Heights_, who was married to Heathcliffe] it was hateful. She imagined I wanted to expose her ignorance. -I have given some of the biographical facts respecting Miss Bronte +I have given some of the biographical facts respecting Miss Brontë embodied in Mdlle. Lagrange's story, and before closing this chapter dealing with that extraordinary manuscript I will print a further extract or so from it. The opening is as follows:-- @@ -4191,7 +4157,7 @@ extract or so from it. The opening is as follows:-- She is locked in the room wherein Mrs. Burke died, after the manner of the same incident in _Jane Eyre_, and the writer takes an opportunity of inserting the most distinctive feature of _Jane Eyre_, the light-bearing -apparition, the original of which I have shown Charlotte Bronte found in +apparition, the original of which I have shown Charlotte Brontë found in Montagu's _Gleanings in Craven_:-- Suddenly there came a gleam of light through the key-hole, ... and @@ -4218,18 +4184,18 @@ and keep up her dignity.... I must not attempt to describe her ... she was fully six feet high." This is palpably antithetical: Miss Branwell was not tall. And it is this aunt who provides the money for Catherine Bell to go to school. Under the guise of presenting the Lowood school in -"Lagrange's Manuscript," M. Sue gives us often the Heger _pensionnat_. -Aunt Branwell provided Charlotte Bronte the money that enabled her to go -to the Hegers'. +"Lagrange's Manuscript," M. Sue gives us often the Héger _pensionnat_. +Aunt Branwell provided Charlotte Brontë the money that enabled her to go +to the Hégers'. -I will give in parallel columns the arrival of Charlotte Bronte at the +I will give in parallel columns the arrival of Charlotte Brontë at the Clergy Daughters' Institute as it is described in "Mademoiselle Lagrange's Manuscript," and in _Jane Eyre_ the original:-- _Jane Eyre._ "Kitty Bell, the Orphan." By the Mademoiselle Lagrange, - By Currer Bell. of Eugene Sue's _Miss Mary ou + By Currer Bell. of Eugène Sue's _Miss Mary ou L'Institutrice_. The first days at the The first days at the @@ -4423,22 +4389,22 @@ Catherine writes:-- she swore to take both on her husband and myself. For a portrait of Mdlle. Lagrange who, as the author of this version of -_Jane Eyre_, is of course meant for Charlotte Bronte, we turn to the +_Jane Eyre_, is of course meant for Charlotte Brontë, we turn to the _feuilleton_ itself:-- Meanwhile we have lost sight of our blue-stocking friend, Mdlle. Lagrange ['Madame herself deemed me a regular _bas bleu_,' says - Lucy Snowe of Madame Beck (Madame Heger) in _Villette_] ... her + Lucy Snowe of Madame Beck (Madame Héger) in _Villette_] ... her character ... remains to be described. Now, to form any opinion of - it by Madame de Morville's [Madame Heger's] appreciation of that + it by Madame de Morville's [Madame Héger's] appreciation of that girl's disposition, would be completely erroneous. Lagrange was not devoid of intellectual faculties; she possessed an imaginative mind, rather too fond of romance, and too little of practical truths; but, above all, cunning and ambition formed the main basis of her character: she had risen from nothing, and _would_ become something. Imbued as she was with the ideas prevalent among the - lower rank [Had Charlotte Bronte related her father's history to - the Hegers? She had 'views' on money. M. Sue, however, never seems + lower rank [Had Charlotte Brontë related her father's history to + the Hégers? She had 'views' on money. M. Sue, however, never seems to have forgotten the rank of his own god-parents], she deemed it her right and duty to concentrate all the power of her faculties towards the end she sighed for--wealth and a name. Thus it was she @@ -4457,42 +4423,42 @@ _feuilleton_ itself:-- critics.[62] This was already a point gained, and an encouragement to her literary propensities. -Thus far the Mdlle. Lagrange phase of Currer Bell according to Eugene +Thus far the Mdlle. Lagrange phase of Currer Bell according to Eugène Sue, and before the publication of _The Professor_, _Villette_, and Mrs. -Gaskell's _Life of Charlotte Bronte_. The next chapter shall deal with -Eugene Sue's relation of her as "Miss Mary," the leading character of +Gaskell's _Life of Charlotte Brontë_. The next chapter shall deal with +Eugène Sue's relation of her as "Miss Mary," the leading character of this extraordinary _feuilleton_, whereby it will be proved finally that -in her works Charlotte Bronte has written from her own life-story. +in her works Charlotte Brontë has written from her own life-story. CHAPTER XIII. -EUGENE SUE AND CHARLOTTE BRONTE'S BRUSSELS LIFE. +EUGÈNE SUE AND CHARLOTTE BRONTË'S BRUSSELS LIFE. II. ACCUSATIONS AND PROTESTATIONS! -I have said Eugene Sue, in _Miss Mary ou l'Institutrice_, gave two -phases of Charlotte Bronte. With the one as Mdlle. Lagrange I dealt in +I have said Eugène Sue, in _Miss Mary ou l'Institutrice_, gave two +phases of Charlotte Brontë. With the one as Mdlle. Lagrange I dealt in the preceding chapter, and now I write concerning that wherein Miss -Bronte is openly represented as the Irish governess at the de Morville +Brontë is openly represented as the Irish governess at the de Morville establishment.[63] Easy it is to recognize this character is a phase of -Charlotte Bronte, but as her pupil Alphonsine puts it plainly in -describing her, she is "Mdlle. Lagrange, avec la beaute de -plus"--Charlotte Bronte, with beauty and virtues exaggerated. The +Charlotte Brontë, but as her pupil Alphonsine puts it plainly in +describing her, she is "Mdlle. Lagrange, avec la beauté de +plus"--Charlotte Brontë, with beauty and virtues exaggerated. The following incident I find only in the _feuilleton_ (not the extant volume), the which circumstances support as history concerning the days -of Miss Bronte's dejection at the Brussels _pensionnat_. It should be +of Miss Brontë's dejection at the Brussels _pensionnat_. It should be read in the light of the lines in Chapter XIX. of _The Professor_, where -she, as Frances Evans Henri, tells Crimsworth, obviously M. Heger, that +she, as Frances Evans Henri, tells Crimsworth, obviously M. Héger, that he remarked her _devoirs_ dwelt a great deal on fortitude in bearing grief. In the evening Alphonsine, M. de Morville's daughter, who says -many things we know must have issued from M. Heger's lips--(this is in -palpable imitation of Charlotte Bronte's Method I., interchange of the +many things we know must have issued from M. Héger's lips--(this is in +palpable imitation of Charlotte Brontë's Method I., interchange of the sexes of characters portrayed from life. For further use of this method see also the close of Chapter XII. and elsewhere in _The Professor_, and my writing on _Wuthering Heights_ and _Jane Eyre_)--pays a visit to the @@ -4508,10 +4474,10 @@ chamber of the Irish governess:-- began to read, I don't think I ever passed three nights without reading at least one chapter of this admirable work." -_The Imitation of Christ_ in English was a book Charlotte Bronte was +_The Imitation of Christ_ in English was a book Charlotte Brontë was setting much store upon when she was but nine years of age.[64] Her copy was then an old one. Evidently she took the book with her to Brussels -and read it at the _pensionnat_. It would seem M. Heger, whom she +and read it at the _pensionnat_. It would seem M. Héger, whom she instructed in English, requested to hear the work in this English translation:-- @@ -4534,11 +4500,11 @@ She read:-- will you not? English sounds so sweetly to my ear when spoken by you. We will begin to-morrow evening, n'est ce pas?" -Surely this is M. Heger and his sympathetic, depressed English teacher. +Surely this is M. Héger and his sympathetic, depressed English teacher. There is in the opening chapter of _Miss Mary_ a long conversation regarding the departed governess Lagrange, and Madame de Morville -(Madame Heger) avows she had been jealous of her, and that her harshness +(Madame Héger) avows she had been jealous of her, and that her harshness towards the governess had resulted in her abruptly leaving on a false plea of ill-health. Thus she says to M. de Morville:-- @@ -4559,17 +4525,17 @@ plea of ill-health. Thus she says to M. de Morville:-- cardinal sins.... In fine, I cannot conceal from myself that the result of all this was that Mdlle. Lagrange gave up her situation on the plea of ill-health. ["Ah! she was not dismissed," said - Mdlle. Reuter (Madame Heger) in _The Professor_, Chapter XVIII., + Mdlle. Reuter (Madame Héger) in _The Professor_, Chapter XVIII., when the Professor asked whether Mdlle. Frances Henri[65] (Miss - Bronte) had left voluntarily. "... No need to have recourse to + Brontë) had left voluntarily. "... No need to have recourse to such extreme measures, I assure you."] Enfin, it faut bien me - l'avouer, le resultat de tout ceci a ete que Mademoiselle Lagrange - a demande a quitter la maison, sous pretexte de sante; veritable - pretexte. For the rest I will do myself this justice, I would have + l'avouer, le résultat de tout ceci a été que Mademoiselle Lagrange + a demandé à quitter la maison, sous prétexte de santé; véritable + prétexte. For the rest I will do myself this justice, I would have suffered even to the end rather than have sent back that excellent girl." -The Hegers were surprised at Miss Bronte's sudden resolution to leave +The Hégers were surprised at Miss Brontë's sudden resolution to leave them, but she is said to have had her father's failing eyesight as a reason. "I suffered much before I left Brussels," wrote Charlotte, and this was in mind, not body. @@ -4583,9 +4549,9 @@ this was in mind, not body. from our house." All this should be read as in connection with the departure of Miss -Mary, the other phase of Miss Bronte, towards the end of the book. "I +Mary, the other phase of Miss Brontë, towards the end of the book. "I think, however long I live I shall not forget what the parting with M. -Heger cost me," said Charlotte Bronte.[66] +Héger cost me," said Charlotte Brontë.[66] Here is M. Sue's version:-- @@ -4597,7 +4563,7 @@ Here is M. Sue's version:-- "I say, monsieur, that I return to England, where I am recalled by my family." -The real reason why Miss Bronte left is given in the Lagrange passages +The real reason why Miss Brontë left is given in the Lagrange passages to which I have alluded. "Partir! but that is impossible! A departure so brusque, si peu @@ -4635,7 +4601,7 @@ unhappy love was that of an honourable and a loyal-hearted man, while the governess was also without reproach. (These extracts do not occur in the _feuilleton_ as published in English.) As he asks:-- - "Is it my fault if in the monotony of my existence est tout a coup + "Is it my fault if in the monotony of my existence est tout à coup apparue a person whose talents, education, and character have been appreciated by all and by me.... Have I attempted to pervert your mind, to seduce your heart? No, no! I have suffered, suffered in @@ -4645,36 +4611,36 @@ the _feuilleton_ as published in English.) As he asks:-- for ever a prey to incurable despair!" Thus have we real insight into the state of affairs at Brussels when -Miss Bronte left. We see the divining, jealous Madame de -Morville--Madame Heger, of course--subjecting her to the "taquineries -sournoises"; we hear Madame saying of her: "Ce que me faisait tolerer -cette pauvre Mdlle. Lagrange, c'est qu'elle etait laide comme les sept -peches mortels," and sneering at the excuse she made to leave the -establishment, calling it a "veritable pretexte" when the real reason +Miss Brontë left. We see the divining, jealous Madame de +Morville--Madame Héger, of course--subjecting her to the "taquineries +sournoises"; we hear Madame saying of her: "Ce que me faisait tolérer +cette pauvre Mdlle. Lagrange, c'est qu'elle était laide comme les sept +péchés mortels," and sneering at the excuse she made to leave the +establishment, calling it a "véritable prétexte" when the real reason was Madame's jealousy and its causes. Oh, the bitterness of it! And now in this light read the carefully worded representation of Mrs Gaskell that:-- Towards the end of 1843 various reasons conspired ... to make her - [Charlotte Bronte] feel that her presence was absolutely and + [Charlotte Brontë] feel that her presence was absolutely and imperatively required at home, while she was ... no longer - regarded with the former kindliness of feeling by Madame Heger. In + regarded with the former kindliness of feeling by Madame Héger. In consequence of this state of things working down with a sharp edge into a sensitive mind, she suddenly announced to that lady her immediate intention of returning to England. Something of the foregoing I gave in my article "The Lifting of the -Bronte Veil" in _The Fortnightly Review_, and I have to thank the press +Brontë Veil" in _The Fortnightly Review_, and I have to thank the press generally for their kind acknowledgment of my important discovery. _The Spectator_, in consonance with others, says:--"Mr. Malham-Dembleby has -found a _feuilleton_ by Eugene Sue which is curious, as it certainly -indicates a knowledge of Charlotte Bronte and of Monsieur and Madame -Heger at Brussels." +found a _feuilleton_ by Eugène Sue which is curious, as it certainly +indicates a knowledge of Charlotte Brontë and of Monsieur and Madame +Héger at Brussels." -In the extant French copy Eugene Sue has given a dramatic version of the +In the extant French copy Eugène Sue has given a dramatic version of the parting scene between "Miss Mary" and "Madame de Morville"--Charlotte -Bronte and Madame Heger. The latter had surprised her husband and the -Irish governess, _tete-a-tete_ in the lonely pavilion, late in the +Brontë and Madame Héger. The latter had surprised her husband and the +Irish governess, _tête-à -tête_ in the lonely pavilion, late in the evening. Monsieur protests:-- "Madame," he cries, "... I will not permit you, in my presence, to @@ -4684,19 +4650,19 @@ evening. Monsieur protests:-- cause of irritating discussion between them. "That is charming!" cried Madame de Morville, with a burst of - sardonic laughter--"Grace au bon accord du menage, mademoiselle + sardonic laughter--"Grâce au bon accord du ménage, mademoiselle would desire to continue in perfect tranquillity the undignified - role she has played at my house!" + rôle she has played at my house!" Her husband protests that she outrages one of the purest characters in the world, but the governess interrupts by addressing the wife:-- "Madam, suspicions so odious, so senseless, are unable to wound an honourable soul.... I reply nothing to these words, which you will - soon regret. The two years that I have been here [Charlotte Bronte - was two years with the Hegers] I have learned to know you, madam; + soon regret. The two years that I have been here [Charlotte Brontë + was two years with the Hégers] I have learned to know you, madam; and if sometimes I have without complaint [see the Lagrange - passages] suffered from the vivacite de vos premiers mouvements, I + passages] suffered from the vivacité de vos premiers mouvements, I have also often been able to appreciate your goodness of heart." "Enough, mademoiselle, enough! Believe you that you can dupe me by @@ -4714,15 +4680,15 @@ retorts:-- And her reply is that she is returning to England. "You go away!" cried Madame de Morville.... "No, no, that is a lie - or a trick!"... Madame ... fut completement deroutee par - l'annonce du depart de Miss Mary. + or a trick!"... Madame ... fut complètement déroutée par + l'annonce du départ de Miss Mary. The latter says she profoundly regrets if she had caused "malheurs," for she had been the involuntary cause. "Involuntary or not," cried Madame de Morville, "you are un _porte-malheur_, and thus have been two years, since your arrival - here. I have said it to M. de Morville, who, par prevision without + here. I have said it to M. de Morville, who, par prévision without doubt, took at once your part against me.... And on whom, then, will that responsibility fall!... We were all happy and peaceful before your advent here, and to-day, when you go you leave us dans @@ -4730,22 +4696,22 @@ she had been the involuntary cause. To which Miss Mary retorts:-- - "Ah! madame, le jour le plus malheureux de ma vie serait celui ou + "Ah! madame, le jour le plus malheureux de ma vie serait celui où je quitterais votre famille avec la douloureuse conviction que mon nom y serait maudit." There were, we see, conflicting views in Brussels social and literary circles, in the eighteen-forties, as to the degree of intimacy to which -Charlotte Bronte and M. Heger attained. It is when we perceive the -ambiguity of the relations existing between Miss Bronte and the -professor that we recognize the fidelity of Eugene Sue's portrayal of -Currer Bell's Brussels life. Even Charlotte Bronte herself, in +Charlotte Brontë and M. Héger attained. It is when we perceive the +ambiguity of the relations existing between Miss Brontë and the +professor that we recognize the fidelity of Eugène Sue's portrayal of +Currer Bell's Brussels life. Even Charlotte Brontë herself, in _Villette_, published after M. Sue's story, relates that M. Paul Emanuel -(M. Heger) said to her:--"I call myself your brother. I hardly know what +(M. Héger) said to her:--"I call myself your brother. I hardly know what I am--brother--friend--I cannot tell. I know I think of you--I feel I wish you well--but I must check myself; you are to be feared. My best friends point out danger and whisper caution." In Mdlle. Lagrange and -Catherine Bell, Charlotte Bronte figures as represented by those who +Catherine Bell, Charlotte Brontë figures as represented by those who said ill of her; as Miss Mary Lawson, the Irish governess, she has "beauty, youth, and grace," which charms, Jane tells us, she possessed in Rochester's eyes. Of her, in the phase of Catherine Bell, we have @@ -4756,28 +4722,28 @@ portrayal of _un bon ange_[67] of whom Madame de Morville is jealous, not without reason, though, to use Miss Mary's own words, she had been "la cause involontaire." -We must, therefore, set it to the credit of Eugene Sue that he placed +We must, therefore, set it to the credit of Eugène Sue that he placed two versions in the balance; and his evidence for ever sweeps away the -illogical and unfair contention of some writers on the Brontes, that -Charlotte Bronte may have cared for M. Heger, but that he, in his turn, +illogical and unfair contention of some writers on the Brontës, that +Charlotte Brontë may have cared for M. Héger, but that he, in his turn, had been only "intellectually" interested in her. M. Sue shows the -attitude of M. Heger was ever unequivocal as regards Charlotte Bronte; +attitude of M. Héger was ever unequivocal as regards Charlotte Brontë; whether in her phase as "Lagrange," as "Catherine Bell," or as "Miss Mary Lawson"--she was loved by him. We now see Morton of _Jane Eyre_ was -Haworth to Charlotte Bronte, and Thornfield, the home of Mr. Rochester, -the Pensionnat Heger. And the flight from temptation at Thornfield and +Haworth to Charlotte Brontë, and Thornfield, the home of Mr. Rochester, +the Pensionnat Héger. And the flight from temptation at Thornfield and seeking refuge with the Rivers family were really representative of her leaving Brussels and returning home to her father and sisters. Obviously M. Sue wrote his _feuilleton_ to aid, maliciously or not, in breaking -the dangerous friendship between M. Heger and Miss Bronte. Charlotte -Bronte's works are testimony it was not only Madame Heger's harsh +the dangerous friendship between M. Héger and Miss Brontë. Charlotte +Brontë's works are testimony it was not only Madame Héger's harsh jealousy that led her to leave Brussels. In Chapter XX. of _The Professor_, published years after M. Sue's work, but written before it, she gives us the reason for this determination. By her Method I., Interchange of the sexes of characters portrayed from life, Professor -Crimsworth, who is alternately Charlotte Bronte and M. Heger, in this -instance is Charlotte Bronte, while Mdlle. Reuter is M. Heger. -Crimsworth [Miss Bronte] says:-- +Crimsworth, who is alternately Charlotte Brontë and M. Héger, in this +instance is Charlotte Brontë, while Mdlle. Reuter is M. Héger. +Crimsworth [Miss Brontë] says:-- I could not conceal ... that it would not do for me to remain.... Her [his] present demeanour towards me was deficient neither in @@ -4793,7 +4759,7 @@ Crimsworth [Miss Bronte] says:-- divine suggestion; mossy and declining the green way along which Temptation strewed flowers. -And thus at last do we understand why Charlotte Bronte asks herself as +And thus at last do we understand why Charlotte Brontë asks herself as Jane Eyre when at home with the Rivers family--with her father, her sisters, and Tabby at Haworth:-- @@ -4806,7 +4772,7 @@ sisters, and Tabby at Haworth:-- possess these charms.... Whether is it better, I ask, to be a slave in a fool's paradise at Marseilles--fevered with delusive bliss one hour--suffocating with the bitterest tears of remorse - and shame the next--or to be a village schoolmistress [The Bronte + and shame the next--or to be a village schoolmistress [The Brontë school project was under contemplation in 1844], free and honest, in a breezy mountain nook in the healthy heart of England? Yes, I feel now that I was right when I adhered to principle and law, and @@ -4814,13 +4780,13 @@ sisters, and Tabby at Haworth:-- me to a correct choice: I thank His providence for the guidance. And her fervent gratitude is as sincere when in the same connection she -says in _Villette_ of her confessor--her Fenelon[69]:--"He was kind when +says in _Villette_ of her confessor--her Fénelon[69]:--"He was kind when I needed kindness; he did me good. May Heaven bless him!" But we now see -Charlotte Bronte did not suffer alone. Eugene Sue has given us an -insight into the bitterness of M. de Morville's (M. Heger's) life, which +Charlotte Brontë did not suffer alone. Eugène Sue has given us an +insight into the bitterness of M. de Morville's (M. Héger's) life, which resulted from their unhappy love, and doubtless those words of Heathcliffe to Catherine in _Wuthering Heights_ were uttered or written -by M. Heger in reproach to Charlotte Bronte:-- +by M. Héger in reproach to Charlotte Brontë:-- "_Why_ did you despise me? _Why_ did you betray your own heart, Cathy?... You loved me--then what _right_ had you to leave me?... @@ -4830,11 +4796,11 @@ by M. Heger in reproach to Charlotte Bronte:-- breaking it, you have broken mine. So much the worse for me that I am strong." -Charlotte Bronte tells us in _Jane Eyre_ she loved to imagine she and +Charlotte Brontë tells us in _Jane Eyre_ she loved to imagine she and Mr. Rochester had met under happier conditions; and if the meeting of -the runaway lovers Charlotte Bronte repeats so faithfully in _Wuthering +the runaway lovers Charlotte Brontë repeats so faithfully in _Wuthering Heights_ and _Jane Eyre_ did not refer to a private meeting subsequent -to the beginning of 1844, between her and M. Heger, or to their meeting +to the beginning of 1844, between her and M. Héger, or to their meeting again when she returned to Brussels the second time, then have we evidence of the fact that she at one time perhaps believed _Wuthering Heights_ would be never published. Assuredly nothing was sweeter to @@ -4848,11 +4814,11 @@ _Villette_:-- fruition of return. Let them picture union and a happy succeeding life. -Charlotte Bronte and M. Constantin Gilles Romain Heger loved each other +Charlotte Brontë and M. Constantin Gilles Romain Héger loved each other as those who are worshippers of two high ideals, when one of these ideals is love, the other honour. And this was tragedy. To the agonizing nature of unrequitable affection endured for honour's sake do we owe -Charlotte Bronte's _Wuthering Heights_ and _Jane Eyre_. +Charlotte Brontë's _Wuthering Heights_ and _Jane Eyre_. @@ -4888,26 +4854,26 @@ cause or an honourable work. Until the day of reaction is safely fought through the battle is not won. Perhaps it was to prevent all possibility of a final and definite -reconciliation between M. Heger and Miss Bronte that M. Sue, aided by +reconciliation between M. Héger and Miss Brontë that M. Sue, aided by his friends, ridiculed their attachment in his _feuilleton, Miss Mary_. -Not that Eugene Sue would do this necessarily for Virtue's sake, but the -position of moral reprehender gave him title to the role he had assumed. -M. Heger was sorely punished to lose Miss Bronte, as M. Sue has shown, -and as we have seen Charlotte Bronte herself tells us in a letter; and +Not that Eugène Sue would do this necessarily for Virtue's sake, but the +position of moral reprehender gave him title to the rôle he had assumed. +M. Héger was sorely punished to lose Miss Brontë, as M. Sue has shown, +and as we have seen Charlotte Brontë herself tells us in a letter; and the intensity of his affection for her is only further accentuated by the light M. Sue throws upon the subject in a conversation which occurs between Alphonsine and the jealous mother, concerning Mdlle. Lagrange in the opening chapters of his _feuilleton_. As I have stated, evidence compels us to perceive M. Sue often presented by imitation of Charlotte -Bronte's Method I., Interchange of the sexes for obfuscation's sake, M. -Heger in Alphonsine: Madame de Morville (Madame Heger) has just said -Mdlle. Lagrange (Miss Bronte) affected a little to speak of her humble +Brontë's Method I., Interchange of the sexes for obfuscation's sake, M. +Héger in Alphonsine: Madame de Morville (Madame Héger) has just said +Mdlle. Lagrange (Miss Brontë) affected a little to speak of her humble origin. "Elle affecter," replies Alphonsine, "... c'est une erreur. Quand, par hasard, elle parlait de sa famille, c'est que la conversation - venait la-dessus. D'ailleurs, ecoute donc, Mademoiselle Lagrange - eut ete fiere qu'elle en avait le droit." + venait là -dessus. D'ailleurs, écoute donc, Mademoiselle Lagrange + eût été fière qu'elle en avait le droit." "Proud! what of? not of her face, poor girl." @@ -4915,64 +4881,64 @@ origin. Madame de Morville admits that Mdlle. Lagrange was endowed with patience, learning, and fortitude; and says, "Tu le sais, nous avions -pour elle les plus grands egards." +pour elle les plus grands égards." "Without doubt ... and myself, I loved her like a sister." To which Madame de Morville retorts: "A ce point que, pendant les premiers jours qui ont suivi son - depart je t'ai vue souvent pleurer, et que depuis je te trouve + départ je t'ai vue souvent pleurer, et que depuis je te trouve triste." - "Que veux-tu ... se quitter apres plus de trois ans d'intimite, + "Que veux-tu ... se quitter après plus de trois ans d'intimité, cela vous laisse du chagrin." "This sensibility does credit to your heart, but after all it seems to me that you and I shall be able by our mutual tenderness - to console each other for the loss d'une etrangere." + to console each other for the loss d'une étrangère." - "Une etrangere!" says Alphonsine, naively; "dis donc une amie, une + "Une étrangère!" says Alphonsine, naïvely; "dis donc une amie, une soeur.... Ainsi, toi ... tu es pour moi, n'est-ce pas, aussi affectueuse que possible; pourtant tu m'imposes toujours; il y a - mille riens, mille folies, mille betises si tu veux, que je + mille riens, mille folies, mille bêtises si tu veux, que je n'oserais jamais te dire, et qui nous amusaient et nous faisaient rire aux larmes avec cette pauvre Mademoiselle Lagrange; et puis - ces causeries sans fin pendant les recreations, nos jeux memes, - car elle etait tres enfant quand elle s'y mettait[70]; all this - made our temps de l'etude pass like a dream, and that of + ces causeries sans fin pendant les récréations, nos jeux mêmes, + car elle était très enfant quand elle s'y mettait[70]; all this + made our temps de l'étude pass like a dream, and that of recreation like a flash." "Without doubt," replied Madame de Morville, with a forced smile; - ... "and I, ... je ne jouissais de la societe de ces demoiselles - que lors de notre promenade d'avant diner, ou le soir jusqu'a - l'heure du the." + ... "and I, ... je ne jouissais de la société de ces demoiselles + que lors de notre promenade d'avant dîner, ou le soir jusqu'à + l'heure du thé." -The irreparableness of the loss at first to M. Heger is herein clearly -shown. But whether he would confess himself to Miss Bronte afterwards is -not certain. The tone of Charlotte Bronte's successive writings suggests +The irreparableness of the loss at first to M. Héger is herein clearly +shown. But whether he would confess himself to Miss Brontë afterwards is +not certain. The tone of Charlotte Brontë's successive writings suggests he did not, as do many points of evidence and the reference in _Villette_, Chapter XIX., to that "He was a religious little man, in his way: the self-denying and self-sacrificing part of the Catholic religion commanded the homage of his soul." -Likely enough it is that M. Heger hailed, as do truly noble men, the day +Likely enough it is that M. Héger hailed, as do truly noble men, the day of trial, and elevated by the very agony of great sacrifice the personality which worshipped a conception of duty consonant with Divine law. It seems, though, that then the battle was won; his day of reaction was fought through. At the time of what M. Sue makes M. de Morville call -"ce premier entrainement" was the greatest danger, and abundant +"ce premier entraînement" was the greatest danger, and abundant testimony goes to prove he would have gone the length of indiscretion -but that Charlotte Bronte, herself innately honourable and influenced by +but that Charlotte Brontë, herself innately honourable and influenced by her Christian upbringing, checked the mad rush of impetuous passion. -Then the Church of M. Heger intervened. As Charlotte Bronte tells us in +Then the Church of M. Héger intervened. As Charlotte Brontë tells us in _Villette_, Chapter XXXVI.: "We were under the surveillance of a sleepless eye: Rome watched jealously her son through that mystic lattice at which I had knelt once, and to which M. Emanuel drew nigh month by month--the sliding panel of the confessional." She was much -gratified by M. Heger's fervent admiration, though she had perforce to +gratified by M. Héger's fervent admiration, though she had perforce to remember their circumstances. As M. Sue said of Lagrange so it had been -with Miss Bronte:-- +with Miss Brontë:-- The girl had never before known love, save by reading and hearing of its magical influence. All the natural tenderness which lay in @@ -4981,25 +4947,25 @@ with Miss Bronte:-- The references in her poems to a recognition of growing coldness in a lover--see "Frances," "Preference," etc., if we may read them in the biographical sense Mr. Mackay suggests, show there had been a day when -she perceived external influences were dictating to M. Heger a line of +she perceived external influences were dictating to M. Héger a line of moral procedure. Obviously, while she herself had held temptation at bay she was strong; but once she discovered an ally was lessening the necessity of her defence her woman's nature awoke. She doubted the sincerity of the past protestations of passion; she saw in every eye a sinister spy; she found in the Roman Church nothing but a partisan of -Madame Heger (see Madame Beck and the Roman Church in _Villette_), and -M. Heger became to her a very impersonation of insincerity and +Madame Héger (see Madame Beck and the Roman Church in _Villette_), and +M. Héger became to her a very impersonation of insincerity and treachery. Of the secret tempest which had begun to rage within herself -she would disclose nothing to M. Heger; and she would know that once the -storm slept the end might be the worst. But Charlotte Bronte was not yet +she would disclose nothing to M. Héger; and she would know that once the +storm slept the end might be the worst. But Charlotte Brontë was not yet in the season of the recoil, though alone, wretched, and rapidly losing -faith in God and man. As for M. Heger, he was supported by the knowledge +faith in God and man. As for M. Héger, he was supported by the knowledge that the ideal of the good and pious is glorified by sacrifice. That "Hell holds no fury like a woman scorned" is a platitude, for a woman scorned in the meaning of the writer is a woman with a shattered life. In her fullest and native sense she ceases to exist thereafter. However, as in many cases Nature provides a remedy for her maimed, woman has -given her dissimulation. But to quote Charlotte Bronte's poem, +given her dissimulation. But to quote Charlotte Brontë's poem, "Frances":-- "Who can for ever crush the heart, @@ -5009,7 +4975,7 @@ given her dissimulation. But to quote Charlotte Bronte's poem, It is a dangerous day when woman is her very self and thwarted. Then, and only then, can she utter the distressing blasphemies Charlotte -Bronte places in the mouth of the speaker in her verses, "Apostasy":-- +Brontë places in the mouth of the speaker in her verses, "Apostasy":-- "Talk not of thy Last Sacrament, Tell not thy beads for me; @@ -5044,7 +5010,7 @@ IX., in the same connection:-- himself. If all else perished, and _he_ remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger. I should not seem a - part of it. [See my remarks on Charlotte Bronte's belief in the + part of it. [See my remarks on Charlotte Brontë's belief in the elective affinities, page 96-7.] My love for Heathcliffe resembles the eternal rocks beneath.... I _am_ Heathcliffe,--he's always, always in my mind--not as a pleasure, any more than I am a @@ -5059,37 +5025,37 @@ from her lover that the priest has reminded her. Thus she says:-- To part me from that dungeon-cell Where my loved Walter lies?" -The whole history of Charlotte Bronte's Brussels life before us, the +The whole history of Charlotte Brontë's Brussels life before us, the fact that an insurmountable barrier--his marriage--separated her from M. -Heger, and the fact that she herself consulted[72] a Roman Catholic -priest whom I designate as her "Fenelon," advising, like the Mentor of -Telemaque,[73] the tempted one to "flee temptation," identify these +Héger, and the fact that she herself consulted[72] a Roman Catholic +priest whom I designate as her "Fénélon," advising, like the Mentor of +Télémaque,[73] the tempted one to "flee temptation," identify these "barriers" as a covert reference to the circumstances unhappily existing -which made intimacy between Miss Bronte and M. Heger dangerous. To quote -my words in _The Fortnightly Review_:--"We see why Miss Bronte, herself +which made intimacy between Miss Brontë and M. Héger dangerous. To quote +my words in _The Fortnightly Review_:--"We see why Miss Brontë, herself a Protestant, went to the confessional at Brussels.... We know this was no freak, as also that it was impossible for Charlotte to mention the subject to her sister without attributing it to a freak. More, we perceive now the nature of her confession, and, the "Flee temptation!" -note of Fenelon's _Les Aventures de Telemaque_ fresh in our minds, we +note of Fénélon's _Les Aventures de Télémaque_ fresh in our minds, we see why she wrote of her father-confessor in _Villette_, Chapter XV.:-- - There was something of Fenelon about that benign old priest; and + There was something of Fénelon about that benign old priest; and whatever ... I may think of his Church and creed, ... of himself I must ever retain a grateful recollection. He was kind when I needed kindness; he did me good. May heaven bless him! I mention that by her composite method of presenting characters, which -Charlotte Bronte admitted to have employed, Dr. John Bretton, while +Charlotte Brontë admitted to have employed, Dr. John Bretton, while often in the beginning representing Mr. Smith the publisher, becomes finally a representation of the Rev. Mr. Nicholls who married Miss -Bronte.[74] So in _Jane Eyre_, St. John Rivers while in the main -representing the Rev. Patrick Bronte, becomes associated temporarily -with that priest I have called Charlotte Bronte's Brussels Fenelon. She +Brontë.[74] So in _Jane Eyre_, St. John Rivers while in the main +representing the Rev. Patrick Brontë, becomes associated temporarily +with that priest I have called Charlotte Brontë's Brussels Fénélon. She tells us in _Villette_ that she broke off the seduction of visiting this priest and says:--"The probabilities are that had I visited ... at the ... day appointed, I might just now ... have been counting my beads -in the cell of a ... convent...." Miss Bronte admits he had had great +in the cell of a ... convent...." Miss Brontë admits he had had great influence with her, and this fact and the testimony of her poem "Apostasy" just quoted show this priest and his admonitions were in her mind when she wrote the final scene between herself and St. John Rivers @@ -5097,7 +5063,7 @@ in _Jane Eyre_ (Chapter XXXV.). Therein, as in that poem and in _Wuthering Heights_, "Religion" and "Angels"[75] are set as being less to her than the vicinage of her lover. Indeed the India and the missionary life of _Jane Eyre_, and the marriage with St. John (see -Chapter XXXIV.), may be said to have been in Miss Bronte's mind that +Chapter XXXIV.), may be said to have been in Miss Brontë's mind that life of religious consecration which in _Villette_ she owns to have been the likely result of her further listening to the advice of the priest, to whom she had given "the ... outline of my experience," as she terms @@ -5131,7 +5097,7 @@ so in the scene in _Jane Eyre_: St. John ejaculates-- softness I knew myself not wholly impervious. Without respecting some sorts of affection, there was hardly any sort having a fibre of root in reality, which I could rely on my force wholly to - withstand."--Charlotte Bronte speaking of her Brussels Fenelon in + withstand."--Charlotte Brontë speaking of her Brussels Fénélon in _Villette_, Chapter XV.], I say _almost_--I knew the difference--for I had felt what it was to be loved; but, like him, I now ... thought only of duty;... I sincerely, ... fervently @@ -5149,32 +5115,32 @@ so in the scene in _Jane Eyre_: St. John ejaculates-- from the thanksgiving--took a resolve--and lay down ... eager but for the daylight. -Mrs. Gaskell related that Charlotte Bronte in private conversation in +Mrs. Gaskell related that Charlotte Brontë in private conversation in reference to this preternatural crying of a voice, replied with much gravity and without further enlightenment that such an incident really did occur in her experience. Whether it occurred in connection with her -Brussels Fenelon and immediately preceded a reconciliation between -herself and M. Heger I know not. As, however, Charlotte Bronte's +Brussels Fénélon and immediately preceded a reconciliation between +herself and M. Héger I know not. As, however, Charlotte Brontë's expression of gratitude to this priest and the whole fervent story of thankfulness for the deliverance from dangerous temptation were written subsequently to her return from Brussels, it is clear there was never a -reconciliation which cost either her or M. Heger honour. I do not urge +reconciliation which cost either her or M. Héger honour. I do not urge this as an advocate; I state it upon the strength of unmistakable evidence. -Miss Bronte believed it better to leave Brussels and avoid the +Miss Brontë believed it better to leave Brussels and avoid the possibilities of the peculiar situation--a situation always fraught with temptation. Hence her sudden resolve to return to England. Arrived at Haworth the full recoil came. She had won through a great ordeal, and she knew that surrounded by his wife and family,[77] comforted by piety and the knowledge of his happy issue from involution -in disastrous complications, M. Heger would resume tranquilly his -accustomed course of life. To Charlotte Bronte, who by the showing of +in disastrous complications, M. Héger would resume tranquilly his +accustomed course of life. To Charlotte Brontë, who by the showing of all evidence was initially responsible for a morally gratifying outcome of their dangerous attachment, this was a galling picture. Knowing nothing of the ecstatic delights of the pietist in the sacrificial sense -of M. Heger, who was a devoted member of the Society of St. Vincent de +of M. Héger, who was a devoted member of the Society of St. Vincent de Paul, and, as he is made to describe himself in _Villette_, "a sort of lay Jesuit," she became just a woman living in the world of her primal nature and conceiving but that she had lost. Miss Rigby--afterwards Lady @@ -5205,15 +5171,15 @@ and most sensationally:-- Miss Rigby thus excused herself a further consideration of _Wuthering Heights_. In the days of the gratification of discovering the one she loved in return loved her,[78] this recognition stood between Charlotte -Bronte and "every thought of religion, as an eclipse between man and the +Brontë and "every thought of religion, as an eclipse between man and the broad sun," so in another sense truly did the contemplation of M. -Heger's self-pacification intervene in the time of reaction. The +Héger's self-pacification intervene in the time of reaction. The doubtings and agonizing emotions of her equivocal season in Brussels were now precipitated. Her poems "Gilbert," "Frances," and "Preference" are testimony to her vengeful and retaliative instinct; as are her -portrayals of M. Heger as M. Pelet of _The Professor_ and as Heathcliffe +portrayals of M. Héger as M. Pelet of _The Professor_ and as Heathcliffe of _Wuthering Heights_. But as I show in the next chapter, Charlotte -Bronte afterwards regretted her human weakness and her vituperations of +Brontë afterwards regretted her human weakness and her vituperations of the day of the recoil. She began to set forth the story of her ordeal more sanely and proportionately in _Jane Eyre_. As one who soberly rewrites of fact, she recited therein much that she already had given @@ -5221,17 +5187,17 @@ detachedly; and consistently she presented by aid of the frame-work of "plot" from Montagu's _Gleanings in Craven_ which already had given her elemental suggestions for her _Wuthering Heights_, the history of her life in _Jane Eyre_--a work that stands as testimony to Charlotte -Bronte's love of truth as to her heroic battling in the days of fiercest +Brontë's love of truth as to her heroic battling in the days of fiercest temptation. A constant yearning to fine a presentation from untruthfulness is the God-given attribute of the artist, and this was responsible for much -that is called harsh in Charlotte Bronte's character as a writer: she +that is called harsh in Charlotte Brontë's character as a writer: she would not even spare her own physical and nervous imperfections in her -self-portrayals. Emily Bronte would have presented Branwell Bronte as -viewed through _couleur de rose_, yet Charlotte Bronte immortalized him +self-portrayals. Emily Brontë would have presented Branwell Brontë as +viewed through _couleur de rose_, yet Charlotte Brontë immortalized him as Hindley Earnshaw and John Reed--as she saw him: weak, tyrannical, a -moral wreck. So she presented M. Heger. She knew his faults--and they +moral wreck. So she presented M. Héger. She knew his faults--and they were many; but she loved him though she hated them. Her sense of truth and justice, albeit she had lost the rancour of the time of the reaction, determined her in _Jane Eyre_, it is obvious, to show the @@ -5275,10 +5241,10 @@ sing in _Jane Eyre_, Chap. XXIV.:-- Should come on pinion, strong and fleet, Proclaiming vengeance sore." -It is clear the impediment of M. Heger's marriage is suggested in these -verses. But undeniable evidence as to Charlotte Bronte's having escaped +It is clear the impediment of M. Héger's marriage is suggested in these +verses. But undeniable evidence as to Charlotte Brontë's having escaped by flight what she considered a most dangerous temptation, is the fact -that we find she was influenced to pen these lines, wherein M. Heger +that we find she was influenced to pen these lines, wherein M. Héger (Rochester) is likened to a wild pursuer of a "shower and gleam" nymph who sped before him "fast as light" and "glorious rose upon his sight," by Montagu's reference, in _Gleanings in Craven_, to the story of a @@ -5311,12 +5277,12 @@ spring. Says Frederic Montagu:-- Even as the fearful Nymph, then thick and short did blow, Now made by them a Spring, so doth she ebb and flow." -This is not all. We know now the truth regarding Charlotte Bronte's +This is not all. We know now the truth regarding Charlotte Brontë's Brussels life, and seeing she discovered a pertinence in the state of the Craven Nymph to her own--for it is undeniable Rochester's song was modelled upon the lines Montagu quotes--it is likely that what I term the "river" suggestion and the Craven Elf suggestion which resulted in -Charlotte Bronte's portraying herself in the role of the stream-named +Charlotte Brontë's portraying herself in the rôle of the stream-named Craven elf, Janet Aire or Eyre, had to do with Montagu's mention of this nymph of Craven who escaped a dangerous persecution by becoming a spring. It seems, indeed, that if she did not at first utilize the @@ -5329,7 +5295,7 @@ ruin-creating, semi-human being. Whether the lines-- Flow loosely at her back as up a cliff she clame," had in the connection to do with the "cliffe" in "that ghoul -Heathcliffe's" name a reference to Charlotte Bronte's Preface to +Heathcliffe's" name a reference to Charlotte Brontë's Preface to _Wuthering Heights_, and her words on the creation of Heathcliffe, in my next chapter, may declare. @@ -5364,17 +5330,17 @@ II. than that of fierce speaking--fain find nourishment for some less fiendish feeling than that of sombre indignation. -These words, written by Charlotte Bronte in _Jane Eyre_, Chapter IV., in +These words, written by Charlotte Brontë in _Jane Eyre_, Chapter IV., in relation to herself and "Mrs. Reed," give us an insight into her extraordinary alternations of mood. To inquire deeply into her determining initially to disavow the authorship of _Wuthering Heights_ requires a somewhat ruthless baring of the "fiendish" vindictiveness -against M. Heger between the dates of 1844-46, that was a characteristic +against M. Héger between the dates of 1844-46, that was a characteristic of the portrayals of him I have mentioned; but it also reveals her active turn to a spirit of repentance for past vindictive feeling, the which she acknowledges to have known. -It seems that it was in a spirit of reproach Charlotte Bronte wrote the +It seems that it was in a spirit of reproach Charlotte Brontë wrote the vengeful scene between Heathcliffe and Catherine in _Wuthering Heights_, harsh in threat almost as her poem "Gilbert," wherein the man, satisfied with the affections of his wife and children, has banished the @@ -5418,21 +5384,21 @@ whom demons seize," cries:-- _have_ wandered on earth. Be with me always--take any form--drive me mad!" -Charlotte Bronte's poems, "Frances,"[82] "Gilbert," and "Preference" +Charlotte Brontë's poems, "Frances,"[82] "Gilbert," and "Preference" (wherein we have literature in allegory preferred to a lover), show there had been to her a season of darkest misery when, to quote _Villette_ concerning herself as Lucy Snowe, "all her life's hope was torn by the roots out of her riven outraged heart." Whether this was the time when, in the words of herself as Jane Eyre, "faith was blighted, -confidence destroyed": a time to her when Mr. Rochester (M. Heger) was +confidence destroyed": a time to her when Mr. Rochester (M. Héger) was not to her "what she had thought him," the reader shall decide. But in _Villette_ and _Jane Eyre_ she "would not ascribe vice to him; ... would not say he had betrayed" her. She forgave him all: yet not in words, not outwardly; only at [her] heart's core. See the phase of M. Pelet in the _The Professor_. -Evidence shows it was in her dark season when Charlotte Bronte wrote -_Wuthering Heights_, and that she portrayed M. Heger therein with all +Evidence shows it was in her dark season when Charlotte Brontë wrote +_Wuthering Heights_, and that she portrayed M. Héger therein with all the vindictiveness of a woman with "a riven outraged heart," the wounds in which yet rankled sorely. Thus may we understand her saying in her famous preface to _Wuthering Heights_:-- @@ -5450,9 +5416,9 @@ famous preface to _Wuthering Heights_:-- scarcely think it is. Even in _Villette_ there were recurrences of the spasmodic spirit of -vindictiveness responsible for Charlotte Bronte's harsh portrayal of M. -Heger as Heathcliffe, though "at her heart's core she then forgave him." -In _Villette_, Chapter XX., she refers to M. Paul (M. Heger) +vindictiveness responsible for Charlotte Brontë's harsh portrayal of M. +Héger as Heathcliffe, though "at her heart's core she then forgave him." +In _Villette_, Chapter XX., she refers to M. Paul (M. Héger) antithetically, and all the more significantly, in a comparison of him with Dr. John Bretton, of whom she says:-- @@ -5464,7 +5430,7 @@ with Dr. John Bretton, of whom she says:-- cold, and rusty, and venomed through your heart. _Wuthering Heights_, however, containing too humiliating a story of -Charlotte Bronte's heart-thrall, her misery and her wild vindictiveness, +Charlotte Brontë's heart-thrall, her misery and her wild vindictiveness, and also for the reasons stated in the beginning of this chapter--her saving remorse--she seems early to have determined to repudiate her authorship of it; indeed, so largely is she now found to have used the @@ -5473,36 +5439,36 @@ the manuscript. The subsequent arrangement made in the name of Ellis Bell that the work by the same author should go to Mr. Newby, the publisher of _Wuthering Heights_, gave finality to this tragedy of authorship which, but for the discoveries in this, _The Key to the -Bronte Works_, would have remained for ever unrevealed, and a reproach +Brontë Works_, would have remained for ever unrevealed, and a reproach to literature--a thing of untruth thickly hidden. -Had Charlotte Bronte destroyed _Wuthering Heights_ before its +Had Charlotte Brontë destroyed _Wuthering Heights_ before its publication she would have saved this sensational disclosure. But she hesitated to destroy the manuscript at once, and as an alternative to identifying herself with its authorship, she sent forth her work under a _nom de guerre_, part of which had been employed by her sister Emily. We well know the difficulties that resulted; the judgment of scholars and thinkers was impugned and their sane pronouncements were pilloried. To -cover Charlotte Bronte's regretful error were to connive against law and +cover Charlotte Brontë's regretful error were to connive against law and literature. _Wuthering Heights_ being published, the work was the world's property; it stood for public purposes, to submit to all -criticism and research, and it came neither in Charlotte Bronte's +criticism and research, and it came neither in Charlotte Brontë's province nor in that of any person to prevent its being subjected to the final inquiry with which the cold light of truth exposes all things. -Doubtless Charlotte Bronte perceived this, and regretting the facileness +Doubtless Charlotte Brontë perceived this, and regretting the facileness of her pen and the vituperativeness of her mood of that past and hateful night, she set herself, in her subsequent works, to make clear she had overdrawn the bitterness of the relations which one time had existed -between herself and M. Heger. Perhaps she could not expect her +between herself and M. Héger. Perhaps she could not expect her retractions would be understood of all men, but it pleased her inmost soul, and having a final sense of justice, and a softening of her heart for her vehement passionateness, she continued in all her works subsequent to her _Wuthering Heights_ to reconstruct this her early -version. Thus Charlotte Bronte as Caroline Helstone of _Shirley_ is +version. Thus Charlotte Brontë as Caroline Helstone of _Shirley_ is Catherine Earnshaw of _Wuthering Heights_, with the distinction I mention. Moore is admitted, as I have said, to have been drawn from M. -Heger[83]:-- +Héger[83]:-- _Wuthering Heights._ _Shirley._ @@ -5523,7 +5489,7 @@ Heger[83]:-- reflection in a mirror.... How parched, restless night ... one dreary to meet death surrounded terrible dream seized her like a by their cold faces.... Edgar [? tiger ... a fever of mental - Mr. Bronte] standing solemnly by excitement, and a languor of + Mr. Brontë] standing solemnly by excitement, and a languor of to see it over; then offering long conflict and habitual prayers of thanks to God for sadness had fanned the flame ... restoring peace to his house, and left a well-lit fire behind @@ -5593,7 +5559,7 @@ Heger[83]:-- a south wind, and is not the snow gone?" -It is in _Shirley_ that Charlotte Bronte gives, inadvertently +It is in _Shirley_ that Charlotte Brontë gives, inadvertently or purposely, the origin of the title of _Wuthering Heights_, and we see therewith why she came afterwards to choose for her autobiographical-self in _Villette_, the name of Lucy Snowe. We perceive @@ -5602,7 +5568,7 @@ she had been singularly impressed by an old Scottish ballad, entitled, Joseph Wright's _English Dialect Dictionary_ refers readers to this very same poem in connection with the origin of the northern word "wuthering," in the form of the verb "whudder," or "wuther." And so, in -a letter to Mr. W. S. Williams, of November 6th, 1852, Miss Bronte wrote +a letter to Mr. W. S. Williams, of November 6th, 1852, Miss Brontë wrote of Lucy Snowe[86]:-- As to the name of the heroine, I can hardly express what subtlety @@ -5615,7 +5581,7 @@ of Lucy Snowe[86]:-- principle--partly on that of the 'fitness of things,' for she has about her an external coldness. -Thus we understand Charlotte Bronte was anxious that her +Thus we understand Charlotte Brontë was anxious that her autobiographical-self in _Villette_ should be called Snowe. While, in mentioning the matter to her publishers, she endeavoured to show a superficial and commonplace reason for her singular choice, the truth @@ -5625,18 +5591,18 @@ subtlety of thought" made her decide upon "a cold name." The subtlety of thought that dictated the choice of the "cold name" Snowe had, we shall see, a connection with the old Scottish ballad, "Puir Mary Lee," which evidence shows was responsible at the dark season -to which I have referred for Charlotte Bronte's choice of the title of +to which I have referred for Charlotte Brontë's choice of the title of _Wuthering Heights_--for her identifying her own bitterness with that of "Puir Mary Lee." -It is in _Shirley_, Chapter VII., that Charlotte Bronte writes:-- +It is in _Shirley_, Chapter VII., that Charlotte Brontë writes:-- Nature ... is an excellent friend, sealing the lips, interdicting utterance, commanding a placid dissimulation; a dissimulation often wearing an easy and gay mien at first, settling down to sorrow and paleness in time, then passing away, and leaving a convenient stoicism, not the less fortifying because half-bitter. - [As Lucy Snowe, Charlotte Bronte writes in _Villette_ in perfect + [As Lucy Snowe, Charlotte Brontë writes in _Villette_ in perfect sympathy with this: "If I feel, may I never express? I groaned under her (Reason's) bitter sternness ... she could not rest unless I were altogether crushed, cowed, broken-in, and @@ -5670,13 +5636,13 @@ It is in _Shirley_, Chapter VII., that Charlotte Bronte writes:-- Thus internal evidence proves that the name of _Wuthering Heights_ for the abode of the "deeply feeling, strongly resentful peasant girl," -Catherine Earnshaw, was primarily chosen by Charlotte Bronte because of +Catherine Earnshaw, was primarily chosen by Charlotte Brontë because of its special appeal to her own mood at a given period, in relation to the ballad of "Puir Mary Lee," and proves that the choice of the name of Snowe for her "cold and altered" autobiographical self in _Villette_ was dictated by its connection therewith. -In this light glance at Charlotte Bronte's poem "Mementos," and at the +In this light glance at Charlotte Brontë's poem "Mementos," and at the following verses from her "Frances":-- "And when thy opening eyes shall see @@ -5701,13 +5667,13 @@ following verses from her "Frances":-- There is an apparent relationship of this last verse with the remarks in Chapter XXV. of _The Professor_, on Hunsden's "Lucia," of whom he says:--"I should ... have liked to marry her, and that I _have_ not done -so is a proof that I _could_ not." Lucia's (Miss Bronte's) "faculty" was +so is a proof that I _could_ not." Lucia's (Miss Brontë's) "faculty" was literature: the physiognomy was obviously an obfuscation. It is -significant that Charlotte Bronte again took "Lucia," for the Christian +significant that Charlotte Brontë again took "Lucia," for the Christian name of Lucia or Lucy Snowe. See my references to Hunsden as a phase of -M. Heger. +M. Héger. -Perceiving, therefore, that Charlotte Bronte had likened herself to the +Perceiving, therefore, that Charlotte Brontë had likened herself to the heroine of "Puir Mary Lee," in so far as to be influenced by it to give the title of _Wuthering Heights_ to one of her works, and to take the name of Snowe later for her autobiographical self, we understand why she @@ -5749,9 +5715,9 @@ the "subtle" disclaimer:-- bitterness her mind distilled should and would be poured on her own head. -Indeed, there is evidence of a reconciliation between M. Heger and -Charlotte Bronte, this being most marked in _Jane Eyre_ and _Shirley_. -In connection with the reasons responsible for Charlotte Bronte's choice +Indeed, there is evidence of a reconciliation between M. Héger and +Charlotte Brontë, this being most marked in _Jane Eyre_ and _Shirley_. +In connection with the reasons responsible for Charlotte Brontë's choice of the title of _Wuthering Heights_, it is interesting to note some "subtlety of thought" dictated Charlotte's telling us in _Shirley_, Chapter XXXIII., of Caroline and her lover that:-- @@ -5761,12 +5727,12 @@ Chapter XXXIII., of Caroline and her lover that:-- the white burden it drifted; each seemed conscious but of one thing--the presence of the other. -After the close of 1850, Charlotte Bronte resolved into the mood which +After the close of 1850, Charlotte Brontë resolved into the mood which was an earlier characteristic; and the choice of the name of Snowe for herself and the extraordinary tenacity with which she held to the name, having it re-inscribed in _Villette_ by the printers though she had herself changed it, show she had returned somewhat to that state in -regard to her affection for M. Heger responsible for the passionateness +regard to her affection for M. Héger responsible for the passionateness of her _Wuthering Heights_. And as following the completion of _Villette_ she decided to marry a man she did not really love, I would say her mood was honestly in sympathy with that in which she wrote @@ -5778,14 +5744,14 @@ Heights_, he advised her to resume the frame of mind in which she had penned her _Wuthering Heights_.[88] Dobell's supposition that she wrote the book had no connection -whatsoever with my discovering Charlotte Bronte was the author of +whatsoever with my discovering Charlotte Brontë was the author of _Wuthering Heights_; neither had the fact that Miss Rigby--Lady Eastlake--in _The Quarterly Review_, spoke of _Wuthering Heights_ as "purporting to be written by Ellis Bell" but having "a decided family likeness to _Jane Eyre_," and with still more point, identified "Catherine and Heathcliffe of _Wuthering Heights_ as Jane and Rochester of _Jane Eyre_ in their native state." For I early found I must credit -only the internal evidence of the Bronte works as my interpretative +only the internal evidence of the Brontë works as my interpretative guide. Having written "The Key to _Jane Eyre_" nothing could prevent my discovery of that novel's kinship with _Wuthering Heights_; and so far back as August 29, 1902, I penned in a private letter enclosed with the @@ -5794,11 +5760,11 @@ Saturday Review_, a confession that I was finding a strong kinship between the two novels. I owe to my persistent consciousness of this close kinship the fact that I finally discovered the amazing secrets of _Wuthering Heights_, and was enabled to state publicly in my -_Fortnightly Review_ article of March 1907, Charlotte Bronte and none +_Fortnightly Review_ article of March 1907, Charlotte Brontë and none other wrote _Wuthering Heights_. It was then I turned with interest to the remarks of Sydney Dobell, the author of _Balder_, and "a notable figure in the history of English thought" as he has been named, whose -review of Charlotte Bronte's works had resulted in her being acclaimed a +review of Charlotte Brontë's works had resulted in her being acclaimed a leading author and a genius. It was in _The Palladium_ of September 1850 Sydney Dobell said:-- @@ -5813,7 +5779,7 @@ Sydney Dobell said:-- _Jane Eyre_ we find ... only further evidence of the same producing qualities to which _Wuthering Heights_ bears testimony. -Charlotte Bronte warmly thanked him and protested. With eager honesty he +Charlotte Brontë warmly thanked him and protested. With eager honesty he again and again begged her to visit him and discuss the authorship of _Wuthering Heights_. Could Sidney Dobell but have been told the secret tragedy of Currer Bell's life and the bitterness of her cup, how he @@ -5822,18 +5788,18 @@ inquiry. And in all innocence he had asked her to revive the frame of mind in which, to use the words in _Jane Eyre_, her heart had been "weeping blood"! -_Wuthering Heights_ was wrought near the furnace of Charlotte Bronte's +_Wuthering Heights_ was wrought near the furnace of Charlotte Brontë's fiery ordeal, and gives at its intensest that which glows through her other works, finally to flash up and smoulder out in _Villette_. By reason of its clear portrayal of woman when she is very woman _Wuthering Heights_ towers above all common literary artistry, one of the finest novels in the world, an abiding monument to the vital genius of -Charlotte Bronte. After her return from Brussels her life was a long +Charlotte Brontë. After her return from Brussels her life was a long human conflict, with vain regrets, vindictive recriminations, and luring memories opposing heroic commandings in the name of right and virtue. All honour to her that she fought to win! -Had Charlotte Bronte and M. Heger been characterless individuals of the +Had Charlotte Brontë and M. Héger been characterless individuals of the common type who, knowing nothing of self-sacrifice and nobleness of life, yield to the call of immediate and unlicensed impulse, we could never have had these most vital representations, these most poignant @@ -5843,13 +5809,13 @@ fiction. But her heart was satisfied that truth has its ultimate appeal; and in the way of those sententious writers of old who garbed in an attractive vesture veritable and momentous records which would be preserved because they entertained, she gave the history of her life in -a series of dramas we call the Bronte novels. For sixty years these have +a series of dramas we call the Brontë novels. For sixty years these have been read only as the creations of a brain that spun interesting -fiction! Now, by aid of _The Key to the Bronte Works_, it is revealed +fiction! Now, by aid of _The Key to the Brontë Works_, it is revealed they are more than this, and we discover the real greatness of Currer Bell and the high rank of her genius. Like that which creates the noblest and most enduring of the world's literature, the genius of -Charlotte Bronte truthfully preserves the past, while it will intimately +Charlotte Brontë truthfully preserves the past, while it will intimately appeal to and have a salient lesson and an inspiring message for any one so ever who shall read, be it here and now, or in the time to come. @@ -5858,10 +5824,10 @@ so ever who shall read, be it here and now, or in the time to come. CHAPTER XVI. -THE BRONTE POEMS. +THE BRONTË POEMS. -Charlotte Bronte loved her sisters Emily and Anne, but in her +Charlotte Brontë loved her sisters Emily and Anne, but in her introduction to the poetical selections from their literary remains she says little concerning their verse, preferring to give of each sister a kind of short biographical memoir. In dealing with Emily she dwelt @@ -5869,23 +5835,23 @@ poetically upon the features of the Yorkshire moors, and thus extended to Emily's verses that atmosphere and charm which she (Charlotte) had fixed in _Wuthering Heights_ and _Jane Eyre_; and in writing upon Anne she complained her verse gave evidence of a too melancholy religious -feeling. The eldest surviving child in the Bronte family, after the -deaths of Maria and Elizabeth, it was Charlotte Bronte who would first -set the ideal of literary composition before the Bronte children. To her +feeling. The eldest surviving child in the Brontë family, after the +deaths of Maria and Elizabeth, it was Charlotte Brontë who would first +set the ideal of literary composition before the Brontë children. To her initial impulse, therefore, owe we the literary compositions that came from the pens of Emily, Anne, and Branwell. Evidence of this truth is the fact that Emily, Anne, and Branwell, in their writing, never got "right away," as the hunting phrase has it. There are many definitions of genius: may I define it as a message? -Charlotte Bronte had a message. Emily had none. _Wuthering Heights_ and -all the other works of Charlotte Bronte, prose and verse, had a vital +Charlotte Brontë had a message. Emily had none. _Wuthering Heights_ and +all the other works of Charlotte Brontë, prose and verse, had a vital message. Ellis Bell had no message. In a sort of idle, ruminative -contemplation Emily Bronte constructed verse unburdened with +contemplation Emily Brontë constructed verse unburdened with purpose--verse that became involved at the moment it should have soared. I believe we have the secret of what I may call Emily's "involved -moments" in Charlotte Bronte's description of her as Shirley Keeldar in +moments" in Charlotte Brontë's description of her as Shirley Keeldar in _Shirley_, Chapter XXII., wherein we are told Emily saw visions, as it were, "faster than Thought can effect his combinations." We feel something of the clouded chaos of her moment of writing in her more @@ -5906,7 +5872,7 @@ witness to man's innate seeking for truth and right: he is a non-believer in this or that because he conceives truth to be remote from it. He seeks truth albeit he is a wide wanderer. -In "The Old Stoic" we have a "stoic" in Emily's role of bold challenger +In "The Old Stoic" we have a "stoic" in Emily's rôle of bold challenger of chimera. "Courage to endure" and "a chainless soul" are what this old stoic would ask for! The poet was ignorant of or indifferent to the fact that a true stoic, according to the rule of Epictetus, seeks to be not @@ -5920,27 +5886,27 @@ so with the poet. Life is not a placid lake: the lethal lightnings play, and faith and happiness are threatened continually and on the whole horizon. -Charlotte Bronte, with memory of her own life-storm which has left us +Charlotte Brontë, with memory of her own life-storm which has left us her _Wuthering Heights_, _Jane Eyre_, and her other great prose works, wrote her introduction to Emily's poems in the spirit of one who looked upon her pieces as the reflections of an uneventful life in the inner sense of vital soul-conflict. -Anne Bronte's gentle poems, like Emily's, will appeal particularly to +Anne Brontë's gentle poems, like Emily's, will appeal particularly to such readers as have sympathetic temperaments; they will not call to the -human heart like the clarion notes of Charlotte Bronte's poem "Passion," +human heart like the clarion notes of Charlotte Brontë's poem "Passion," but mayhap their low whisperings may waken sadly pleasant memories. With Currer Bell's poems I deal in various chapters, wherein we perceive their relationship to _Wuthering Heights_ and her other books which resulted from the harsh rigours of her tempest-bestormed night. -And shall we not say a word for Branwell Bronte? He too wrote verse.[90] +And shall we not say a word for Branwell Brontë? He too wrote verse.[90] He was not a genius in the sense of my definition, but his verse is such as might appear in a member of a family a generation or a degree of kin removed from the genius of the house. Him we must remember compassionately as one physically weak, an unhappy victim of circumstances against which he had not the moral force to fight. Nor -shall we forget that the Rev. Patrick Bronte, the father, wrote and +shall we forget that the Rev. Patrick Brontë, the father, wrote and published verse. His productions were printed in pamphlet form, and have been collected and republished.[91] As literature they are unimportant, but to the curious they may have a sort of interest. @@ -5950,7 +5916,7 @@ but to the curious they may have a sort of interest. APPENDIX. -MINOR IDENTIFICATIONS OF PERSONS AND PLACES IN THE BRONTE WORKS. +MINOR IDENTIFICATIONS OF PERSONS AND PLACES IN THE BRONTË WORKS. "WUTHERING HEIGHTS." @@ -5960,7 +5926,7 @@ originals of Wuthering Heights the abode, and Thrushcross Grange. Similar homesteads are found anywhere near the Yorkshire moors. Architectural peculiarities and appointments are ever accretive properties with the novelist of imagination and latitude. This -observation should be kept in mind also in regard to Charlotte Bronte's +observation should be kept in mind also in regard to Charlotte Brontë's other works. See my remarks on page 57. @@ -5969,7 +5935,7 @@ other works. See my remarks on page 57. The interior of Thornfield Hall, as I mention on page 35, has been identified with that of "Norton Conyers," near Ripon; externally it has been associated with "The Rydings," near Birstall. Ferndean Manor has -been identified with Wycollar Hall, near Colne. A Bronte biographer says +been identified with Wycollar Hall, near Colne. A Brontë biographer says this place was set on fire by a mad woman,[92] but the story finds no mention in _The Annals of Colne_, 1878, or in _Lancashire Legends_, 1873, though "Wyecoller Hall" is dealt with at length in each work. @@ -5981,33 +5947,33 @@ Gomersall and Birstall, near Batley, Yorkshire, contribute to the background of this story. "Field Head" has been identified with Oakwell Hall, an Elizabethan mansion. Evidence shows that intimately the Rectory in _Shirley_ was in the main Haworth Parsonage to Charlotte -Bronte. In _The Dictionary of National Biography_ Leslie Stephen -says:--"Bronte, ... a strong Churchman and a man of imperious and +Brontë. In _The Dictionary of National Biography_ Leslie Stephen +says:--"Brontë, ... a strong Churchman and a man of imperious and passionate character, ... is partly represented by Mr. Helstone in _Shirley_, though a [Rev.] Mr. Roberson ... supplied ... characteristic traits." And Mr. Francis Leyland, who drew much of his information from -Nancy Garrs, a Bronte servant, says that the fourth chapter of +Nancy Garrs, a Brontë servant, says that the fourth chapter of _Shirley_, wherein Charlotte speaks of the grossly untrue reports of Mr. Helstone's dry-eyed mourning, etc., for his wife, is a defence -really of Mr. Bronte. Helstone was a composite character, as also was +really of Mr. Brontë. Helstone was a composite character, as also was Mrs. Pryor, to whom, without doubt, Miss Wooler contributed, though -Charlotte Bronte once had a grave difference with her. Miss Nussey, who +Charlotte Brontë once had a grave difference with her. Miss Nussey, who pathetically and wrongly believed herself Caroline Helstone, proclaimed Miss Wooler, her schoolmistress, as the prototype of Mrs. Pryor. Evidence declares, however, that in many regards this character was also -drawn from Tabitha Aykroyd. And we see that Charlotte Bronte, years +drawn from Tabitha Aykroyd. And we see that Charlotte Brontë, years before, in her _Wuthering Heights_, had given an ecclesiastical name--that of Dean--to her portrayal of the one woman who alone ever took up the part of mother for her--Tabitha Aykroyd. Nevertheless Mrs. Pryor was in the main a composite character, largely at the service of "story" requirements. Sometimes she is Tabitha, sometimes Miss Wooler; elsewhile she is neither. Mr. Macarthey is said to represent the Rev. -Arthur Bell Nicholls, who became Charlotte Bronte's husband. +Arthur Bell Nicholls, who became Charlotte Brontë's husband. The references in _Shirley_, Chapters XII. and XXVII., to Robin Hood's connection with Nunnwood and to the ruins of a nunnery, identify Nunnely in the circumstances, with Hartshead, near Brighouse and Dewsbury; -Nunnely Church with Hartshead Church (Mr. Bronte was once vicar here), +Nunnely Church with Hartshead Church (Mr. Brontë was once vicar here), and the Priory with Kirklees Hall or Priory--Kirklees Park, as we may see by turning to Dr. Whitaker's _Loidis and Elmete_, pages 306-9 (1816), wherein we find mention of Robin Hood and an old Cistercian @@ -6015,7 +5981,7 @@ nunnery in connection with Kirklees, appropriately now the residence of Sir George J. Armytage, Bart., one of the founders of the Harleian Society. Whinbury has been identified with Dewsbury; but I do not know that it has been remarked the name Dewsbury may have suggested to -Charlotte Bronte the dewberry, bramble, or blackberry, thus leading her +Charlotte Brontë the dewberry, bramble, or blackberry, thus leading her to adopt "whinberry" and, finally, Whinbury. The attack on Hollow's Mill is said to have been founded on an attempt in 1812, when an assault was made on the factory of Mr. Cartwright near Dewsbury. @@ -6023,35 +5989,35 @@ made on the factory of Mr. Cartwright near Dewsbury. "THE PROFESSOR" AND "VILLETTE." -_The Professor_, Charlotte Bronte offered to Messrs. Aylott & Jones in +_The Professor_, Charlotte Brontë offered to Messrs. Aylott & Jones in April 1846, was not published till after her death. It is related to _Villette_ in something of the way, though not so verbally and intimately, that _Wuthering Heights_ is to _Jane Eyre_. The early chapters deal vaguely with a West Riding of Yorkshire town, but the -scene quickly changes to Brussels. The Heger _pension_ is recognized as +scene quickly changes to Brussels. The Héger _pension_ is recognized as the original of the schools in both novels, but in _Villette_ the place -Villette occasionally becomes London as Charlotte Bronte knew it on her -visits. Mr. George Smith, the Bronte publisher, and his mother, are -portrayed as the Brettons. Mr. Smith showed Charlotte Bronte the sights +Villette occasionally becomes London as Charlotte Brontë knew it on her +visits. Mr. George Smith, the Brontë publisher, and his mother, are +portrayed as the Brettons. Mr. Smith showed Charlotte Brontë the sights of London: the theatres, picture galleries, churches, etc.; and we have reflected in _Villette_ incidents associated with her seeing these places.[93] The reader will find a phase of Currer Bell in Paulina--Miss -de Bassompierre, and a sympathetic phase of Mr. Bronte in her father, +de Bassompierre, and a sympathetic phase of Mr. Brontë in her father, for after the deaths of Emily, Anne, and Branwell, Charlotte and her father were brought closer to each other. And like Mr. "Home" de Bassompierre, he had "no more daughters and no son."[94] Towards the close of _Villette_ we may find a phase of the Rev. Mr. Nicholls, -Charlotte Bronte's husband, in Dr. John Bretton, my previous remarks +Charlotte Brontë's husband, in Dr. John Bretton, my previous remarks upon whom observe. It was shortly after the completion of _Villette_ Mr. Nicholls proposed successfully, but it would seem by the concluding -chapters Miss Bronte expected this. The picture of the disappointment of +chapters Miss Brontë expected this. The picture of the disappointment of the old father that his popular daughter would marry a plain character -in life suggests to us the disappointment of the Rev. Patrick Bronte in +in life suggests to us the disappointment of the Rev. Patrick Brontë in regard to his daughter's marrying a curate. See Chapter XXXVII. Paulina, of course, is the feminine of Paul; and the original of M. Paul of this work we now well know. See footnote on page 120. -The chronological sequences in Charlotte Bronte's novels are seldom +The chronological sequences in Charlotte Brontë's novels are seldom carefully ordered: this should be remembered in reference to her record of events in her own life. @@ -6061,138 +6027,138 @@ of events in her own life. _Agnes Grey_ contains simple and natural portrayals of governess life in the eighteen-forties; and the following _Wildfell Hall_, we may conjecture, is built from evolved incidents founded on hearsay and -experience. Whether Miss Bronte had assisted Anne or not, it is certain +experience. Whether Miss Brontë had assisted Anne or not, it is certain _Wildfell Hall_ has something in common with Currer Bell's novels. The books connected with the name of Acton Bell, however, are not important as literature in the higher sense of the word; and though a member of -Messrs. Smith & Elder remarked to Miss Bronte upon a similarity in the +Messrs. Smith & Elder remarked to Miss Brontë upon a similarity in the leading male characters of _Wildfell Hall_ to Rochester, interest in it -is merely dependent upon its association with the greater Bronte works, +is merely dependent upon its association with the greater Brontë works, and the book does not call for sedulous inquiry. -THE HEGER PORTRAIT OF CHARLOTTE BRONTE IN THE NATIONAL PORTRAIT GALLERY. +THE HÉGER PORTRAIT OF CHARLOTTE BRONTË IN THE NATIONAL PORTRAIT GALLERY. The Trustees of the National Portrait Gallery, London, purchased in July -1906, a hitherto unheard of portrait of Charlotte Bronte, painted in -water-colours in 1850, and stated to be by M. Heger. A reproduction of +1906, a hitherto unheard of portrait of Charlotte Brontë, painted in +water-colours in 1850, and stated to be by M. Héger. A reproduction of the portrait was given in _The Cornhill Magazine_ for October 1906, Mr. -Reginald J. Smith, K.C., of Messrs. Smith, Elder & Co., the Bronte +Reginald J. Smith, K.C., of Messrs. Smith, Elder & Co., the Brontë publishers, having to do with its discovery. In the early autumn of 1906, Mr. Lionel Cust, M.V.O., Surveyor of the King's Pictures and Works of Art, then Director of the National Portrait Gallery, was busily corresponding with me in regard to this portrait of -Charlotte Bronte, the authenticity of which became sensationally +Charlotte Brontë, the authenticity of which became sensationally attacked. At once I pointed out the importance and significance of the -portrait's being signed "Paul Heger," instead of "Constantin Heger"; and +portrait's being signed "Paul Héger," instead of "Constantin Héger"; and other matters. In March 1907, I appended a footnote[95] to my article, -"The Lifting of the Bronte Veil," in _The Fortnightly Review_, and on +"The Lifting of the Brontë Veil," in _The Fortnightly Review_, and on May 16th, 1907, the literary editor of _The Tribune_, Mr. E. G. Hawke, having placed space at my disposal, I wrote as follows:-- - CHARLOTTE BRONTE. - THE HEGER PORTRAIT. + CHARLOTTE BRONTË. + THE HÉGER PORTRAIT. To the Editor of _The Tribune_. - SIR,--As the water-colour drawing by M. Heger is now a valuable + SIR,--As the water-colour drawing by M. Héger is now a valuable property of the nation, and gives a more intimately faithful and - characteristic likeness of Charlotte Bronte than the Richmond + characteristic likeness of Charlotte Brontë than the Richmond portrait of "Currer Bell," now also hung in the National Portrait Gallery, kindly permit me publicly to present some of the many interesting facts connected with it. The portrait is signed "Paul - Heger, 1850" (the accent is correct), and it represents Miss Bronte + Héger, 1850" (the accent is correct), and it represents Miss Brontë with curls, and reading _Shirley_, on one leaf of which is a heart transfixed with an arrow. The dress that she wears is light green, and on the back of the drawing is inscribed: The Wearin' of the Green; First since Emily's death; that being - the first occasion on which Miss Bronte wore colours after + the first occasion on which Miss Brontë wore colours after the death of her sister. And below: - This drawing is by P. Heger (accent thus), done from life in 1850. + This drawing is by P. Hegér (accent thus), done from life in 1850. The pose was suggested first by a sketch done by her brother Branwell many years previous. The Trustees of the National Portrait Gallery acquired the portrait from a lady whose family obtained it nigh on forty years ago from Mr. Thomas Baylis, a personal friend of Lord Lytton. Mr. Baylis - stated that he himself had acquired the portrait from the Heger - family at Brussels. The children of the Mme. Heger who refused to - see Mrs. Gaskell because of her dislike to Miss Bronte, aver that - M. Heger never drew or painted. The statement, however, is directly + stated that he himself had acquired the portrait from the Héger + family at Brussels. The children of the Mme. Héger who refused to + see Mrs. Gaskell because of her dislike to Miss Brontë, aver that + M. Héger never drew or painted. The statement, however, is directly opposed by indisputable evidence: (1.) The portrait is authentic, and was drawn from life in 1850, and the inscriptions that it bears it is proved could have been - inspired by none other than Charlotte Bronte herself or - M. Heger. + inspired by none other than Charlotte Brontë herself or + M. Héger. (2.) The statement of Mr. Thomas Baylis, a well-connected gentleman. - (3.) Eugene Sue, in his 1851 volume of _Miss Mary ou + (3.) Eugène Sue, in his 1851 volume of _Miss Mary ou l'Institutrice_, gives, with a clouding of mystery, - a lover--Gerard de Morville--drawing a portrait of Miss - Mary "d'apres nature;" and M. Sue's _feuilleton_, as + a lover--Gérard de Morville--drawing a portrait of Miss + Mary "d'après nature;" and M. Sue's _feuilleton_, as I showed in _The Fortnightly Review_ for March, identifies Miss Mary and the de Morvilles as phases of Charlotte - Bronte and the Hegers.[96] + Brontë and the Hégers.[96] - (4.) Miss Bronte, in _Shirley_, herself presents M. Heger--Louis - Gerard Moore--as an artist, and refers to past drawing + (4.) Miss Brontë, in _Shirley_, herself presents M. Héger--Louis + Gérard Moore--as an artist, and refers to past drawing episodes.[97] The authenticity of the inscriptions is not involved in the - question as to whether Charlotte Bronte would use careless + question as to whether Charlotte Brontë would use careless spelling, for, if she had written them, couching them in the third person, it is clear that she had not desired to be known as the writer. Upon the other hand, it is discovered to be utterly - impossible for any one but Charlotte Bronte or M. Heger to have + impossible for any one but Charlotte Brontë or M. Héger to have inspired the inscriptions, whosoever wrote them. SIGNIFICANT PIECES OF EVIDENCE. - I find that M. Heger was Paul to none but Charlotte Bronte in 1850, + I find that M. Héger was Paul to none but Charlotte Brontë in 1850, and that before the publication, two years ago, of _Charlotte - Bronte and Her Sisters_, by Mr. Clement Shorter, who, for reasons - which he should explain, calls M. Constantin Gilles Romain Heger - "M. Paul Heger," [Throughout that writer's correspondence in _The - Times_, etc., and in _Charlotte Bronte and Her Sisters_: beneath - the portrait of M. Heger, facing page 198, and bearing the - inscription:--M. Paul Heger: The Hero of _Villette_ and _The + Brontë and Her Sisters_, by Mr. Clement Shorter, who, for reasons + which he should explain, calls M. Constantin Gilles Romain Héger + "M. Paul Héger," [Throughout that writer's correspondence in _The + Times_, etc., and in _Charlotte Brontë and Her Sisters_: beneath + the portrait of M. Héger, facing page 198, and bearing the + inscription:--M. Paul Héger: The Hero of _Villette_ and _The Professor_; and on page 161 of that work] no reference in print had - been made to M. Heger but as Constantin. The Hegers state that M. - Heger was not called Paul, and that Dr. Paul Heger, his son, was + been made to M. Héger but as Constantin. The Hégers state that M. + Héger was not called Paul, and that Dr. Paul Héger, his son, was the first member of the family named Paul. A native of Haworth[98] who lived from 1830 till after the death - of Charlotte Bronte in 1855, "within twenty yards of the Haworth - Parsonage," her home, has pronounced the Heger portrait of Miss - Bronte to be a correct likeness and "just like her." He says that + of Charlotte Brontë in 1855, "within twenty yards of the Haworth + Parsonage," her home, has pronounced the Héger portrait of Miss + Brontë to be a correct likeness and "just like her." He says that it reminds him of her as he knew her and as she was in her younger days, and he pointed out to me particularly that he had seen her - with her hair as in the Heger likeness, "scores of times before she + with her hair as in the Héger likeness, "scores of times before she went away"--this giving the clue to the reference in the inscription to a pose in a portrait by Branwell "many years previous" to 1850; and I have seen a reproduction of a sketch by - Branwell wherein the Bronte sisters have curls. Moreover, I find - that Miss Bronte really liked curls and disliked the other styles, + Branwell wherein the Brontë sisters have curls. Moreover, I find + that Miss Brontë really liked curls and disliked the other styles, though she conformed to the fashion. - I also find that the paper on which the Heger portrait of Miss - Bronte was drawn was that used in 1850 by the house where she was a + I also find that the paper on which the Héger portrait of Miss + Brontë was drawn was that used in 1850 by the house where she was a guest in London in the early June of 1850, at the very time to within a day when, as there is indisputable evidence--despite assertions that she "never under any circumstances during the later - period of her life wore a green dress"--Charlotte Bronte was + period of her life wore a green dress"--Charlotte Brontë was wearing a light green dress. That was "the first occasion on which - Miss Bronte wore colours," as the inscription tells us, and fact + Miss Brontë wore colours," as the inscription tells us, and fact substantiates, after she had concluded the remarkably long mourning period for her sisters, which began with "the death of Emily" and did not end till twelve months after the death of Anne, who died on @@ -6202,19 +6168,19 @@ having placed space at my disposal, I wrote as follows:-- Scarr Hill, Eccleshill, Bradford, May 16th, 1907. The publication of this letter ended the controversy.[99] Since it was -published Mrs. Gaskell's daughters, who well knew Miss Bronte, have -declared themselves fully satisfied as to the authenticity of the Heger -portrait of Charlotte Bronte and the faithfulness of the likeness. The +published Mrs. Gaskell's daughters, who well knew Miss Brontë, have +declared themselves fully satisfied as to the authenticity of the Héger +portrait of Charlotte Brontë and the faithfulness of the likeness. The testimony of Lady Ritchie, Thackeray's daughter, also supports this portrait. See my further references to my correspondence with her ladyship herewith. As regards the green dress, apart from the indisputable external evidence I referred to in the printed letter, I -believe Charlotte Bronte speaks of it in _Villette_, though therein it +believe Charlotte Brontë speaks of it in _Villette_, though therein it is for obfuscation's sake (necessary indeed, since _Villette_ was published only a short time after her London visit) made "pink" and "flounceless." In Chapter XXVIII. we find M. Paul saying--and it is interesting thus to have connected with the green dress a character -whose prototype was M. Heger--that: +whose prototype was M. Héger--that: "Pink or scarlet, yellow or crimson, _pea-green_ or sky-blue, [the dress] was all one."[100] @@ -6224,7 +6190,7 @@ _Villette_ we undoubtedly have a real glimpse of incidents connected with the wearing of the green dress; and it should be remembered that Mrs. Bretton and Dr. John Graham Bretton in this chapter represent Mrs. Smith, and her son Mr. George Smith, the publisher, whose guest -Charlotte Bronte was in 1850, when she first wore the green dress:-- +Charlotte Brontë was in 1850, when she first wore the green dress:-- One morning, Mrs. Bretton ... desired me to ... show her my dresses; which I did, without a word. @@ -6251,17 +6217,17 @@ doorway looking at her, she tells us her uneasy aspiration was:-- "I _do_ hope he will not think I have been decking myself out to draw attention." -Clearly Charlotte Bronte wished posterity to learn how it came about she +Clearly Charlotte Brontë wished posterity to learn how it came about she was garbed in "light fabric and bright tint," because the green dress was a page in her life's history. In a green dress she sat down to dine, as Mr. Thackeray's daughter, Lady Ritchie has written me she well -remembers, when Charlotte Bronte dined at Thackeray's house on June 12, +remembers, when Charlotte Brontë dined at Thackeray's house on June 12, 1850--not the event of the distinguished party, when Carlyle, Miss Perry, Mrs. Procter, and others were present, though Lady Ritchie had once confounded the two in writing upon the subject[101]. Mr. Thackeray's daughter was a young girl at the time to which she referred, -but she has made clear to me she saw Miss Bronte three times; that the -chief occasion was when Charlotte Bronte wore the light green dress. +but she has made clear to me she saw Miss Brontë three times; that the +chief occasion was when Charlotte Brontë wore the light green dress. This, to quote her ladyship's words to me, was "not Mrs. Brookfield's party, when neither my sister and I nor our governess dined--though we came down in the evening. The second occasion was just casually at my @@ -6269,10 +6235,10 @@ father's lecture-room, when she did not speak to me, and the third, finally, at the Brookfield evening party, which seems to have been such a solemn affair[102]." -These facts fix the wearing of the light green dress by Miss Bronte as +These facts fix the wearing of the light green dress by Miss Brontë as June 12, 1850. Lady Ritchie tells me that "It was at an early family -dinner by daylight with Charlotte Bronte, my father, Mr. George Smith, -my sister and our governess, that I remember sitting next Miss Bronte at +dinner by daylight with Charlotte Brontë, my father, Mr. George Smith, +my sister and our governess, that I remember sitting next Miss Brontë at dinner and gazing at her _sleeve_ and mittens. Her dress was of some texture like one I had had myself, which I suppose impressed it upon me, and it had a little moss or coral pattern in green on a white ground. I @@ -6280,20 +6246,20 @@ only remember the sleeve, the straight look, and the smooth Victorian bandeaux of hair. I am sure she was _differently_ dressed at the Brookfield evening party." -On June 12, 1850, Charlotte Bronte wrote to her friend, Miss Nussey, +On June 12, 1850, Charlotte Brontë wrote to her friend, Miss Nussey, from the Smiths' in London, saying:-- Thackeray made a call.... If all be well, I am to dine at his house this evening.[103] -And this was when Miss Bronte sat in a light green dress at the +And this was when Miss Brontë sat in a light green dress at the Thackeray dinner-table. -The Richmond portrait of Charlotte Bronte being now also in the National +The Richmond portrait of Charlotte Brontë being now also in the National Portrait Gallery, I may remark that Mrs. Gaskell herself says of this portrait:--"Those best acquainted with the original were least satisfied -with the resemblance.... Mr. Bronte thought ... it looked good and -lifelike." Charlotte Bronte herself said her father thought the portrait +with the resemblance.... Mr. Brontë thought ... it looked good and +lifelike." Charlotte Brontë herself said her father thought the portrait looked older than she. In view of the new interest now attaching to Tabitha Aykroyd and Charlotte, it is instructive to find the latter telling us Tabitha "maintains that it is not like," and also, that @@ -6303,11 +6269,11 @@ servant in a sentence that pathetically recalls Mrs. Dean and Bessie of recollections of me as I was in childhood, with present impressions."[104] We discover, therefore, that in the main there was really dissatisfaction at the "old looking" presentation, and we see -Charlotte Bronte from the beginning must have wished she had had her +Charlotte Brontë from the beginning must have wished she had had her hair arrangement in that portrait as was common to her at home and in her younger days. Hence do we get a further insight into the origin of the different pose in the more characteristic and intimately faithful -Heger portrait of Charlotte Bronte. +Héger portrait of Charlotte Brontë. @@ -6319,14 +6285,14 @@ INTRODUCTION TO THE SPECIAL KEY INDEX. I stated in a letter to _The Academy_, August 1st, 1908, that "were it possible by application of a cipher code to discover the words 'Emily -Bronte' in every sentence of _Wuthering Heights_, I could not even then -say any one wrote the book but Charlotte Bronte." If people write before +Brontë' in every sentence of _Wuthering Heights_, I could not even then +say any one wrote the book but Charlotte Brontë." If people write before they think, then importance can be attached to clerical testimony and external associations to the disadvantage of internal and literal evidence. But inspiration, thought, and fact denote in questions of authorship, and therefore that is author of a work whose thoughts and words are expressed and inmost life revealed therein. _Wuthering -Heights_, we now see, is Charlotte Bronte, and it matters not what +Heights_, we now see, is Charlotte Brontë, and it matters not what amanuensis dealt with the relation--what sequence of complications resulted from her first day of handing over the work to her sister, and of conspiring to conceal her authorship. @@ -6341,21 +6307,21 @@ authors. And how indignant we would have been--nay, alarmed, had there been a "Newby arrangement," at some daring critic, like Lady Eastlake and Sydney Dobell, imputing they were the work of one mind! Would we not have appealed to clerical testimony? With a more practised hand -Charlotte Bronte in her days of fame corrected and edited _Wuthering +Charlotte Brontë in her days of fame corrected and edited _Wuthering Heights_. Emily was dead. Well might Charlotte say the labour left her "prostrate and entombed." What memories had it recalled!--what a history! It is obvious to all who consider carefully the letter -Charlotte Bronte penned Wordsworth, to which I refer in the footnote on -page 17 of _The Key to the Bronte Works_, that she wrote her books -rapidly; and a review of the fact that the Bronte school project was +Charlotte Brontë penned Wordsworth, to which I refer in the footnote on +page 17 of _The Key to the Brontë Works_, that she wrote her books +rapidly; and a review of the fact that the Brontë school project was renounced in favour of literary projects suggests Currer Bell in 1845-46 revealed to her sisters the advantages of having a bottom drawer. Let any reader use what I have termed the Key Index to the works of -Charlotte Bronte, and it will be perceived quite easily that _Wuthering +Charlotte Brontë, and it will be perceived quite easily that _Wuthering Heights_ is irrefutably at one with Currer Bell and all her other -books--that the works of Charlotte Bronte are all related to each other, -to Charlotte Bronte, and to the facts and people of her life as seen and -known by herself. The reader of a given Bronte work will glance down the +books--that the works of Charlotte Brontë are all related to each other, +to Charlotte Brontë, and to the facts and people of her life as seen and +known by herself. The reader of a given Brontë work will glance down the list in the Key Index under the heading of the particular book in hand to find these very important and intensely interesting connections, now first shown to exist:-- @@ -6365,36 +6331,36 @@ first shown to exist:-- THE KEY INDEX -TO THE LIFE AND WORKS OF CHARLOTTE BRONTE. +TO THE LIFE AND WORKS OF CHARLOTTE BRONTË. WUTHERING HEIGHTS. - Its relation to Charlotte Bronte's life, vii.-xi.[105], 16-19, 32-3, + Its relation to Charlotte Brontë's life, vii.-xi.[105], 16-19, 32-3, 37-53, 55-7, 69, 78-9, 83, 85-103, 106, 108-112, 114-8, 120-1, 126-9, 130-155, 156-8, 160-1, 168 - In relation to Branwell Bronte, x., 18, 37-40, 52-3, 78-9, 93-5, 139 + In relation to Branwell Brontë, x., 18, 37-40, 52-3, 78-9, 93-5, 139 ---- Tabby Aykroyd, x., 38, 40-1, 43-53, 77, 94-5, 147-8, 160, 168 - ---- M. Heger, viii., xi., 16, 17, 34, 56, 87, 89, 91-3, 96-103, 106, + ---- M. Héger, viii., xi., 16, 17, 34, 56, 87, 89, 91-3, 96-103, 106, 111, 120-1, 128-9, 134-154, 157 - ---- Madame Heger, 106-7, 117 + ---- Madame Héger, 106-7, 117 ---- Taylor of Hunsworth, 83-9 - ---- Rev. Patrick Bronte, 49, 147; + ---- Rev. Patrick Brontë, 49, 147; the younger Cathy's father, 161 - ---- Maria Bronte, 37 + ---- Maria Brontë, 37 - ---- Emily Bronte, viii., 17, 18, 40, 138, 146, 153, 156, 169 + ---- Emily Brontë, viii., 17, 18, 40, 138, 146, 153, 156, 169 ---- M. Sue, ix., 103-4, 106-112, 114, 121, 128, 132-142 - ---- Charlotte Bronte's _Poems_, 56, 97, 128, 132-7, 139, 140-5, + ---- Charlotte Brontë's _Poems_, 56, 97, 128, 132-7, 139, 140-5, 150-1, 157-8 ---- Montagu, x., 17, 20-35, 55, 57-68, 71, 141-5 @@ -6411,7 +6377,7 @@ WUTHERING HEIGHTS. ---- _Villette_, ix., 92, 96-7, 103, 111, 121, 128-9, 136-8, 143-5, 148-154, 161 - ---- Charlotte Bronte's Method I., viii.-x., 23-4, 25-31, 38, 40, 47, + ---- Charlotte Brontë's Method I., viii.-x., 23-4, 25-31, 38, 40, 47, 97-103 ---- ---- Method II., viii., 25-31, 38-9, 48-51, 53, 55 @@ -6419,29 +6385,29 @@ WUTHERING HEIGHTS. JANE EYRE. - Its relation to Charlotte Bronte's life, vii., viii., x.,[105] 15, 18, + Its relation to Charlotte Brontë's life, vii., viii., x.,[105] 15, 18, 21-2, 30, 37-56, 69-119, 121-154, 157, 168 - In relation to Branwell Bronte, x., xi., 18, 37-40, 52-3, 78-9, 93-5, + In relation to Branwell Brontë, x., xi., 18, 37-40, 52-3, 78-9, 93-5, 106, 139 ---- Tabby Aykroyd, x., 40, 43-53, 77-8, 94-5, 105, 128, 168 - ---- M. Heger, x., 14, 82-9, 92-3, 96-107, 111, 120, 126-9, 136-146, + ---- M. Héger, x., 14, 82-9, 92-3, 96-107, 111, 120, 126-9, 136-146, 148-154 - ---- Madame Heger, 106-7, 112, 117 + ---- Madame Héger, 106-7, 112, 117 ---- Taylor of Hunsworth, 83-9 - ---- Rev. Patrick Bronte, xi., 70-2, 74-7, 81-2, 128, 136 + ---- Rev. Patrick Brontë, xi., 70-2, 74-7, 81-2, 128, 136 - ---- Maria Bronte, xi., 24, 70-1, 80-1, 106, 108-110 + ---- Maria Brontë, xi., 24, 70-1, 80-1, 106, 108-110 - ---- Anne Bronte, xi., 70-4, 77-8, 81-2; - Elizabeth Bronte, xi., 72, 81, 106-7 + ---- Anne Brontë, xi., 70-4, 77-8, 81-2; + Elizabeth Brontë, xi., 72, 81, 106-7 - ---- Emily Bronte, xi., 70-4, 78, 81 + ---- Emily Brontë, xi., 70-4, 78, 81 ---- Aunt Branwell, xi., 70-3, 77-81 @@ -6449,7 +6415,7 @@ JANE EYRE. ---- M. Sue, ix., x., 82-3, 103-121, 126-9, 135 - ---- Charlotte Bronte's _Poems_, 97, 128, 135-8, 140-5, 150-1, 157-8 + ---- Charlotte Brontë's _Poems_, 97, 128, 135-8, 140-5, 150-1, 157-8 ---- Montagu, x., 20-36, 60-8, 71-2, 140-5 @@ -6461,32 +6427,32 @@ JANE EYRE. ---- _Villette_, 42, 86, 89, 92, 103, 118-9, 126, 128-9, 132-154 - ---- Charlotte Bronte's Method I., x., 23-4, 25-31, 97-103, 105 + ---- Charlotte Brontë's Method I., x., 23-4, 25-31, 97-103, 105 ---- ---- Method II., 25-31, 45, 48-51, 72, 74 SHIRLEY. - Its relation to Charlotte Bronte's life, vii., ix., 41, 43, 69, 75, + Its relation to Charlotte Brontë's life, vii., ix., 41, 43, 69, 75, 81, 83-4, 87-9, 120, 136, 146-153, 156-7, 159, 160, 163 In relation to Tabby Aykroyd, 43, 160 - ---- M. Heger, ix., 69, 81, 83-4, 120, 136, 146-153, 163 + ---- M. Héger, ix., 69, 81, 83-4, 120, 136, 146-153, 163 ---- Taylor of Hunsworth, 83-9; Martha and Mary, 83-4 - ---- Rev. Patrick Bronte, 41, 75, 159-161; - Mrs. Bronte, 41, 159-161; - Emily Bronte, 69, 81, 156-7 + ---- Rev. Patrick Brontë, 41, 75, 159-161; + Mrs. Brontë, 41, 159-161; + Emily Brontë, 69, 81, 156-7 ---- Rev. A. B. Nicholls, 160; M. Sue, 163; Miss Wooler, 160 - ---- Charlotte Bronte's _Poems_, 136 + ---- Charlotte Brontë's _Poems_, 136 ---- _Wuthering Heights._ See Key Index for that work @@ -6499,42 +6465,42 @@ SHIRLEY. THE PROFESSOR. - Its relation to Charlotte Bronte's life, vii., ix., 16, 18, 53-5, 63, + Its relation to Charlotte Brontë's life, vii., ix., 16, 18, 53-5, 63, 71, 79, 83-9, 111, 120-9, 138-9, 145, 150-2, 160 - In relation to M. Heger, ix., 16, 63, 83-9, 111, 120-9, 138-9, 145, + In relation to M. Héger, ix., 16, 63, 83-9, 111, 120-9, 138-9, 145, 150-2, 160, 164 - ---- Madame Heger, 16, 111, 122-8, 131-3 + ---- Madame Héger, 16, 111, 122-8, 131-3 ---- Taylor of Hunsworth, 83-9 ---- M. Sue, ix., 63, 84, 104, 107, 111, 120-9 - ---- Branwell Bronte, 79 + ---- Branwell Brontë, 79 ---- Montagu, 63, 71 - ---- Charlotte Bronte's _Poems_, 63, 71, 128, 139, 151, 158 + ---- Charlotte Brontë's _Poems_, 63, 71, 128, 139, 151, 158 ---- _Wuthering Heights_, _Jane Eyre_, and _Shirley_. See Key Index for those works ---- _Villette_, ix., 86, 107, 111, 126-9, 139, 144-5, 149-151, 160 - ---- Charlotte Bronte's Method I., ix., 121, 127-8, 131 + ---- Charlotte Brontë's Method I., ix., 121, 127-8, 131 VILLETTE. - Its relation to Charlotte Bronte's life, vii., ix., 41, 47, 86, 89, + Its relation to Charlotte Brontë's life, vii., ix., 41, 47, 86, 89, 92, 97, 103, 107, 111, 118, 126, 128-9, 132-7, 140, 144-5, 148-154, 160-1, 166-7 - In relation to M. Heger, ix., 70, 86, 89, 92, 97, 103, 111, 118, 126, + In relation to M. Héger, ix., 70, 86, 89, 92, 97, 103, 111, 118, 126, 128-9, 132-40, 145, 150-4, 166 - ---- Madame Heger, 106, 118, 133 + ---- Madame Héger, 106, 118, 133 ---- Taylor of Hunsworth, 89 @@ -6546,21 +6512,21 @@ VILLETTE. ---- Thackeray, 70, 165-8 - ---- Rev. Patrick Bronte, 77, 136, 161 + ---- Rev. Patrick Brontë, 77, 136, 161 ---- Rev. A. B. Nicholls, 69, 86, 161 - ---- Charlotte Bronte's _Poems_, 128, 132-7, 140-5, 149-152 + ---- Charlotte Brontë's _Poems_, 128, 132-7, 140-5, 149-152 ---- _Wuthering Heights_, _Jane Eyre_, _Shirley_, and _The Professor_. See Key Index for those works -END OF THE KEY INDEX TO CHARLOTTE BRONTE'S WORKS. +END OF THE KEY INDEX TO CHARLOTTE BRONTË'S WORKS. WUTHERING HEIGHTS. - Bronte, Charlotte, her life:--37-53, 93-103, 138-9, 153, 169; + Brontë, Charlotte, her life:--37-53, 93-103, 138-9, 153, 169; _Frances_ and Catherine, 133-4; throughout the work of, 18, 40; drawn by her from Montagu, 22-36, 57-68, 141-2; @@ -6569,7 +6535,7 @@ WUTHERING HEIGHTS. as the younger Catherine, viii., 46, 161; as the two Cathys, 16, 17, 34, 106-118, 161; Authoritative evidence of her Methods I. and II.:--viii., 25-6, - 98-103, and of Key Index to the Bronte Works, 169, 170; + 98-103, and of Key Index to the Brontë Works, 169, 170; gives it Emily, 17, 18, 169; offers it publishers, 17; story of a sad Night, 17; @@ -6590,24 +6556,24 @@ WUTHERING HEIGHTS. her mood in writing, 150-3; fears publisher, 18-9, 153, 169 - Bronte, Emily, + Brontë, Emily, unimportance of her corrected copy of, and implication, 17, 169, 170; purporting to be by, 18, 138, 153, 169; _Wuthering Heights_, no internal evidence of, viii., 169, 170 - Bronte, Branwell, and authorship of, 40; + Brontë, Branwell, and authorship of, 40; as Hindley, 18, 37-40, 52-3, 69; carving knife incident, 39 - Bronte, Rev. Patrick, as Mr. Linton, 49, 147, 161 + Brontë, Rev. Patrick, as Mr. Linton, 49, 147, 161 Aykroyd, Tabitha, as Mrs. Dean, 43-51, 59, 69, 72, 78, 81, 160, 168; her old songs, 46-7; her fairy tales, 44-5; as Joseph, 38, 40, 47-8 - Heger, M., in, 16, 17, 34. Also, see Key Index for foregoing names + Héger, M., in, 16, 17, 34. Also, see Key Index for foregoing names Earnshaw, Catherine, and Heathcliffe, as Jane and Rochester, 93-103, 139 @@ -6621,7 +6587,7 @@ WUTHERING HEIGHTS. origin of name, 22, 142 Hareton, origin of name, 22-3, 60, 64, 66; - and M. Heger, viii.-x., 120-1 + and M. Héger, viii.-x., 120-1 Joseph, original of, 23; as Poole of _Jane Eyre_ and Montagu's uncouth servant, 23-8, 30-1 @@ -6666,7 +6632,7 @@ WUTHERING HEIGHTS. JANE EYRE. - Bronte, Charlotte, + Brontë, Charlotte, her life, 37-53, 69-103, 106-119, 123-155, 168, 169-170; her second work based on Montagu, 23-36, 60-6, 68-72, 140-2; Rivers family, 23, 69-82; @@ -6676,7 +6642,7 @@ JANE EYRE. and M. Sue, 108-110. "Rivers," origin of suggestion, 23, 71-2, 141-2, Diana and Mary, 70-8, 81-2, - St. John as Mr. Bronte, 70-8, 81-2, + St. John as Mr. Brontë, 70-8, 81-2, as Charlotte's Brussels priest, 77, 132, 136-7, not Rev. Mr. Nussey, 77; Hannah, and Bessie (Tabitha Aykroyd), 40, 43-53, 69-73, 78, 81, @@ -6717,9 +6683,9 @@ JANE EYRE. "Rydings," "Norton Conyers," and "Thornfield," 35, 159; Wycollar Hall, 159 - ---- Rochester (see Key Index for M. Heger and the Taylors), x., 14, + ---- Rochester (see Key Index for M. Héger and the Taylors), x., 14, 145, and _Wildfell Hall_, 161; - _Jane Eyre_ the surpassing of all Bronte biographies, 82; + _Jane Eyre_ the surpassing of all Brontë biographies, 82; "Key to _Jane Eyre_" The, xi., 20, 68, 153 Malham or Gimmerton, background of _Jane Eyre_, 22-3, 58-68; @@ -6742,18 +6708,18 @@ JANE EYRE. SHIRLEY. - Bronte, Charlotte, + Brontë, Charlotte, as Shirley Keeldar, 81, 120; as Caroline Helstone (and Catherine Earnshaw), 41, 146-8, 152; her home the Rectory, 159; childhood reading, 41-2; Keeldar, name, 23; - Shirley as Emily Bronte, 69, 156-7. + Shirley as Emily Brontë, 69, 156-7. Helstone, Mr., 86; original of, 75, 159-161; name, 41; and Rev. H. Roberson, 86, 159-160. - Heger, M., and the Moores, 89, 146-8; + Héger, M., and the Moores, 89, 146-8; Louis, 163; Robert, 152. Cartwright, Mr., 89, 160. @@ -6782,18 +6748,18 @@ SHIRLEY. THE PROFESSOR. - Bronte, Charlotte, as Henri Frances Evans, 71, 122; + Brontë, Charlotte, as Henri Frances Evans, 71, 122; as Crimsworth, ix., 127-8; Fairy Janet, 63, 71; wailing child apparition, 53-5; Lucia, 86, 151 - Heger, M., as Crimsworth, 63, 127, 138; + Héger, M., as Crimsworth, 63, 127, 138; Hunsden, 83-9, 151; origin of name, 84; Pelet, 16, 84, 139, 145 - Heger, Madame, as Mdlle. Reuter, 111, 122 + Héger, Madame, as Mdlle. Reuter, 111, 122 Offered to publishers, 17; published, 160 @@ -6801,24 +6767,24 @@ THE PROFESSOR. VILLETTE. - Bronte, Charlotte, as Lucy Snowe, 86, 131, 144, 120, 148-152; + Brontë, Charlotte, as Lucy Snowe, 86, 131, 144, 120, 148-152; origin of name, 22, 56, 149, 151; childhood reading, 41; and Father Confessor, 77, 132, 136-7; as Paulina, 47, 120, and Cathy Linton, 161; - Paulina and Mr. Home--Charlotte and Rev. Patrick Bronte, 161; + Paulina and Mr. Home--Charlotte and Rev. Patrick Brontë, 161; final words in, 129 Bretton, Dr. John, Paulina's lover, 69, 161; as Mr. George Smith and Rev. A. B. Nicholls, 69, 86, 145, 160-1. Mrs. Bretton, 166 - Heger, M., as Paul Emanuel, 42, 96-7, 126, 131, 145; + Héger, M., as Paul Emanuel, 42, 96-7, 126, 131, 145; his harshness, 85-6; and Thackeray, 70 - Heger, Madame, as Madame Beck, 118, 133 + Héger, Madame, as Madame Beck, 118, 133 Ritchie, Lady, and green dress, xi., 165-8 @@ -6839,19 +6805,19 @@ GENERAL INDEX. Armytage, Bart., Sir Geo. J., 160 - Aykroyd, Tabby. See Bronte servants + Aykroyd, Tabby. See Brontë servants - Branwell, Maria, of Penzance, marries Patrick Bronte, 75; + Branwell, Maria, of Penzance, marries Patrick Brontë, 75; death of, 14, 159-161 - ---- Aunt (Elizabeth), and the Hegers, 113-4; - Branwell Bronte her favourite, 37, 78-9; + ---- Aunt (Elizabeth), and the Hégers, 113-4; + Branwell Brontë her favourite, 37, 78-9; in mourning for, 72-3 ---- Cousin Eliza, 68, 80 - Bronte, Annie or Anne (Acton Bell), + Brontë, Annie or Anne (Acton Bell), as understudy to Charlotte, 17, 169; _Gondal Chronicles_, 17; _Agnes Grey_ and _Wildfell Hall_, 17, 161; @@ -6879,17 +6845,17 @@ GENERAL INDEX. schools, 14, 16, 18, 21-2, 81, 104, 106-117 --Clergy Daughters' School, 18, 21-2, 81, 106-117, Roe Head, 14, 16, 83, - Heger _pension_, 16, 18, 72, 104; + Héger _pension_, 16, 18, 72, 104; drawings, 82; her life from childhood to womanhood, 93-103; no psychical reciprocity with friends, 14; Wordsworth and her facility in writing novels, 17, 169; - at Brussels (the Hegers), + at Brussels (the Hégers), teacher and pupil, viii.-x., 63, 82, 120-2, 131, 138, dejection at, 120-1, 124; - M. Heger, viii.-xi., 14-17, 93, 96-107, 111-2, 120-154, 162-8, + M. Héger, viii.-xi., 14-17, 93, 96-107, 111-2, 120-154, 162-8, and her literary secrets, 104, 162; - Madame Heger, 16, 104-7, 111-2, 117-9, 122-7, 133, + Madame Héger, 16, 104-7, 111-2, 117-9, 122-7, 133, forbids corresponding, 16; Charlotte as Mdlle., 105, as M. Sue's Mdlle. Lagrange and Miss Mary, ix., 82, 103-132, 163; @@ -6898,7 +6864,7 @@ GENERAL INDEX. departure from Brussels, 16, 127; flight from temptation, 105, 141-2, 122-9, 151-2; the fiery ordeal, 154; - parting with the Hegers, 122-132; + parting with the Hégers, 122-132; origin of her works, vii., 15, 20-36, 138; Montagu, see Key Index for _Wuthering Heights_ and _Jane Eyre_; _Alembert_, 64-5; @@ -6920,9 +6886,9 @@ GENERAL INDEX. Her hypochondria, 16, 87-8; "Puir Mary Lee," 45, 149, 150; the storm, 16, 17, 130-154, 157-8; - vindictiveness against M. Heger, 16, 17, 143-6, 152; + vindictiveness against M. Héger, 16, 17, 143-6, 152; Ghoul and Satyr notion, 140-6; - Heger and her heroes (see also the Taylors, 83-9), 83-92; + Héger and her heroes (see also the Taylors, 83-9), 83-92; heaven undesired by lover, 97, 133-4, 139; elective affinities, cloven tree, and "twin-soul," 96-7, 147-8; supernatural "way" to "twin-soul" lover (and the haunted wind), @@ -6934,14 +6900,14 @@ GENERAL INDEX. name selection method, 22, 68; chronological sequences in her works, 161; character of her correspondence, 14, 15; - Heger portrait of, in National Portrait Gallery, xi., 162-8; + Héger portrait of, in National Portrait Gallery, xi., 162-8; Richmond Portrait in N.P.G., 168; _Wuthering Heights_ complications (conspires to accredit and sustain Emily as author), 17, 146, 169; her fear of Mr. Newby, 19, 153, 169; limitations of Mrs. Gaskell's _Life_, 15 --disappointment of, 104; - last survivor of the young Brontes, 19, 161; + last survivor of the young Brontës, 19, 161; Introduction to her sisters' poems, 156-7; Miss Austen, 15; Rev. A. B. Nicholls, marriage with, 19, 96-7, 161 @@ -6959,7 +6925,7 @@ GENERAL INDEX. ---- Elizabeth, 18, 71-2, 106-7 ---- Emily (Ellis Bell), as understudy to Charlotte, 17, 169; - conspires with her to sustain role of author of _Wuthering Heights_, + conspires with her to sustain rôle of author of _Wuthering Heights_, 17, 138, 146, 169; no internal evidence of her in _Wuthering Heights_, viii.; her life contrasted with Charlotte's, 17, 18, 156-7; @@ -7005,7 +6971,7 @@ GENERAL INDEX. ---- servants: Aykroyd Tabitha, x.; as Nelly Dean and Bessie, 43-53, 168; - does not understand Charlotte Bronte, 43, 45-6; + does not understand Charlotte Brontë, 43, 45-6; and old songs, 45-7; also, 72, 77-8, 147-8, 160, 168; her homily, 40; @@ -7014,7 +6980,7 @@ GENERAL INDEX. Also see Key Index for _Wuthering Heights_, _Jane Eyre_, and _Shirley_. Brown, Martha, 47, 96, 161; - Brown, Tabitha (Mrs. Ratcliffe), and Charlotte Bronte's married + Brown, Tabitha (Mrs. Ratcliffe), and Charlotte Brontë's married life, 96; Garrs, Nancy, and sister, 47, 159 @@ -7042,7 +7008,7 @@ GENERAL INDEX. Dobell, Sydney, 153-4, 169 - Dyson, Greenwood, and Charlotte Bronte, 164 + Dyson, Greenwood, and Charlotte Brontë, 164 Elf, of Craven, The, 60, 141-2 @@ -7053,8 +7019,8 @@ GENERAL INDEX. Fairy Cave, The, and Fairy Janet: see Malham - Gaskell, Mrs., and M. Heger, 15, 96, 104; - Madame Heger, 163; + Gaskell, Mrs., and M. Héger, 15, 96, 104; + Madame Héger, 163; West Indian girl mystery, 108 ---- Misses, 165 @@ -7066,24 +7032,24 @@ GENERAL INDEX. Church, 13, 19, 164; Parsonage, 69, 72-82, 159, 161, 164 - Heger, M., as Charlotte Bronte's pupil, viii.-x., 120, 122; + Héger, M., as Charlotte Brontë's pupil, viii.-x., 120, 122; original of her chief heroes, 14, 16-17, 83-6, 89-93, 96-7, etc.; not secretive, 111, 162; and Roman Catholic Church, 16, 132, 138; a great and religious personality, 121, 124, 126-9, 132-3, 137-8, 154, 166; - Charlotte Bronte's harsh portrayals of, 143-6; + Charlotte Brontë's harsh portrayals of, 143-6; facial metamorphoses, 85; the bitterness of his life, 128-9, 130-2; "Paul," 162-6; as M. de Morville, 82, 104-6, 120-9, 132, 163. - See Key Index for M. Heger + See Key Index for M. Héger ---- Madame, 16; her jealousy, 104, 112, 117-8, 122-3, 121-2; appearance of, 106; as Madame de Morville, 106-133. - See Key Index for Madame Heger + See Key Index for Madame Héger Hawke, E. G., 163 @@ -7133,24 +7099,24 @@ GENERAL INDEX. Montagu, Frederic, his _Gleanings in Craven_ provides the Malham background, and the plots of _Wuthering Heights_ and _Jane - Eyre_, and Charlotte Bronte's _nom de guerre_, Currer Bell, + Eyre_, and Charlotte Brontë's _nom de guerre_, Currer Bell, 20-36, 57-68, 141-2, 145. See Montagu in the Key Index for those works Montagu, John, fourth Earl of Sandwich, 20 - Morville de, M., Alphonsine, and Gerard, see M. Heger; - Madame, see Madame Heger + Morville de, M., Alphonsine, and Gérard, see M. Héger; + Madame, see Madame Héger National Portrait Gallery, - and Heger Portrait of Charlotte Bronte, xi., 162-8; + and Héger Portrait of Charlotte Brontë, xi., 162-8; Thomas Baylis, 163; and Richmond portrait, 168 Newby, Thomas, 19, 153, 169 - Nicholls, Rev. A. B., see Charlotte Bronte; + Nicholls, Rev. A. B., see Charlotte Brontë; also Key Index for _Villette_ Nussey, Ellen or Nelly, 14, 45, 71, 77, 160, 168; @@ -7175,8 +7141,8 @@ GENERAL INDEX. Reginald John, K.C., 162; Smith Elder & Co., 161-2, 168 - Sue, Eugene, ix., 16, 103-129. - See Key Index to the Bronte works. + Sue, Eugène, ix., 16, 103-129. + See Key Index to the Brontë works. Taylor family of Hunsworth, 83-9 (see Key Index); @@ -7205,47 +7171,47 @@ GENERAL INDEX. WORKS. - _Key to the Bronte Works_, John Malham-Dembleby:-- + _Key to the Brontë Works_, John Malham-Dembleby:-- Its place and importance, vii.-xii., 15, 17-19, 25, 58, 64, 80-2, 104, 108, 146, 154. Importance of its Key Index, 169-171 - _Life of Charlotte Bronte_, Mrs. Gaskell, 15, 22, 43-4, 52, 72, 83, + _Life of Charlotte Brontë_, Mrs. Gaskell, 15, 22, 43-4, 52, 72, 83, 118, 123, 149, 161, 168; cause of its sombreness, 82; disappointment, and limitations, of, 15, 104; - and Branwell Bronte, 121. + and Branwell Brontë, 121. Haworth Edition, 14, 17, 85, 121 - _Life of Charlotte Bronte_, Augustine Birrell, 75 + _Life of Charlotte Brontë_, Augustine Birrell, 75 - _Brontes: Life and Letters_, Clement K. Shorter, 14, 73, 80, 87 + _Brontës: Life and Letters_, Clement K. Shorter, 14, 73, 80, 87 - _Charlotte Bronte and Her Circle_, Clement K. Shorter, 17, 135 + _Charlotte Brontë and Her Circle_, Clement K. Shorter, 17, 135 - _Charlotte Bronte and Her Sisters_, Clement K. Shorter, viii., 22, 77, + _Charlotte Brontë and Her Sisters_, Clement K. Shorter, viii., 22, 77, 147, 159, 164 - _Bronte Country_, Dr. Erskine Stuart, 35 + _Brontë Country_, Dr. Erskine Stuart, 35 - _Life of Emily Bronte_, Miss Mary Robinson, 39; + _Life of Emily Brontë_, Miss Mary Robinson, 39; character of work, 57 - _Bronte Family_, Francis Leyland, 39-40, 158 + _Brontë Family_, Francis Leyland, 39-40, 158 - _Brontes, Fact and Fiction_, Rev. Angus Mackay, 13, 41, 132, 144 + _Brontës, Fact and Fiction_, Rev. Angus Mackay, 13, 41, 132, 144 - _Bronte Homeland_, J. Ramsden, 13 + _Brontë Homeland_, J. Ramsden, 13 - _Brontes in Ireland_, Dr. William Wright, 13 + _Brontës in Ireland_, Dr. William Wright, 13 - _Charlotte Bronte: Monograph_, Sir T. Wemyss Reid, 14 + _Charlotte Brontë: Monograph_, Sir T. Wemyss Reid, 14 - _Father of the Brontes_, W. W. Yates, 75 + _Father of the Brontës_, W. W. Yates, 75 - _Rev. Patrick Bronte's Collected Works_, Horsfall Turner, 13, 158 + _Rev. Patrick Brontë's Collected Works_, Horsfall Turner, 13, 158 - _Thornton and the Brontes_, William Scruton, 161 + _Thornton and the Brontës_, William Scruton, 161 _Chapters from Some Memories_, Lady Ritchie, 167 @@ -7270,7 +7236,7 @@ WORKS. _Memorials of Two Sisters: Susanna and Catherine Winkworth_, 96 - _Miss Mary ou L'Institutrice_, Eugene Sue, 82, 84, 105-6, 120, 126-7, + _Miss Mary ou L'Institutrice_, Eugène Sue, 82, 84, 105-6, 120, 126-7, 130, 163. See Key Index for M. Sue _Mrs. Brookfield and Her Circle_, 167 @@ -7414,7 +7380,7 @@ star is placed when the special leather-bound edition has been ordered._ of Literature, 178 Bedford Hill, Balham, London, S.W. *Sir John Brigg, Kt., D.L., M.P., President and a Founder of the - Bronte Society, Kildwick Hall, near Keighley, Yorks. + Brontë Society, Kildwick Hall, near Keighley, Yorks. *Sir Joseph Compton-Rickett, Kt., D.L., M.P., Co-Treasurer of the National Council of the Evangelical Free Churches, 100 Lancaster @@ -7458,7 +7424,7 @@ star is placed when the special leather-bound edition has been ordered._ *Edward Henry Pember, Esq., M.A., K.C., Vicar's Hill, Lymington, Hants. - Prof. Ernest De Selincourt, M.A., Litt. D., Professor of English + Prof. Ernest De Sélincourt, M.A., Litt. D., Professor of English Literature, University of Birmingham. Rev. Prof. Archibald Duff, LL.D., D.D., Professor of Hebrew and Old @@ -7475,7 +7441,7 @@ star is placed when the special leather-bound edition has been ordered._ *Alderman W. H. Brittain, J.P., F.R.G.S., President of Library Association, Storth Oaks, Sheffield. - *W. W. Yates, Esq., F.J.I., Originator of Bronte Society and Bronte + *W. W. Yates, Esq., F.J.I., Originator of Brontë Society and Brontë Museum at Haworth, Elmwood Terrace, Dewsbury. Dr. J. Connal Wilson, L.R.C.P., and S., L.M. Edin., Medical Officer @@ -7654,7 +7620,7 @@ in the following lists_:-- Gravesend Public Library, Kent. Alex. J. Philip, Esq. - Guernsey: Guille-Alles Library, Channel Isles. J. Linwood Pitts, + Guernsey: Guille-Allès Library, Channel Isles. J. Linwood Pitts, Esq., M.J.I., F.S.A. (Normandy). Halifax Public Libraries. E. Green, Esq. @@ -7690,7 +7656,7 @@ in the following lists_:-- Hagberg Wright, LL.D. See also Westminster City, Poplar, Putney, Walthamstow, Woolwich, etc. - Manchester Athenaeum Library. John D. Dickens, Esq. + Manchester Athenæum Library. John D. Dickens, Esq. Manchester, The John Rylands Library. H. Guppy, Esq., M.A. @@ -7713,7 +7679,7 @@ in the following lists_:-- *Salford (Peel Park) Public Libraries, Lanc. Ben. H. Mullen, Esq., M.A. - Sunderland Public Libraries. G. A. Charton Deas, Esq. + Sunderland Public Libraries. G. A. Çharton Deas, Esq. *Todmorden Free Library. T. Sutcliffe, Esq. @@ -7790,7 +7756,7 @@ PRINTED BY THE WALTER SCOTT PUBLISHING CO., LTD., FELLING-ON-TYNE. FOOTNOTES: -[1] Clement Shorter in _Charlotte Bronte and her Sisters_, p. 236; 1905. +[1] Clement Shorter in _Charlotte Brontë and her Sisters_, p. 236; 1905. [2] Clara H. Whitmore, A.M., in _Woman's Work in English Fiction_; 1910. @@ -7798,9 +7764,9 @@ FOOTNOTES: [4] _The Fortnightly Review_, March 1907. -[5] _The Brontes in Ireland_, by Dr. William Wright, 1893, and _The -Bronte Homeland_, by J. Ramsden, 1897, though they conflict, deal -interestingly with Patrick Brunty's, or Bronte's, relations. +[5] _The Brontës in Ireland_, by Dr. William Wright, 1893, and _The +Brontë Homeland_, by J. Ramsden, 1897, though they conflict, deal +interestingly with Patrick Brunty's, or Brontë's, relations. "Patrick ... after being a linen weaver secured the post of teacher in the Glascar School, Ballynaskeagh, then that of teacher at Drumballyroney." Eventually he got a scholarship and entered St. John's @@ -7808,15 +7774,15 @@ College, Cambridge, where he graduated and took Holy Orders. His father was a Hugh Brunty, who married a Roman Catholic, Alice McClory, or M'Clory. She is said to have become a Protestant, as was her husband. Of this marriage there were ten children, the eldest being Charlotte -Bronte's father, who early took to "larnin'," to quote the Irish -hearsay. _The Brontes in Ireland_ has been challenged as presenting many +Brontë's father, who early took to "larnin'," to quote the Irish +hearsay. _The Brontës in Ireland_ has been challenged as presenting many statements impossible of verification. The assertion that an Irish Brunty foundling story suggested the foundling of _Wuthering Heights_ raised a harsh and voluminous controversy. The Rev. Angus Mackay, in his -little brochure _The Brontes--Fact and Fiction_, 1897, controverted Dr. +little brochure _The Brontës--Fact and Fiction_, 1897, controverted Dr. Wright, as did others elsewhere. The matter is summed up succinctly by Mr. Horsfall Turner, the Yorkshire genealogist, in _The Rev. Patrick -Bronte's Collected Works_, 1898, where, speaking of the Irish Brontes +Brontë's Collected Works_, 1898, where, speaking of the Irish Brontës and the foundling story, he says:--"The only one who could transmit this story was Hugh Brunty, and not one of his descendants ever heard of it before Dr. Wright's book was issued, not even the vaguest tradition." @@ -7827,21 +7793,21 @@ fragments from English adaptations found in Dryden, Rowe, etc., of Lucan (Pharsalia, lib. 1, 73), and of other ancient writers. [7] Her correspondence is given in Sir Wemyss Reid's _Monograph on -Charlotte Bronte_, in Mrs. Gaskell's _Life of Charlotte Bronte_, Haworth -Edition, and in Mr. Clement Shorter's _The Brontes: Life and Letters_, +Charlotte Brontë_, in Mrs. Gaskell's _Life of Charlotte Brontë_, Haworth +Edition, and in Mr. Clement Shorter's _The Brontës: Life and Letters_, 1908. -[8] _Charlotte Bronte and Her Circle_, by Clement Shorter. +[8] _Charlotte Brontë and Her Circle_, by Clement Shorter. -[9] Charlotte Bronte, upon the other hand, was a most fluent writer of +[9] Charlotte Brontë, upon the other hand, was a most fluent writer of prose. She sent Wordsworth a story in 1840, and spoke of her facility in -writing novels. (Mrs. Gaskell's _Life of Charlotte Bronte_, pages +writing novels. (Mrs. Gaskell's _Life of Charlotte Brontë_, pages 189-190, Haworth Edition.) It is said Emily corrected misprints, etc., in her printed volume of _Wuthering Heights_; but whether or not she did -this at Charlotte Bronte's instigation is of little interest and no -importance in view of the literal evidence in _The Key to the Bronte +this at Charlotte Brontë's instigation is of little interest and no +importance in view of the literal evidence in _The Key to the Brontë Works_. It may be Emily turned Charlotte's amanuensis; and it would not -be difficult to show Anne Bronte also had been Charlotte's understudy. +be difficult to show Anne Brontë also had been Charlotte's understudy. See my remarks on _Wildfell Hall_ in Appendix. [10] See my remarks, page 39. @@ -7858,34 +7824,34 @@ king's honour. [13] On the other side of the same page Montagu concluded the narration of his "A Night's Repose," with which I deal later. -[14] Clement Shorter's _Charlotte Bronte and Her Sisters_, p. 164. +[14] Clement Shorter's _Charlotte Brontë and Her Sisters_, p. 164. [15] See my observations on the name of Lucy Snowe. -[16] The name of "Helen Burns," that saintly sister of Charlotte Bronte, +[16] The name of "Helen Burns," that saintly sister of Charlotte Brontë, may have been suggested by the St. Helen's Well which Montagu states was near Miss Currer's home, Eshton Hall. -[17] _The Bronte Country_, by Dr. Erskine Stuart. +[17] _The Brontë Country_, by Dr. Erskine Stuart. -[18] A recognizable idiosyncrasy of Charlotte Bronte's genius is the +[18] A recognizable idiosyncrasy of Charlotte Brontë's genius is the vivid minuteness with which she paints and records apparently unimportant details and happenings connected with her early childhood. (See footnote on page 41.) [19] See footnote page 47. -[20] _Emily Bronte_, Miss Mary Robinson; 1883. +[20] _Emily Brontë_, Miss Mary Robinson; 1883. -[21] Angus Mackay, in _The Brontes: Fact and Fiction_ (1897), identifies -Miss Bronte with Caroline Helstone. Charlotte Bronte's mother was a +[21] Angus Mackay, in _The Brontës: Fact and Fiction_ (1897), identifies +Miss Brontë with Caroline Helstone. Charlotte Brontë's mother was a native of Penzance, near Helston. [22] Catherine's diary was written on the margin of a printed sermon by the Rev. Jabes Branderham. Lockwood's "dream" in the connection was evidently a travesty on a sermon of the famous Rev. Jabes Bunting, a Wesleyan Methodist, and the zealousness of his hearers, concerning which -preacher stories were possibly gathered by Charlotte Bronte from old +preacher stories were possibly gathered by Charlotte Brontë from old Tabitha, who doubtless did occasional service as the old dialect-speaking Joseph. The Rev. Jabes Bunting was on the Halifax Circuit in the eighteen-twenties, and his sermons were printed in @@ -7893,10 +7859,10 @@ pamphlet form. Note the extract I have given from _Villette_ on Lucy Snowe's having read as a child certain Wesleyan Methodist tracts. [23] "Lee" may have been suggested by the name of the heroine of "Puir -Mary Lee," a Scottish ballad, which I find influenced Charlotte Bronte +Mary Lee," a Scottish ballad, which I find influenced Charlotte Brontë greatly when she began to write _Wuthering Heights_. -[24] Called Nelly or Ellen Dean, perhaps because of Charlotte Bronte's +[24] Called Nelly or Ellen Dean, perhaps because of Charlotte Brontë's affection for her friend Nelly or Ellen Nussey. [25] Of course Tabitha Aykroyd was twenty years younger when Charlotte @@ -7905,10 +7871,10 @@ Bessie in the main imply Tabby in the eighteen-twenties; those to her as the sedate and glum Mrs. Dean and Hannah, as Tabby in the eighteen-forties. We see Tabby quite in the caricature of Joseph in Charlotte's half-humorous references to her in the diary-like -descriptions of the Bronte kitchen fireside life of her childhood in +descriptions of the Brontë kitchen fireside life of her childhood in 1829, etc.--of which the rainy day incident in the childhood of little Catherine and Jane is so reminiscent--quoted by Mrs. Gaskell in the -Bronte _Life_:-- +Brontë _Life_:-- "June the 21st, 1829. @@ -7926,24 +7892,24 @@ Bronte _Life_:-- "Charlotte: 'Why are you so glum to-night, Tabby?'" -As time progressed Charlotte Bronte viewed more sentimentally the +As time progressed Charlotte Brontë viewed more sentimentally the associations of her early childhood. Whenever Tabby was "Joseph" of _Wuthering Heights_ Charlotte humorously caricatured her. [26] See footnote on page 37. [27] A remarkably recognizable idiosyncrasy of this child-phantom of -Charlotte Bronte's brain is the part the little hands of the child play. -In Charlotte Bronte's child-phantom of _Wuthering Heights_, Chapter +Charlotte Brontë's brain is the part the little hands of the child play. +In Charlotte Brontë's child-phantom of _Wuthering Heights_, Chapter III., the hand of the child takes a principal part, as in her above two versions. -[28] See note on "the hand" of Charlotte Bronte's child-phantom, page +[28] See note on "the hand" of Charlotte Brontë's child-phantom, page 53. [29] See the chapters on "The Recoil" for the origin of the title of _Wuthering Heights_, and of the name Lucy Snowe; also my remarks on -Charlotte Bronte's poem "Apostasy." +Charlotte Brontë's poem "Apostasy." [30] "The breeze was sweet with scent of heath and rush, ... the hills shut us quite in; for the glen towards its head wound to their very @@ -7955,11 +7921,11 @@ Airton once told me that when she first met her husband he was playing a violin in the entrance of a cave, under a crag in Malhamdale. [32] It will be observed that in Chapter XXIII. of _The Professor_ -Charlotte Bronte practically calls Frances the heroine, "Jane." Of +Charlotte Brontë practically calls Frances the heroine, "Jane." Of course she is the elf Janet (see Chapter XXV. of _The Professor_), and -this sprite was also Jane Eyre--Charlotte Bronte herself. Read the -verses in Chapter XXIII. in the light of my writing on "Eugene Sue and -Charlotte Bronte's Brussels Life" and "The Recoil." +this sprite was also Jane Eyre--Charlotte Brontë herself. Read the +verses in Chapter XXIII. in the light of my writing on "Eugène Sue and +Charlotte Brontë's Brussels Life" and "The Recoil." [33] Mr. Thomas J. Wise has published and edited a valuable edition of this story, 1896. @@ -7992,131 +7958,131 @@ especial day at Malham, nevertheless I began my story--_Kalderworth_:-- only one soul lived, and that a hag whose fame had spread as a dabbler in the black art and the mischievous doctrines." -I did not know of Montagu's book at the time; and of all the Bronte +I did not know of Montagu's book at the time; and of all the Brontë novels I had only read _Jane Eyre_. I remember once reflecting--while -_Kalderworth_ was being published--that Charlotte Bronte must have +_Kalderworth_ was being published--that Charlotte Brontë must have called her character Jane Eyre after the river Aire, just as I had called my loosely composite village up in Malhamdale Kalderworth, from the river Calder; and I thought Currer Bell, in her choice of the name "Jane Eyre," had been actuated poetically by the fact of the adjacency of the Yorkshire river Aire, or Ayre, and had changed the "A" in Aire, just as I the "C" in Calder. Nor was it till years later that I knew -Charlotte Bronte had written in _Shirley_, Chapter XIX., of "Calder or +Charlotte Brontë had written in _Shirley_, Chapter XIX., of "Calder or Aire thundering in flood." [36] That Gimmerton in _Wuthering Heights_ means "the village of sheep" was admitted years ago. The etymology is very obvious. We now have the -circumstances in which Charlotte Bronte chose the name. +circumstances in which Charlotte Brontë chose the name. [37] See my footnote, page 58. [38] Thus she put her cousin Eliza Branwell under the same roof as -herself and Branwell Bronte in _Jane Eyre_. +herself and Branwell Brontë in _Jane Eyre_. [39] The Poems prepared for publication in the autumn of 1845 bear evidence of the influence of Montagu's work. It was at this time -Montagu's work provided Charlotte Bronte's _nom de guerre_ of Currer +Montagu's work provided Charlotte Brontë's _nom de guerre_ of Currer Bell. See my foot-note on Frances of _The Professor_ as the Fairy Jane, page 63. -[40] A copy of this will is printed in _The Brontes: Life and Letters_. +[40] A copy of this will is printed in _The Brontës: Life and Letters_. -[41] Mr. Augustine Birrell in his _Life of Charlotte Bronte_ (1887), -gives a very interesting insight into a love episode of Mr. Bronte, +[41] Mr. Augustine Birrell in his _Life of Charlotte Brontë_ (1887), +gives a very interesting insight into a love episode of Mr. Brontë, during his first curacy, at Wethersfield, near Braintree, Essex. Mr. -Bronte found a home with a Miss Mildred Davy, with whose niece, a +Brontë found a home with a Miss Mildred Davy, with whose niece, a "comely damsel of eighteen--a Miss Mary Mildred Davy Burder--with brown curls and blue eyes" he fell in love. A plotting guardian uncle, -however, removed Miss Burder and wrongly intercepted all Mr. Bronte's -letters. Subsequently Mr. Bronte married Miss Maria Branwell, of +however, removed Miss Burder and wrongly intercepted all Mr. Brontë's +letters. Subsequently Mr. Brontë married Miss Maria Branwell, of Penzance, visiting in Yorkshire, whom he married at St. Oswald's Church, -Guiseley, near Leeds. After the death of his wife, Mr. Bronte offered to +Guiseley, near Leeds. After the death of his wife, Mr. Brontë offered to marry Miss Burder, but was refused. She became the wife of the Rev. Peter Sibree, of Wethersfield. Mr. W. W. Yates' book, _The Father of the -Brontes_, 1897, shows us Mr. Bronte as a curate at Dewsbury. Mr. Yates, -who is the originator of the Bronte Society and Museum, rightly -associated Mr. Bronte with Mr. Helstone of _Shirley_, supporting his +Brontës_, 1897, shows us Mr. Brontë as a curate at Dewsbury. Mr. Yates, +who is the originator of the Brontë Society and Museum, rightly +associated Mr. Brontë with Mr. Helstone of _Shirley_, supporting his contention by evidence. -[42] For story and other purposes Miss Bronte makes St. John Rivers ask +[42] For story and other purposes Miss Brontë makes St. John Rivers ask Jane's hand in marriage; and of course as the original of Moor House has been supposed to be at Hathersage in Derbyshire, and it was there the Rev. Henry Nussey lived--Miss Nussey's brother--who had offered to marry -Charlotte Bronte, Mrs. Gaskell's Bronte's _Life_ and a following -(including even a recent catalogue of the Bronte Museum, wherein +Charlotte Brontë, Mrs. Gaskell's Brontë's _Life_ and a following +(including even a recent catalogue of the Brontë Museum, wherein reference is made to Mr. Nussey's portrait!) have given it forth that Mr. Nussey was the original of St. John Rivers--notwithstanding that Mr. Nussey was a married man when Charlotte was visiting at Hathersage. That Mr. Nussey and St. John Rivers are wholly dissimilar is contended at -length in _Charlotte Bronte and Her Sisters_, pp. 166-170. +length in _Charlotte Brontë and Her Sisters_, pp. 166-170. -[43] _The Brontes: Life and Letters._ +[43] _The Brontës: Life and Letters._ [44] In the love relations of Shirley Keeldar, however, we must expect -to find phases of circumstances associated with Charlotte Bronte +to find phases of circumstances associated with Charlotte Brontë herself. Thus Shirley Keeldar is at times Currer Bell. [45] Mr. Rochester's remarks in _Jane Eyre_, Chapter XII., on Jane's -drawings would seem to show that though M. Heger, the original of this -character, was interested in Charlotte Bronte's gift as an artist (and -we know she sent M. Heger a drawing of hers as late as August 1845), he +drawings would seem to show that though M. Héger, the original of this +character, was interested in Charlotte Brontë's gift as an artist (and +we know she sent M. Héger a drawing of hers as late as August 1845), he spoke of them in disparagement--a fact that alone argues he was her superior in art, and understood drawing. Indeed, after seeing the -various water-colour and other drawings of Charlotte Bronte, some thirty +various water-colour and other drawings of Charlotte Brontë, some thirty of which, including "a pencil drawing of Louis Philippe of France, drawn -by C. Bronte during her stay in Brussels," are numbered with the Bronte -relics, I may say we can take it as really the expression of M. Heger +by C. Brontë during her stay in Brussels," are numbered with the Brontë +relics, I may say we can take it as really the expression of M. Héger concerning her sketches when Mr. Rochester observes of Jane's efforts in drawing:--"You have secured the shadow of your thought, but no more probably. You had not enough of the artist's skill and science to give -it being," for this is the truth concerning Charlotte Bronte's efforts +it being," for this is the truth concerning Charlotte Brontë's efforts of the kind. Nevertheless, I find evidence of a Brussels tradition in the eighteen-fifties that she was clever as a painter, M. Sue giving ability to his Miss Mary in this direction. It is more emphasized in his _feuilleton_ than volume portrayal of this "Institutrice," both of which -works we shall see presented phases of Miss Bronte as she was known. +works we shall see presented phases of Miss Brontë as she was known. Hence we read, "Eh bien! monsieur, trouvez-vous _qu'elle sait un peu dessiner_, MA _Miss Mary_?" The italics, etc., are M. Sue's. -[46] _Charlotte Bronte and Her Sisters_, page 181. +[46] _Charlotte Brontë and Her Sisters_, page 181. [47] The James Taylor in the firm of her publishers, who corresponded -with Miss Bronte, was not related to this Hunsworth family. +with Miss Brontë, was not related to this Hunsworth family. [48] See Matthew Yorke, Hiram Yorke's son, a character who has several traits in common with Heathcliffe of _Wuthering Heights_.--_Shirley_, Chap. IX. -[49] Mrs. Gaskell's _Life of Charlotte Bronte_, Haworth edition, p. 230. +[49] Mrs. Gaskell's _Life of Charlotte Brontë_, Haworth edition, p. 230. [50] Note that in both _Wuthering Heights_ and _Jane Eyre_ it is assumed this character made silent reference to "the Deuce"; though he never uttered the name, his words seemed to "express" the sentiment. -[51] _The Brontes: Life and Letters_, p. 340, vol. i. +[51] _The Brontës: Life and Letters_, p. 340, vol. i. -[52] The Moores of _Shirley_ were mainly drawn from M. Heger, and though +[52] The Moores of _Shirley_ were mainly drawn from M. Héger, and though a Mr. Cartwright, supposed to have had foreign blood in his veins, is conjectured to have contributed to their creation because his mill was attacked with rioters, I find that the Yorkshire, or rather, "Taylor" -element, as conceived by Charlotte Bronte, also entered into their +element, as conceived by Charlotte Brontë, also entered into their composition. -[53] It is sad indeed to find Charlotte Bronte confessed, shortly before +[53] It is sad indeed to find Charlotte Brontë confessed, shortly before her marriage to the Rev Mr. Nicholls, that there was no such sympathy between herself and her prospective husband. See letters of Miss Catherine Winkworth in _Memorials of Two Sisters: Susanna and Catherine -Winkworth_ (1908). Miss Winkworth and Miss Bronte discussed the matter +Winkworth_ (1908). Miss Winkworth and Miss Brontë discussed the matter personally. Miss Catherine Winkworth wrote of Mr. Nicholls and Charlotte -Bronte:--"I am sure she will be really good to him. But I guess the true +Brontë:--"I am sure she will be really good to him. But I guess the true love was Paul Emanuel [of _Villette_] after all ... but I don't know, and don't think that Lily [Mrs. Gaskell] knows." I should say that Mrs. Ratcliffe of Haworth--Tabitha Brown: her sister, Martha Brown, was one -of the Bronte servants--at whose house Tabitha Aykroyd breathed her -last, stated to me on February 21st, 1907, that as to Charlotte Bronte's +of the Brontë servants--at whose house Tabitha Aykroyd breathed her +last, stated to me on February 21st, 1907, that as to Charlotte Brontë's "wedded life, they lived happily together." Often do we discover -references to the elective affinities in regard to M. Heger and -Charlotte Bronte in Currer Bell's works. Thus we did not need that +references to the elective affinities in regard to M. Héger and +Charlotte Brontë in Currer Bell's works. Thus we did not need that Rochester should say in the last chapter but one of _Jane Eyre_:--"I am not better than the old lightning-struck chestnut," for we had understood by the touching apostrophe in _Jane Eyre_, Chapter XXV., that @@ -8129,15 +8095,15 @@ and love is over with you; but ... each of you has a comrade to sympathize with.'" And Rochester tells Jane:--"You are my sympathy--my better self; ... a fervent ... passion ... wraps; my existence about you--and kindling in ... powerful flame, fuses you and me in one." M. -Heger as M. Paul in _Villette_ strikes the same note we hear in +Héger as M. Paul in _Villette_ strikes the same note we hear in _Wuthering Heights_ and _Jane Eyre_:--"We are alike--there is affinity between us.... Tremble! for where that is the case with mortals, the threads of their destinies are difficult to entangle." -[54] See Charlotte Bronte's poems "Regret" and "Apostasy." +[54] See Charlotte Brontë's poems "Regret" and "Apostasy." [55] I discovered these most remarkable parallelisms by my knowledge and -application of Charlotte Bronte's Method I., a fact that finally +application of Charlotte Brontë's Method I., a fact that finally declares her the author of both _Wuthering Heights_ and _Jane Eyre_. [56] Mr. G. W. MacArthur Reynolds, the editor of _The London Journal_ @@ -8145,14 +8111,14 @@ issued from _The Weekly Times_ Office, which ran M. Sue's _feuilleton_, was well-known in French literary circles in the eighteen-forties. He founded in Paris _The London and Paris Courier_, and was likely enough a friend of M. Sue. It may be, indeed, there was some sort of -understanding between him and Eugene Sue to set before the world an +understanding between him and Eugène Sue to set before the world an interpretation of _Jane Eyre_, with the extraordinary information come privily to M. Sue. Some time after its publication, Mr. Reynolds stated that "the main incidents in 'Mary Lawson' were founded on actual realities." This we shall find. It is a remarkable fact in the circumstances that _The London Journal_ for August 1, 1846--a year before _Jane Eyre_ was published, printed on one page the opening -instalment of M. Sue's _Martin the Foundling_, and Charlotte Bronte's +instalment of M. Sue's _Martin the Foundling_, and Charlotte Brontë's poem "The Letter," with a footnote--"From a volume entitled _Poems by Cuvier (sic), Ellis and Acton Bell_; London, Aylott & Jones." The reader may perhaps recognize the original of Mr. Rochester in the person to @@ -8169,7 +8135,7 @@ footnote on p. 24. [60] See my footnote, p. 37. -[61] Mrs. Gaskell dwelt much on Charlotte Bronte's plainness in her +[61] Mrs. Gaskell dwelt much on Charlotte Brontë's plainness in her _Life_, published seven years after the above. [62] _Wuthering Heights_ with _Agnes Grey_ had been accepted by Mr. @@ -8180,33 +8146,33 @@ manuscript of _Jane Eyre_, but _Jane Eyre_ was published first. the same work is equivalent to that practised by the portrait-painter who uses mirror effects to reveal some feature of his subject not in the ordinary line of vision. It was as difficult for M. Sue to present a -complete portrait of the successful, feted Miss Bronte in poor Lagrange -as it was for Charlotte Bronte to present a complete portrait of herself +complete portrait of the successful, fêted Miss Brontë in poor Lagrange +as it was for Charlotte Brontë to present a complete portrait of herself in the unhappy Lucy Snowe of _Villette_. So M. Sue also used the phase -of Miss Mary, and Charlotte Bronte that of Paulina--just as she gave us -M. Heger as Crimsworth and occasionally as M. Pelet of _The Professor_, +of Miss Mary, and Charlotte Brontë that of Paulina--just as she gave us +M. Héger as Crimsworth and occasionally as M. Pelet of _The Professor_, and just as she gave us herself in _Shirley_ as Caroline Helstone and -again (in regard only to her relations with M. Heger) as Shirley +again (in regard only to her relations with M. Héger) as Shirley Keeldar. Methods which were responsible for her first portraying herself as the elder Catherine of _Wuthering Heights_ and then as the younger -Catherine, in which work M. Heger was portrayed by her often as -Heathcliffe and finally as Hareton Earnshaw. With Charlotte Bronte, +Catherine, in which work M. Héger was portrayed by her often as +Heathcliffe and finally as Hareton Earnshaw. With Charlotte Brontë, however, her secondary adaptations as portrayals, perhaps on account of their improvization, frequently give evidence of being unprepared. Thus -the childhood of Paulina of _Villette_ is scarcely Charlotte Bronte's; +the childhood of Paulina of _Villette_ is scarcely Charlotte Brontë's; and Hareton Earnshaw of _Wuthering Heights_, save for the lover and -pupil phase, was never M. Heger. +pupil phase, was never M. Héger. -[64] Mrs. Gaskell's _Life of Charlotte Bronte_, Haworth Edition, p. 55. +[64] Mrs. Gaskell's _Life of Charlotte Brontë_, Haworth Edition, p. 55. See my reference to Catherine teaching Hareton of _Wuthering Heights_, in the Preface. [65] Instead of "Swiss" pastor's daughter, read Irish. -[66] Mrs. Gaskell's _Life of Charlotte Bronte_. +[66] Mrs. Gaskell's _Life of Charlotte Brontë_. [67] As Rochester calls Jane his beneficent spirit, it is interesting to -read that M. de Morville says to his wife:--"Je crois aux bons genies, +read that M. de Morville says to his wife:--"Je crois aux bons génies, aux bons anges." "Aux bons anges?" @@ -8215,20 +8181,20 @@ aux bons anges." "Eh bien, Louise?" -"N'est-ce pas un bon genie, un bon ange, une bonne magicienne, enfin? Ne -m'a-t-elle pas jete un _sort_?" +"N'est-ce pas un bon génie, un bon ange, une bonne magicienne, enfin? Ne +m'a-t-elle pas jeté un _sort_?" [68] See my reference to Charlotte's Preface to _Wuthering Heights_ in the second chapter of "The Recoil." -[69] See my references to Charlotte Bronte's poem "Apostasy"; and to St. -John Rivers as a phase of Charlotte's Brussels _Fenelon_. +[69] See my references to Charlotte Brontë's poem "Apostasy"; and to St. +John Rivers as a phase of Charlotte's Brussels _Fénelon_. -[70] See M. Paul and Lucy Snowe (M. Heger and Charlotte Bronte) in the +[70] See M. Paul and Lucy Snowe (M. Héger and Charlotte Brontë) in the close of Chapter XXI. of _Villette_. [71] Mrs. Humphry Ward in her "Introductions" to the Haworth Edition of -the Bronte novels instanced this passage as showing Emily Bronte's +the Brontë novels instanced this passage as showing Emily Brontë's extravagant love for the moors, inferring she preferred the heath to heaven. But Mrs. Ward in these same "Introductions" even argued that _Wuthering Heights_ and _Jane Eyre_ were dissimilar in characterization @@ -8236,7 +8202,7 @@ and style. Catherine's reference herewith in _Wuthering Heights_, to a "subliminal" existence in a lover and to the notion that the absence or loss of such a love (and hence, limiting of the bounds of existence,) would make the universe a blank, having no sympathy or relation--a -stranger, is at one with Charlotte Bronte's further words in her poem, +stranger, is at one with Charlotte Brontë's further words in her poem, "Frances":-- "Unloved--I love; unwept--I weep; @@ -8252,7 +8218,7 @@ stranger, is at one with Charlotte Bronte's further words in her poem, "That mind my own. Oh! narrow cell; Dark--imageless--a living tomb!" -[72] _Charlotte Bronte and Her Circle._ +[72] _Charlotte Brontë and Her Circle._ [73] Mentor's advice to Telemachus when tempted and miserable on the island of Calypso is that given by the spirit of Jane Eyre's @@ -8261,12 +8227,12 @@ to your country ... and forbids you to give up your heart to an unworthy passion.... Fly, fly, ... for love is conquered only by flight ... in retreat without deliberation, and ... looking back." "Neither Calypso nor Eucharis cared to fascinate Mentor" (_Shirley_, Chapter XXVII.). -Evidently M. Sue knew Charlotte Bronte had read this book at Brussels, +Evidently M. Sue knew Charlotte Brontë had read this book at Brussels, for he makes play upon it in "Lagrange's Manuscript," wherein -"Telemaque" is substituted for "Rasselas" in the equivalent scene in +"Télémaque" is substituted for "Rasselas" in the equivalent scene in _Jane Eyre_. -[74] See chapter on the Yorkshire element in Charlotte Bronte's heroes. +[74] See chapter on the Yorkshire element in Charlotte Brontë's heroes. [75] "Religion called----Angels beckoned!----" @@ -8285,21 +8251,21 @@ Chapter XIX. of _The Professor_. [80] See my reference to "the barriers" in "Apostasy." [81] "I called myself your brother," says M. Paul to Lucy Snowe, the -originals of whom were M. Heger and Charlotte Bronte. "... I know I +originals of whom were M. Héger and Charlotte Brontë. "... I know I think of you--I feel I wish you well--but I must check myself; you are to be feared. My best friends point out danger and whisper caution."--_Villette_, Chap. xxxvi. -[82] Mr. Angus Mackay, in _The Brontes: Fact and Fiction_, identifies -Charlotte Bronte as the original of "Frances" of Charlotte's poem. +[82] Mr. Angus Mackay, in _The Brontës: Fact and Fiction_, identifies +Charlotte Brontë as the original of "Frances" of Charlotte's poem. -[83] _Charlotte Bronte and Her Sisters_, pp. 181-3. +[83] _Charlotte Brontë and Her Sisters_, pp. 181-3. [84] See pages 136 and 140. [85] See my remarks on Mrs. Pryor in Appendix on _Shirley_. -[86] Mrs. Gaskell's _Life of Charlotte Bronte_. +[86] Mrs. Gaskell's _Life of Charlotte Brontë_. [87] See footnote on page 97. @@ -8307,24 +8273,24 @@ Charlotte Bronte as the original of "Frances" of Charlotte's poem. [89] Of course Mr. Dobell did not know that by the terms of arrangement with Mr. Newby, the publisher of _Wuthering Heights_, it was virtually -impossible for Charlotte Bronte, after the success of _Jane Eyre_, to +impossible for Charlotte Brontë, after the success of _Jane Eyre_, to admit her authorship of _Wuthering Heights_ publicly. See my remarks hereon in Chapter I. -[90] For this see Leyland's _The Bronte Family_. +[90] For this see Leyland's _The Brontë Family_. [91] See footnote, page 13. -[92] _Charlotte Bronte and her Sisters_, page 162. +[92] _Charlotte Brontë and her Sisters_, page 162. -[93] Mrs. Gaskell's _Life of Charlotte Bronte_. +[93] Mrs. Gaskell's _Life of Charlotte Brontë_. [94] The fact that towards the end great affection sprang up between the -Rev. Patrick Bronte and his only surviving daughter cannot be too +Rev. Patrick Brontë and his only surviving daughter cannot be too strongly emphasized. A most touching narration of him and the dying -Currer Bell, related by Martha Brown, the Bronte servant, and herself +Currer Bell, related by Martha Brown, the Brontë servant, and herself the eye-witness, is given by Mr. William Scruton, in _Thornton and The -Brontes_, page 133 (1898):--"When Charlotte heard her father coming +Brontës_, page 133 (1898):--"When Charlotte heard her father coming upstairs to her, she would strain every nerve to give him a pleasing reception. On his entering the room she would greet him with, 'See, papa, I am looking a little better.'" Mr. Home was "papa" to Paulina. @@ -8333,29 +8299,29 @@ Heights_; and Mrs. Home's death, _Villette_, chap, xxiv., with Mrs. Helstone's _Shirley_, chap. iv. [95] The letters in _The Times_ in the close of 1906, and in the early -part of 1907, attacking the authenticity of the Heger portrait, were +part of 1907, attacking the authenticity of the Héger portrait, were written by Mr. Shorter. My footnote in _The Fortnightly_ ran:--"In -attacking the water-colour portrait of Charlotte Bronte purchased by the +attacking the water-colour portrait of Charlotte Brontë purchased by the Trustees of the National Portrait Gallery, the discovery of which, -signed 'Paul Heger, 1850,' was inimical to Mr. Clement Shorter's -contention that Charlotte Bronte had but distantly interested M. Heger, -Mr. Shorter said, 'M. Heger certainly did not know even in 1850 that -Miss Bronte, his old pupil, and Currer Bell were identical,' and with -another asserted M. Heger and Charlotte Bronte never met after 1844. We -shall see here, however, that M. Heger knew all Miss Bronte's literary -secrets in 1850, and that they must have met after 1844, for M. Heger +signed 'Paul Héger, 1850,' was inimical to Mr. Clement Shorter's +contention that Charlotte Brontë had but distantly interested M. Héger, +Mr. Shorter said, 'M. Héger certainly did not know even in 1850 that +Miss Brontë, his old pupil, and Currer Bell were identical,' and with +another asserted M. Héger and Charlotte Brontë never met after 1844. We +shall see here, however, that M. Héger knew all Miss Brontë's literary +secrets in 1850, and that they must have met after 1844, for M. Héger could have acquired these secrets only in most intimate conversation with Currer Bell herself: to none other would she have revealed them." [96] In this connection it is of interest to read the remarks of one of the jealous de Morville women on this portrait of the Irish governess:--"Patience! ... qui vivra verra. Je garde ce portrait de -mademoiselle miss Mary, ca me fera souvent penser a elle--ca m'empechera -de l'oublier. Je vais la clouer a quatre epingles sur le papier de ma +mademoiselle miss Mary, ça me fera souvent penser à elle--ça m'empêchera +de l'oublier. Je vais la clouer à quatre épingles sur le papier de ma chambre".... She threatens to stick pins in it.... "Oui, oui, la belle Anglais!" she afterwards exclaims; "ce n'est pas seulement ton portrait -que je perce a coups d'epingle, c'est toi-meme!" Which would suggest -that a portrait of Charlotte Bronte could have remained at the Heger +que je perce à coups d'épingle, c'est toi-même!" Which would suggest +that a portrait of Charlotte Brontë could have remained at the Héger establishment but at risk of being destroyed. I may observe these mysterious references occur only in the 1851 volume; not in the 1850 _feuilleton_. @@ -8365,25 +8331,25 @@ _feuilleton_. [98] Mr. Greenwood Dyson, born in 1830 in the Fold opposite the White Lion Hotel, in the house now a blacksmith's shop. "I was married in 1850," he stated to me, "and was living about twenty yards from Haworth -Church when Charlotte Bronte gave a black silk dress to my wife." The -Rev. Patrick Bronte signed a testimonial saying he well knew Mr. Dyson +Church when Charlotte Brontë gave a black silk dress to my wife." The +Rev. Patrick Brontë signed a testimonial saying he well knew Mr. Dyson as being reliable and trustworthy, as also did the Rev. A. B. Nicholls, -Miss Bronte's husband. I have examined the document. An interesting -glimpse of Charlotte Bronte I have not seen in any work is one of Mr. +Miss Brontë's husband. I have examined the document. An interesting +glimpse of Charlotte Brontë I have not seen in any work is one of Mr. Dyson's reminiscences. He tells me that "there was a draw-well situated in the kitchen of the Rectory from which we boys used to draw water for domestic purposes." He added that often he drew water for Charlotte -Bronte or others of the Bronte household before drawing for himself. "In +Brontë or others of the Brontë household before drawing for himself. "In one of the upper windows," he once wrote me, "a board had been placed instead of one of the panes of glass, in the centre of which was bored a -hole in which Miss Bronte inserted a telescope to take observations." +hole in which Miss Brontë inserted a telescope to take observations." Perceiving in conversation with him the genuine pleasure the sight of -the Heger portrait of Charlotte Bronte gave Mr. Dyson, I later forwarded -him a large photograph, taken direct from the original Heger drawing of -Charlotte Bronte in the National Portrait Gallery. I print his reply to +the Héger portrait of Charlotte Brontë gave Mr. Dyson, I later forwarded +him a large photograph, taken direct from the original Héger drawing of +Charlotte Brontë in the National Portrait Gallery. I print his reply to me written on March 2, 1907:-- - "DEAR SIR,--I received the likeness of Charlotte Bronte (which you + "DEAR SIR,--I received the likeness of Charlotte Brontë (which you were kind enough to send me) this morning, for which I should like to express my appreciation. It really is a very nice portrait. I think it is very much like her. With sincerest thanks, I remain, @@ -8396,29 +8362,29 @@ the N.P.G. references to this portrait. NATIONAL PORTRAIT GALLERY TABLET ON PICTURE:-- - CHARLOTTE BRONTE + CHARLOTTE BRONTË (Mrs. Arthur Bell Nicholls). 1816-1855. Novelist. Author of _Jane Eyre_ and other works. - Painted in 1850 by "Paul Heger." + Painted in 1850 by "Paul Héger." Purchased, July 1906. (1444) NATIONAL PORTRAIT GALLERY CATALOGUE:-- Painted in water-colours in 1850, and stated to be by "Paul" - (or Constantin) Heger, after an earlier portrait by her brother - Branwell Bronte. + (or Constantin) Héger, after an earlier portrait by her brother + Branwell Brontë. NATIONAL PORTRAIT GALLERY ILLUSTRATED CATALOGUE:-- Water-colour drawing stated to be by "Paul" (or Constantin) - Heger, after Branwell Bronte. + Héger, after Branwell Brontë. (1444) -I may add that the inverted commas used in regard to M. Heger's name are +I may add that the inverted commas used in regard to M. Héger's name are employed because "Paul" was not his common name. He was an active member -of the Society of S. Vincent de Paul, and Charlotte Bronte portrayed him +of the Society of S. Vincent de Paul, and Charlotte Brontë portrayed him as M. Paul in her novel, _Villette_, commenced not later than the close of 1850 or the beginning of 1851. @@ -8428,15 +8394,15 @@ of 1850 or the beginning of 1851. [102] By "Mrs. Brookfield's party" Lady Ritchie means the later distinguished party. In _Mrs. Brookfield and her Circle_, page 305, vol -ii. (1905), a first dinner given by Mr. Thackeray for Charlotte Bronte +ii. (1905), a first dinner given by Mr. Thackeray for Charlotte Brontë in November 1849, is spoken of by Mrs. Brookfield as not having been a success; and the second great party at which some clever women were -present, to meet Miss Bronte in 1851, is mentioned with the fact of the +present, to meet Miss Brontë in 1851, is mentioned with the fact of the non-success of the 1849 party, on pages 355-6. All this now leaves clear the occasion of the 1850 private family dinner at Mr. Thackeray's house, -when Charlotte Bronte sat next Lady Ritchie in a light green dress. +when Charlotte Brontë sat next Lady Ritchie in a light green dress. -[103] Mrs. Gaskell's _Life of Charlotte Bronte_. +[103] Mrs. Gaskell's _Life of Charlotte Brontë_. [104] _Ibid._ @@ -8446,362 +8412,7 @@ when Charlotte Bronte sat next Lady Ritchie in a light green dress. -End of the Project Gutenberg EBook of The Key to the Bronte Works, by +End of the Project Gutenberg EBook of The Key to the Brontë Works, by John Malham-Dembleby -*** END OF THIS PROJECT GUTENBERG EBOOK THE KEY TO THE BRONTE WORKS *** - -***** This file should be named 40655.txt or 40655.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/6/5/40655/ - -Produced by StevenGibbs and the Online Distributed -Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. +*** END OF THE PROJECT GUTENBERG EBOOK 40655 *** diff --git a/40655-8.txt b/40655-8.txt deleted file mode 100644 index 55972bf..0000000 --- a/40655-8.txt +++ /dev/null @@ -1,8807 +0,0 @@ -Project Gutenberg's The Key to the Brontë Works, by John Malham-Dembleby - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Key to the Brontë Works - The Key to Charlotte Brontë's 'Wuthering Heights,' 'Jane - Eyre,' and her other works. - -Author: John Malham-Dembleby - -Release Date: September 3, 2012 [EBook #40655] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE KEY TO THE BRONTË WORKS *** - - - - -Produced by StevenGibbs and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - - - - - THE KEY TO THE - BRONTË WORKS. - - - - - THE KEY TO THE - BRONTË WORKS - - THE KEY TO CHARLOTTE BRONTË'S "WUTHERING HEIGHTS," - "JANE EYRE," AND HER OTHER WORKS. - - SHOWING THE METHOD OF THEIR CONSTRUCTION AND THEIR - RELATION TO THE FACTS AND PEOPLE OF HER LIFE. - - - BY - JOHN MALHAM-DEMBLEBY. - - - London and Felling-on-Tyne: - THE WALTER SCOTT PUBLISHING CO., LTD. - NEW YORK AND MELBOURNE. - 1911. - - _All Rights Reserved._ - - - - -CONTENTS. - - - CHAP. PAGE - - I. OUTLINE OF CHARLOTTE BRONTË'S LIFE 13 - - II. ORIGIN OF THE CANDLE-BEARING BEDSIDE VISITANT AND - THE UNCOUTH SERVANT IN "WUTHERING HEIGHTS" AND - "JANE EYRE" 20 - - III. ORIGIN OF THE FOUNDLING HEATHCLIFFE AND HIS NAME - IN "WUTHERING HEIGHTS"--ORIGIN OF THE INSANE - LADY AND THE WHITE VEIL SCENE IN "JANE EYRE" 33 - - IV. A RAINY DAY IN CHARLOTTE BRONTË'S CHILDHOOD: - THE OPENING INCIDENT IN THE AUTOBIOGRAPHIES - OF THE HEROINES OF "WUTHERING HEIGHTS" AND - "JANE EYRE" 37 - - V. CHARLOTTE BRONTË'S FRIEND, TABITHA AYKROYD, THE - BRONTËS' SERVANT, AS MRS. DEAN OF "WUTHERING - HEIGHTS," AND AS BESSIE AND HANNAH OF "JANE EYRE" 43 - - VI. CHARLOTTE BRONTË'S CHILD APPARITION IN "THE - PROFESSOR," "WUTHERING HEIGHTS," AND "JANE EYRE" 52 - - VII. THE ORIGINALS OF GIMMERTON, GIMMERDEN, GIMMERTON - KIRK AND CHAPEL, PENISTON CRAGS, THE FAIRY CAVE, - ETC., IN "WUTHERING HEIGHTS," AND OF THE FAIRY - CAVE AND THE FAIRY JANET IN "JANE EYRE" 57 - - VIII. THE RIVERS OR BRONTË FAMILY IN "JANE EYRE" 69 - - IX. ORIGIN OF THE YORKSHIRE ELEMENT IN CHARLOTTE - BRONTË'S HUNSDEN OF "THE PROFESSOR"; HEATHCLIFFE - OF "WUTHERING HEIGHTS"; ROCHESTER OF "JANE EYRE"; - AND YORKE OF "SHIRLEY" 83 - - X. HEATHCLIFFE OF "WUTHERING HEIGHTS" AND ROCHESTER - OF "JANE EYRE" ONE AND THE SAME 90 - - XI. CATHERINE AND HEATHCLIFFE OF "WUTHERING HEIGHTS" - AS JANE AND ROCHESTER OF "JANE EYRE" 93 - - XII. EUGÈNE SUE AND CHARLOTTE BRONTË'S BRUSSELS LIFE. - I. MDLLE. LAGRANGE AND HER MANUSCRIPT - "CATHERINE BELL, THE ORPHAN" 104 - - XIII. EUGÈNE SUE AND CHARLOTTE BRONTË'S BRUSSELS LIFE. - II. ACCUSATIONS AND PROTESTATIONS! 120 - - XIV. THE RECOIL, I. 130 - - XV. THE RECOIL, II. 143 - - XVI. THE BRONTË POEMS 156 - - -APPENDIX. - - MINOR IDENTIFICATIONS OF PERSONS AND PLACES IN THE - BRONTË WORKS 159 - - THE HÉGER PORTRAIT OF CHARLOTTE BRONTË IN THE - NATIONAL PORTRAIT GALLERY 162 - - INDEX 169 - - LIST OF SUBSCRIBERS TO THE FIRST EDITION 179 - - - - -PREFACE. - - -_The Key to the Brontë Works_ is the absolutely necessary companion -volume to Charlotte Brontë's _Wuthering Heights_, _Jane Eyre_, -_Shirley_, _The Professor_, and _Villette_. Without it the reader cannot -know the real Currer Bell and her people, or see her works as they were -to herself. Great indeed and continuous has been the task of writing -this volume: a comprehension of my duty to law and literature, to -posterity and to Charlotte Brontë, set aside any other consideration. It -could be no compliment to my learned and distinguished subscribers to -assume importance would attach to _The Key to the Brontë Works_ were the -volume a mere skimming of extant Brontë biography, albeit that has its -province of interest. _The Key to the Brontë Works_, I repeat, is the -only book which shows us the life and works of Charlotte Brontë as -intimately known to herself. Herein is my task accomplished; herewith is -my reward. To quote my words from a private correspondence with Sir -Charles Holroyd, Kt., Director of the National Gallery, London:-- - - "After her return from Brussels in 1844, Charlotte Brontë - conceived the idea of perpetuating the drama of her life. Again - and again, true artist as she was, she cleared her presentations, - till finally the world had those great works which stand as a - signal testimony to the high value of the true artist, and as - testimony to the divine origin of real inspiration. And now - priest, statesman, writer--whatsoever a man may be, he will - discover in the works of Charlotte Brontë salutary instruction, - and at the same time will perceive with thrilling admiration the - greatness of Art when she is at one with Genius. As I pen these - lines to you, Sir Charles, I am reminded of the evanescence of the - halo of romance round so many historic characters and personages - when sober history speaks apart; but Charlotte Brontë we find to - be a greater luminary the closer we approach her." - -The utmost possible interest attaches to my sensational evidence, now -first showing Charlotte Brontë to be the author and heroine of -_Wuthering Heights_, a book many have declared "the finest work of -genius written by a woman," and some look upon as "one of the greatest -novels in our or any other literature." In view of my evidence it will -be impossible hereafter to convince the world that Charlotte Brontë did -not write _Wuthering Heights_. _The Key to the Brontë Works_ in his -hands, every reader is an expert upon the subject. By resort to each -indexed reference to Charlotte Brontë's methods I have discovered, and -named Methods I. and II., sensational ratification of all I say hereon -will be found. - -It will presently seem incredible the chief argument hitherto advanced -against my assertion that Charlotte Brontë wrote _Wuthering Heights_ was -that _Wuthering Heights_ and _Jane Eyre_ are "totally dissimilar in -style, thought, etc.," for my evidence is proof absolute to the -opposite. A recent writer on the Brontës[1] says _Wuthering Heights_ -contains nothing whatsoever biographically, or in any way, suggestive of -Emily Brontë and her personality, and admits upon the other hand that -the characteristic of Charlotte Brontë's writing is her full and -intimate self-revelation of the incidents of her own life. Nothing can -recall these words. They are a frank, or an ingenuous, statement of -irrefutable fact; and though the writer did not journey to the logical -conclusion, it is well he is associated with this fundamental admission. -The same significant truth is voiced still more recently by another -writer, who says: "_Wuthering Heights_ reveals nothing of Emily Brontë. -Not one of the characters thought or felt as did the quiet, retiring" -Emily[2]. - -Much detached yet valuable and interesting evidence I have omitted for -the sake of clearness, but it has aided me in regard to the final -discoveries I now present, and is ready further to substantiate my -conclusions. One of these detached pieces of evidence shows that the -younger Catherine and Hareton Earnshaw--the two lovers who at the close -of _Wuthering Heights_ become teacher and pupil--latterly were to -Charlotte Brontë herself and M. Héger. Apparently she did not wish to -end _Wuthering Heights_ without a picture of reconciled relations -between two characters who could present a phase of M. Héger and -herself. The teacher and pupil relations between Miss Brontë and M. -Héger were most dear and gladdening to her memory. We have a glimpse of -them in _Villette_, _Shirley_, and in _The Professor_, Chapter XIX., -where Crimsworth is reading a book with Francis Evans Henri, whom he is -teaching to read and pronounce English. These two characters represent -M. Héger and Charlotte Brontë; and Miss Brontë taught M. Héger to read -and pronounce English out of her own favourite old books, "consecrated -to her by other associations," to quote her own words in _Wuthering -Heights_, Chapter XXXI., though often in _The Professor_ she alternates -the position of the characters by an interchange of the sexes, a method -of Miss Brontë I have discovered and termed her Method I. Let the reader -peruse carefully the scene in _The Professor_ in the light of my -reference to Eugène Sue and Charlotte Brontë's old copy in English of -_The Imitation of Christ_ at Brussels, and in the light of the "reading -and pronouncing" scenes in Chapters XXX., XXXI., and XXXII., of -_Wuthering Heights_; - -also:-- - - Charlotte Brontë in a letter:-- _Wuthering Heights_, - Chapter XXXI.:-- - - "If you could see and hear "I heard him trying to read to - the efforts I make to teach himself, and pretty blunders he - [M. Héger] to pronounce ... and makes!... it was extremely funny - [his] unavailing attempts to ... still, he has no right to - imitate you would laugh to all appropriate what is mine, and - eternity."--Mrs. GASKELL'S make it ridiculous to me with - _Life of Charlotte Brontë_. his vile mistakes and - mispronunciations! Those books, - both prose and verse, are - consecrated to me by other - associations, and I hate to have - them debased and profaned in his - mouth." - -Note how in _The Professor_ and _Wuthering Heights_ the male lover is -unable to devote himself to the reading lesson because of the -distraction of the heroine's interesting physiognomy. In this connection -we may glance at the following little parallel of the hen-killing -figure, with which, like the foregoing, I do not deal in the course of -_The Key to the Brontë Works_. Again we perceive Charlotte Brontë's -Method I.:-- - - _Wuthering Heights._ _Jane Eyre._ - - Chapter XXX. Chapter XIV. - - Hareton contented himself with Mr. Rochester had been looking - ... looking at Catherine instead ... at the fire, and I had been - of the book. She continued looking at him, when, turning - reading. His attention became suddenly, he caught my gaze - ... quite centred in the study fastened on his physiognomy. - of her ... curls ... and perhaps - not quite aware to what he did "You examine me, Miss Eyre," - ... he put out his hand and said he; "do you think me - stroked one curl as gently as if handsome?" - it were a bird. He might have - stuck a knife into her neck, she "No sir." - started with such a taking.... - "And so under the pretence of - stroking and soothing me into - placidity, you stick a sly - penknife under my ear." - -Mr. Rochester and Jane Eyre were of course M. Héger and Miss Brontë. It -is indeed important and interesting to find at the old farmstead of -Wuthering Heights scenes reminiscent of the intimately pedagogic -relations that existed between Charlotte Brontë and M. Héger of the -school at Brussels. - -Discovering _Wuthering Heights_ and _Jane Eyre_ are practically as the -same book, I have disclosed their relationship in parallel columns--the -most satisfactory and conclusive evidence in the world. Herewith we see -both volumes agree in scenes and chapters virtually word for word, and -from beginning to end. Both works we now find are one in origin, each -containing not less than four identical characters portrayed by -Charlotte Brontë from her own life, she herself being the original of -the heroine in each book, and her friend M. Héger in the main the -original of the hero thereof. Charlotte Brontë's brother, Branwell -Brontë, in agreement with her estimate of him as a wreck of selfishness, -is the unhappy fool of both books; while her life-long companion, -Tabitha Aykroyd, who was to her as nurse, mother, and friend, is therein -the indispensable domestic servant and motherly good woman of the humble -class. - -I will not occupy my preface with an enumeration of the many important -and interesting Brontë discoveries I have been enabled to make and -present herewith in _The Key to the Brontë Works_. I may briefly -indicate my chief sensational discoveries:--The discovery of the origin -of _Wuthering Heights_ and _Jane Eyre_; the discovery that in _Jane -Eyre_ Charlotte Brontë immortalized not only herself and M. Héger, but -also her father, the Rev. Patrick Brontë, her brother, four sisters, her -aunt and a cousin, and Tabitha Aykroyd, the Brontë servant or -housekeeper; the discovery first revealing the history of Charlotte -Brontë's life at Brussels and friendship with M. Héger, the original of -her chief heroes; and the discovery of the most sensational fact that -Charlotte Brontë and not Emily wrote _Wuthering Heights_, and was -herself the original of the heroine and M. Héger that of the hero, as I -have mentioned. - -My warm thanks are due to Mr. Harold Hodge, who commissioned me to write -my article "The Key to _Jane Eyre_" for _The Saturday Review_;[3] and to -Mr. W. L. Courtney, M.A., LL.D., the editor of _The Fortnightly Review_, -who commissioned me to write my article "The Lifting of the Brontë Veil: -A New Study of the Brontë Family."[4] Mr. Courtney's words of -encouragement--those of a true gentleman and an eminent literary scholar -and author--have made bright to me the accomplishment of this work. - -I thank Lady Ritchie--the gifted author-daughter of Thackeray the writer -of _Vanity Fair_ to whom Charlotte Brontë in her second edition -dedicated _Jane Eyre_--for her kind permission to use in _The Key to the -Brontë Works_ what her ladyship had written me privately in regard to -her sitting at dinner beside Charlotte Brontë on June 12th, 1850, with -Mr. Thackeray and Mr. George Smith the publisher, when Miss Brontë was -wearing a light green dress, an incident that has relation to the green -dress in the interesting Héger portrait of Charlotte Brontë drawn in -1850, now the property of the nation and in the National Portrait -Gallery, London. - -I desire to express my gratitude to Miss Catherine Galbraith Welch, who -introduced an outline of my Brontë discoveries to the readers of _The -New York Times Saturday Review of Books_. I thank _The Spectator_, _The -Outlook_, and other organs for their open acknowledgment of the fact -that I have made a discovery at last throwing light upon Charlotte -Brontë's Brussels experiences and her relations with the Hégers at -Brussels. And I wish also to thank the anonymous and scholarly writer -who penned the long and careful article in _The Dundee Advertiser_ under -the heading "The Original of Jane Eyre," containing an encouraging -appreciation of the importance of my discovery I dealt with in my -article "The Key to _Jane Eyre_" in _The Saturday Review_. - -I would like to give a pressure of the hand to my subscribers for the -first edition of _The Key to the Brontë Works_. Your kind letters to me -and your active interest in _The Key to the Brontë Works_ will ever -dwell among my pleasant memories. One I grieve will never see on earth -these pages--the late Most Honourable Marquis of Ripon, K.G., who -numbered with my earliest subscribers. - -The readers of _The Key to the Brontë Works_ will love Charlotte Brontë -more and know her better than ever they have loved or known her in the -past. They will see her books are rich with new-found treasures, and -will recognize her to be a world's writer--a character of signal -eminence, one of the most illustrious of women. - -Truth will out, and facts have their appointed day of revelation; thus I -cannot help it that more than sixty years of writing on the Brontës is -placed out of date by my discoveries. - - JOHN MALHAM-DEMBLEBY. - - - - -THE KEY TO THE BRONTË WORKS. - - - - -CHAPTER I. - -OUTLINE OF CHARLOTTE BRONTË'S LIFE. - - -St. Michael the Prince of Messengers--to him was dedicated the little -church on the hill at Haworth, in the Parish of Bradford, Yorkshire, -whose living gave sustenance to the family of the restless, ambitious -son of Erin, Patrick Brontë.[5] Is it for nothing that a spiritual -banner is raised by man and appeal made for the beneficent influence of -a conception of definite personal character? Within this sacred -circumscription came to be written the works of Charlotte Brontë, and -herefrom the words of a Messenger went out to the uttermost parts of the -world. - -The mystery of impulse! The servant is not master, nor is the messenger -he that sendeth. Behind the lives of the great was ever an influence to -do: blind may be the early groping of Genius, stumbling her feet on the -rugged road of a darksome journey begun in the veiling mist of life's -dawn, but onward and ever onward is she impelled to the journey's end. -Ere Night blots out Genius her Message has accomplished. Glancing back -to the literary strivings of Charlotte Brontë's childhood, and upon -those quaint little efforts [Greek: peri tôn apistôn], which her young -brother and sisters sought to emulate,[6] we see her responsive to some -inward prompting that told her she must write. - -Born on April 21st, 1816, at Thornton, near Bradford, during her -father's curacy of that parish, Charlotte Brontë was one of a family of -six, whose mother died in 1821. The story of her literary beginnings -shows them to have been of the kind known to many aspirants. There were -the rebuffs of editors and of at least one famous author; and, in -addition, was the divertisement of her life as teacher and governess. -Her correspondence is voluminous. It was ever written down to the -intended recipient. As to the somewhat commonplace Ellen Nussey, whose -friendship, begun at Roe Head, near Dewsbury, the school of a Miss -Margaret Wooler, lasted to the end: she invariably discussed the -domestic and social happenings of the acquaintances known by or of -interest to them. Thus her letters[7] are commonly circumstantial and -seldom soared beyond the capacity, or exceeded the limits of the -departmental interests, of those for whom they were written. - -This was primarily the result of Charlotte Brontë's nervous perception -of character and recognition of the want of a truly psychical -reciprocity with her friends. She tells us that of all living beings -only "Rochester" understood her, and her letters to M. Héger, of her -Brussels school--the original of this character--were not preserved. In -the day of high fame, when she corresponded with literary folk, she -felt herself as on parade, rushed to make opinions, as say, on Miss -Austen, whom she criticized somewhat adversely. Obviously she hated to -be at the service of bookish letter-writers. Erratically she responded -to their promptings, trying not to be ruffled, but she could not reveal -her heart. From these letters, and the epistles of the class I have -previously mentioned, Mrs. Gaskell in the main wrote her famous -biography. The Charlotte Brontë known of the recipients of this -correspondence her biographer presented, backed with the necessary local -colour. She had enjoyed in the days of Miss Brontë's popularity a short -acquaintance with her; and when, at the death of Currer Bell, Mr. Brontë -requested her to write his daughter's "life," she was eminently fitted -to give the world Charlotte Brontë as known by her acquaintances. - -But of the intimate Charlotte Brontë, and the origin of the Brontë -works, the method of their construction, and their relation to the facts -and people of her life, Mrs. Gaskell could tell us virtually nothing. -Neither could she, nor any succeeding biographer, throw light upon Miss -Brontë's Brussels life, or upon the subject of her friendship with M. -Héger, who is discovered by internal evidence to be the original of -Currer Bell's chief heroes. Charlotte Brontë's was an intensely reserved -nature. She built to herself a universe which she peopled in secret. Her -real life she lived out again in her books. Therein appeared the real -Charlotte Brontë, and see we her life and its people as known to -herself. Whether she thought the secrets of her works would be revealed -I cannot tell; but as the traveller who in far distant lands inscribes -on some lonely rock the relation of his experience, conscious that a -future explorer will read the tale, so does Genius, with the faith which -gave her being, leave her message in the hope of an early day of -revelation, and in the secure knowledge of the final penetration of -truth. - -We now, sixty years after, find by aid of the many discoveries I have -made and present my readers in the pages of this, _The Key to the Brontë -Works_, that Charlotte Brontë, penning in her connective works the story -of her life, gave us the spectacle of a living drama wherein she was -herself a leading actor. Herein we see the imperfections and -shortcomings of human nature, and Charlotte Brontë herself is shown -standing in the slippery places. Before our eyes flits the procession of -the people who moved about her, and the air is filled with the -atmosphere through which her genius saw the world. In this new light of -revelation we perceive her great message is--the Martyrdom of Virtue. A -more poignant message I know not! And Charlotte Brontë was martyr in -this moving drama--nay, I believe there also was another. Spending two -years at a Brussels _pensionnat_ she gained the friendship of Monsieur -Héger, a devout Roman Catholic and a man of intellect who, himself once -a teacher at the establishment, as was M. Pelet in _The Professor_ at a -similar school, came to marry the mistress. Miss Brontë went twice to -Brussels, on the first occasion being accompanied by her sister Emily. -Finally, Charlotte Brontë left Brussels abruptly on account, it has been -said, of the harsh attitude of Madame Héger, who even forbade her -husband to correspond with Miss Brontë. Concerning this period and the -incidents associated therewith, I have been enabled to lift the veil. We -have thus, for the first time, external evidence that shows Charlotte -Brontë, at Brussels, endured the greatest ordeal through which it is the -lot of a woman to pass. We see how she and M. Héger emerged triumphantly -from dangerous temptation, and how they were aided, the one by her -Christian upbringing, the other by the influence of his Church. - -It was in January 1844 when Charlotte Brontë returned finally from -Brussels; and she and her sisters printed a circular in connection with -a project of starting a private school at Haworth, but no progress was -made. Charlotte Brontë's life at this period will be better understood -by a reference to the chapters on "The Recoil" in this work--it was her -darkest time: when the human in her cried out--as it has, alas! in so -many at the bitter hour. She rebelled. Not violently; but by reproach. -Only her own pen can tell how cruelly she suffered mentally. She had -done no wrong and had resisted a great evil, but the recoil found her -weak: it was the martyrdom of virtue. She was suffering for the sake of -right; and that she cried aloud as in an agony showed her suffering was -intense. The storm left the world _Wuthering Heights_. The tone of -ribald caricature in dealing with the Pharisee Joseph; the impatient, -vindictive pilloring of her own nervous and physical infirmities as -"Catherine"; the ruthless baring of the flesh to show "Heathcliffe's" -heart was stone; the wilful plunging into an atmosphere of harsh levity, -crude animalism, and repulsive hypochondria, all contributed to a sombre -and powerful work of art grand in its perpetration, standing alone in -solemn majesty like the black rack that stretches low athwart a clear -sky--the rearward of the storm. But it bears the story of a sad Night, -and Charlotte Brontë's subsequent works were written in repentance: for -in Heathcliffe and Catherine of _Wuthering Heights_ she had portrayed M. -Héger and herself. - -In this dark hour of Charlotte Brontë's life, Emily Brontë, to whom she -afterwards gave _Wuthering Heights_, was writing, on July 30th, 1845,[8] -that she, Emily, was "contented and undesponding," and was engaged upon -and intended to continue some puerile compositions called _The Gondal -Chronicles_, which she spoke of as "delighting" her and Anne. She and -Anne had been engaged upon this effort three and a half years, and it -was yet unfinished. - -While making comparison between Emily's and Charlotte's standpoint at -this time--and Charlotte obtained for herself the names of Currer Bell -from Montagu's book which, as I show, contained the "plot," etc., of -_Wuthering Heights_, for her own use in the Brontë poem publishing -project of 1845-46--it is most important to note that but some months -after Emily's diary entry _Wuthering Heights_ was offered by Charlotte -to Messrs. Aylott and Jones, with _The Professor_ and _Agnes Grey_--on -April 6th, 1846. The literal evidence of _The Key to the Brontë Works_ -does not require that we ask by what miracle the "contented" Emily -Brontë, who had collaborated three and a half years with Anne on _The -Gondal Chronicles_, and declared an intention at the end of July 1845 to -"stick firmly" to their composition, could come, in addition to -preparing her poems for the press, to begin and to finish _Wuthering -Heights_ by or before April 6th, 1846.[9] - -After Charlotte Brontë's return from Brussels the degeneracy of her only -brother, Patrick Branwell Brontë, a young man ambitious, but not -successful, as an artist, made him an object of her disgust and -antipathy, and we find she portrayed him unflinchingly as Hindley -Earnshaw of _Wuthering Heights_, and again as John Reed of _Jane Eyre_. -Emily, we have been told, liked her brother, though an attempt was made -somewhat recently to dissipate the tradition.[10] But Charlotte, after -the deaths of her elder sisters, Maria and Elizabeth, the eldest of the -family, obviously was piqued from childhood by the advantage Branwell's -sex gave him over her seniority, more especially as he seems to have -been brutal to her:--See "A Rainy Day in Charlotte Brontë's Childhood," -in _The Key to the Brontë Works_. - -It may be observed Charlotte Brontë went to three schools, and that each -had a remarkable influence upon her life and literature. The first was -the Clergy Daughters' School in the Kendal locality, to which her -sisters Maria, Elizabeth, and Emily also went upon the death of the -ailing Mrs. Brontë at Haworth. The second was Miss Wooler's school -already mentioned, and the third the Brussels _pensionnat_. The fact -that _Jane Eyre_ virtually opens with the Clergy Daughters' School -incidents--incidents drawn from her child-memory regarding the temporary -mismanagement of an establishment which subsequently has proved a most -useful foundation--shows she began _Jane Eyre_ with the utmost possible -fidelity to truth in so far as regarded herself and her associations. -The story of how this famous work was sent in 1847 to a firm of -publishers who had just declined her novel _The Professor_ is well known -history, as is the relation of the subsequent success of the book and -the elevation of Charlotte Brontë to the highest recognition. - -_Wuthering Heights_ had been published as Ellis Bell's work, a _nom de -guerre_ that also had appeared over Emily Brontë's poems. It was issued -under the condition that the next book by its author went to the same -publisher, a Mr. Newby, which, of course, made impossible thereafter -Charlotte Brontë's acknowledging her authorship of this work, as the -next book by the author of _Wuthering Heights_, her _Jane Eyre_, was -published by another house. But there are evidences in _Shirley_ that -despite her nervous apprehensions, and her letters show she was very -much afraid of this Mr. Newby, who afterwards asserted she wrote -_Wuthering Heights_, she therein carefully placed significations of her -authorship of _Wuthering Heights_. - -_Villette_ was published in January 1853, and in the June of 1854 Currer -Bell married her father's curate, the Rev. A. B. Nicholls, whom she -previously had refused. She married him, it may be, as a final -immolation of herself on the altar of Right and Duty. Her married life -was but for some few months--it was so short we yet call her Charlotte -Brontë. Her father outlived her by six years. The last survivor of the -young Brontës, she died in March 1855, within a month of old Tabitha -Aykroyd, her best loved woman friend and companion apart from her own -kinsfolk. Charlotte Brontë, with other members of her family, rests in -the grey fabric which is the modern representative of that early -described as the church of St. Michael the Archangel de Haworth. Her -message is yet with us; the tablets of her life she has bequeathed to -posterity, and the key to open the way to their repository is now in our -hands. Her genius has shown the price of right-doing and the grim and -dangerous valley through which Virtue must go ere break of Day. - - - - -CHAPTER II. - -THE ORIGIN OF THE CANDLE-BEARING BEDSIDE VISITANT AND THE UNCOUTH -SERVANT IN "WUTHERING HEIGHTS" AND "JANE EYRE." - - -My evidence shows that between 1837 and 1847 Charlotte Brontë was -perusing very attentively a little volume entitled _Gleanings in Craven, -or the Tourist's Guide_, by one Frederic Montagu of Lincoln's Inn, son -of Basil Montagu, second (natural) son of John Montagu, fourth Earl of -Sandwich, whose ancestor brought Charles II. over from Holland on the -Restoration in 1660 and therefor received his earldom.[11] The book, -which had never been associated by any person with the name or works of -Charlotte Brontë till I wrote my article, "The Key to _Jane Eyre_," upon -it for _The Saturday Review_, was in the form of "Six letters to a -friend in India," addressed as, "My dear Howard ... now at Bombay," and -was dedicated by special permission to the Duke of Devonshire, a fact -not mentioned save in the early editions. It was printed at Briggate, -Leeds, by A. Pickard, and published at Skipton-in-Craven in 1838. -Messrs. Simpkin, Marshall & Co. were the London publishers. - -Frederick Montagu was a gentleman travelling in Yorkshire for his -health's sake it seems, and it occurred to him to relate in epistolary -form the story of his adventures. He had read the local writers, but it -is most clear Charlotte Brontë was particularly influenced in the -construction of her great masterpieces, _Wuthering Heights_ and _Jane -Eyre_, by his purely personal contributions. It was not only as a -gleaner of local hearsay that Montagu wrote the long panegyric upon Miss -Currer which obviously resulted in Charlotte Brontë's choosing the name, -but as one whose attention had been drawn to her literary eminence. -Thomas Frognall Dibdin, who in his _Reminiscences of a Literary Life_ -(1836) spoke so good a word for Basil Montagu, Frederic's father,[12] -under whom he had studied for the bar, also devoted in those -_Reminiscences_ many pages to Miss Currer and Eshton Hall. Thus we read -in Montagu's _Gleanings in Craven_:-- - - And now as to literature ... Miss Currer is the head of all the - female bibliopolists (_sic_) in Europe, the library of Eshton Hall - fully bearing out this truth.... In taking my leave of Eshton - Hall, there is a subject upon which I must say a word: it is only - the repetition of the echo I have heard about Eshton.... There was - one name connected by every person with worth and excellence--one - who in the continual performance of charity, like a pure but - imbedded stream, silently pursues her kind course, nourishing all - within her sweet influence:--I believe it may be truly said no - person is more deservedly loved and respected than Miss Currer. - -As to "Bell," which like "Currer," came to be chosen by Charlotte Brontë -from Montagu's book for her pen-name in the poem publishing project of -autumn 1845--only some months before _Wuthering Heights_ was supposed to -have been written--Montagu says:-- - - Kirkby-Lonsdale is a neat, stone-built town, and has a free - Grammar School.... It was at this school that the celebrated - lawyer, and one of his late Majesty's Counsels, the late John - Bell, Esq., received his education. - -And three lines before this Montagu has described the views of the Lune, -"and the prospect from the churchyard, taking in Casterton Hall."[13] -This is the very background of the early chapters of _Jane Eyre_. -Indeed, Casterton Hall was the original of Brocklehurst Hall in _Jane -Eyre_, and here resided the Rev. W. Carus-Wilson, the original of Mr. -Brocklehurst, "the black marble clergyman" of the school at Lowood; -while Kirkby-Lonsdale was the original of Lowton of _Jane Eyre_. These -facts compel us to perceive that Charlotte Brontë would naturally be led -by Montagu's words, to recall she too as regards her education had been -associated with the locality mentioned. These references seem to have -made Currer Bell relate in _Jane Eyre_ her experiences in that district. -Neither Miss Brontë nor Mrs. Gaskell, her biographer, gave any -information as to the origin of the "Currer" and "Bell" of Currer Bell, -but it is known the "Bell" was not chosen from the name of the Rev. A. -Bell Nicholls whom she afterwards married.[14] - -A further personal contribution by Montagu, one he based on gossip -rather than on tradition, was the story of a foundling who, he says, was -discovered by a shepherd on a rocky elevation. This I find Charlotte -Brontë evolved into "a cuckoo story." The circumstance that this male -child was found on the craggy summit of a hill may have dictated to her -the name of the foundling Heathcliffe of _Wuthering Heights_. - -I moreover find that, influenced by Montagu's quaint descriptions of the -wild and remote neighbourhood, Charlotte Brontë made Malham and the -valley of Malham the background of her story, _Wuthering Heights_. With -Malham, Montagu associated the names of Linton and Airton (Hareton); the -Fairy Cave, the Crags, glens, mists; a grey old church in the valley, -the "Kirk" by Malham, Kirkby Malham Church, which Charlotte Brontë calls -in _Wuthering Heights_ Gimmerton Kirk; a rapid stream and a Methodist -chapel. And he draws attention to Malham, being at the foot of a range -of steep mountains--"the Heights," and having an annual sheep fair, when -over one hundred thousand sheep are shown at one time, the which -observation was, we now discover, responsible for Charlotte Brontë's -choice of "Gimmerton" and "Gimmerden," from "gimmer," a female sheep, -and meaning respectively the village of sheep and the valley of sheep, a -characteristic of hers being that she often chose her names on what she -termed the _lucus a non lucendo_ principle.[15] - -Having in _Wuthering Heights_ made so pointed a reference to the Fairy -Cave in the neighbourhood of Gimmerton, and having therein associated -with it the names of Airton (Hareton) and Linton, which Montagu -connected with Gimmerton or Malham, Charlotte Brontë had not openly -mentioned in that work the Fairy Janet referred to by Montagu, though -she hinted at "the mysteries of the Fairy Cave." But I find that her -"elfish" imagination induced her later, in _Jane Eyre_, to appropriate -for herself the rôle of the Fairy Janet, the Queen of the Malhamdale or -Gimmerden elves, who ruled in the neighbourhood of Gimmerton and of -Wuthering Heights, the home of Catherine Earnshaw. Thus we see Charlotte -Brontë primarily associated both Catherine Earnshaw, the heroine of -_Wuthering Heights_, and Jane Eyre, the heroine of _Jane Eyre_, with -Malham. And discovering the impetuosity of her imaginative nature and -its romantic turn, I doubt not she was impatient to begin the tale of -the "fairy-born and human-bred" heroine whose surname she took from the -River Aire or Ayre, which sprang, as Montagu carefully indicates, from -Malham, or Gimmerton, as Charlotte Brontë would say in her _Wuthering -Heights_. From this came the suggestion of the "Rivers" family, with -which I deal later, the names employed by Charlotte Brontë being -River(s), Burn(s), Aire or Eyre, Severn, Reed, and Keeldar. - -Another of Montagu's personal contributions which greatly influenced -Charlotte Brontë was on the leaf before the mention of John Bell, Esq., -and on the same leaf as the mention of Casterton Hall, headed "A Night's -Repose." This was the narration of a night's adventure, Montagu telling -how he went to a lonely hostelry and found an unwillingness in the -hostess to give him bed and shelter. He also discovered a mystery -surrounded the hostess and a peculiar, harsh-voiced country-bred -man-servant--who came to be the original of Joseph of _Wuthering -Heights_. At night the apparition of the hostess appears at Montagu's -bedside, white-faced and lighted candle in hand. It is plain the -peculiar man-servant appealed very strongly to Charlotte Brontë, and -thus in both her _Wuthering Heights_ and _Jane Eyre_ transcriptions of -the midnight incident this characteristic is marked and recognizable: in -Joseph; and in Grace Poole, by what I have termed Charlotte Brontë's -Method I., interchange of the sexes of characters. In _Wuthering -Heights_, by her same Method I., Montagu's inhospitable hostess became -the inhospitable host Heathcliffe; but in each of Charlotte Brontë's -versions--_Wuthering Heights_ or _Jane Eyre_--a central figure of the -incidents she based upon Montagu's story of "A Night's Repose" was the -uncouth, coarse-voiced country-bred servant. - -We also shall see that Montagu's reference to lunacy being an exception -to his objection against the separation of husband and wife, and the use -he made of a verse in his Malham letter, likening the moon to - - "A ... lady lean and pale - Who totters forth wrapt in a gauzy veil, - Out of her chamber led by the insane - And feeble wanderings of her fading brain," - -were responsible for the "plot" of _Jane Eyre_ including an insane lady -who wanders out of her chamber at night and dons a vapoury veil. - -And evidence of the enthusiasm with which Charlotte Brontë applied -herself to _Jane Eyre_ is the fact that she at once took from Montagu's -little volume for this her second story based upon the book's -suggestions, the names of - - Broughton, Poole (from Pooley), Eshton, Georgiana, Lynn (from - Linton), Lowood (from Low-wood), Mason, Ingram, Helen,[16] and - possibly Millcote (from Weathercote). - -Thus far we see Charlotte Brontë drew _Wuthering Heights_ and _Jane -Eyre_ from the same source; that in a word, _Jane Eyre_, was Charlotte's -second attempt to utilize and amplify the suggestions in Montagu's work -which had appealed to her when she began _Wuthering Heights_, and we see -the suggestions she utilized in _Jane Eyre_ always bear unmistakable -relationship to those she had utilized in her _Wuthering Heights_. But -the use Charlotte Brontë made of Montagu's book was not in the nature of -literary theft; that volume simply afforded suggestions which she -enlarged upon. - -I shall presently show how I find _Jane Eyre_ is the second attempt of -Currer Bell to enlarge upon suggestions that had appealed to her when -she first read Montagu. For a commencement I will refer to the early -construction of her _Wuthering Heights_ and _Jane Eyre_. As simple -stories they both are based upon the description Montagu gives of an -isolated hostelry with an inhospitable hostess, a midnight apparition, -and an air of mystery that surrounds the hostess and a peculiar, uncouth -servant, to whom I have already alluded. The stage properties of this -narrative, the characters, and the "action" or plot, I will give side by -side, as they appear severally, first in Montagu, next in _Wuthering -Heights_, and finally in _Jane Eyre_. Herewith the reader will have -excellent examples of the two chief methods I find Charlotte Brontë -employed often when she drew from a character in more than one work or -instance, or when she desired to veil the identity of her originals. -Charlotte Brontë's Methods I. and II., being discovered equally in -_Wuthering Heights_ and _Jane Eyre_ show, as conclusively as any other -evidence, that she was the author of both works. No consideration -whatsoever can alter the iron fact or depreciate from its significance, -that it was absolutely my discovery of Charlotte Brontë's Methods I. and -II., which revealed to me the sensational verbal and other parallels -between _Wuthering Heights_ and _Jane Eyre_ I give in _The Key to the -Brontë Works_:-- - -Read carefully:-- - -Charlotte Brontë's Method I.--The interchange of sexes. Thus the -original of A may be a woman, and the original of B a man; but A may be -represented as a man, and B as a woman. - -Charlotte Brontë's Method II.--Altering the age of a character -portrayed. Thus the original of C may be young, and the original of D -old; but C may be represented as old, and D as young. - -The literal extracts to which I have referred I print as occurring in -the three works:--Montagu the original, _Wuthering Heights_, and _Jane -Eyre_. I will first give the substance, or subject matter, side by -side:-- - - MONTAGU. _Wuthering Heights._ _Jane Eyre._ - - Montagu goes on Lockwood, of whom Jane (Method I., - horseback to a Montagu was palpably interchange of the - solitary house at a the original, goes sexes) goes to a - distance from any on horseback to a solitary house, - habitable dwelling, solitary house at a alone. Comfort is all - alone, and seeks a distance from any around, but an air of - night's repose. But habitable dwelling, mystery surrounds - though comfort is all alone, and seeks a the master's wife and - around, he finds an night's repose. But a peculiar - air of mystery he finds an air of harsh-voiced female - surrounds the mystery surrounds the servant (Method I., - inhospitable hostess inhospitable host interchange of the - and her deep-voiced, (Charlotte Brontë's sexes). - Yorkshire Method I., - dialect-speaking, interchange of the - country-bred sexes) and his - man-servant. harsh-voiced, - Yorkshire - dialect-speaking, - country-bred - man-servant. - - Montagu is shown to Lockwood is shown to Jane, in bed one - bed up a step-ladder bed, and sleeps only night, sleeps only - that leads through a fitfully, dreaming. fitfully, dreaming. - trap, and sleeps only He hears noises and She hears noises and - fitfully, dreaming. perceives a gleam of perceives a gleam of - He hears noises and light. He starts to light. She starts to - perceives a gleam of find the white-faced find the apparition - light He starts to apparition of his of her master's wife - find the white-faced host standing at his standing at her - apparition of his bedside, lighted bedside, lighted - hostess standing at candle in hand, his candle in hand, her - his bedside, lighted features convulsed features convulsed - candle in hand, her with diabolical rage. with diabolical rage. - features convulsed The harsh-voiced, The harsh-voiced, - with diabolical rage. Yorkshire peculiar female - The deep-voiced, dialect-speaking servant Jane first - Yorkshire man-servant, a sour encountered after - dialect-speaking old man (Charlotte having gone to the - peculiar man-servant Brontë's Method II., attics and through a - he sees by looking the altering of the trap-door to the - down the step-ladder age of a character roof. - through the trap. portrayed), comes - down a step-ladder - that vanished through - a trap. - -In the literal extracts I now give the reader will perceive that in the -description of the bedside, candle-bearing apparition in _Jane Eyre_, -Charlotte Brontë followed Montagu almost word for word, and in the whole -staging of the midnight episode at the house of the inhospitable host in -_Wuthering Heights_ followed him entirely in outlining the story. Both -the _Wuthering Heights_ and _Jane Eyre_ versions give unequivocal -evidence of being refractions from Montagu conveyed through one brain -alone, the peculiar idiosyncrasy and elective sensitiveness of which are -undeniably recognizable as Charlotte Brontë's:-- - - MONTAGU. _Wuthering Heights._ _Jane Eyre._ - - A Night's Repose. A Night's Repose. A Night's Repose. - - My servant having Heathcliffe, when he Jane is shown the - lamed his steed ... saw my horse's breast bedrooms of the - I arrived alone at a fairly pushing the secluded Thornfield - small hostelry in a barrier, did put out Hall:-- - secluded part of his hand to unchain - the country, and it ... calling as we "Do the servants - apparently at some entered the court, sleep in these - distance from any "Joseph, take Mr. rooms?" - habitable dwelling. Lockwood's horse; and - Having determined to bring some wine." "No ... no one sleeps - rest for the night, here. One would ... - I discovered in the Joseph was an say that if there - woman who seemed to elderly, nay an old were a ghost at - be the hostess an man, very old Thornfield Hall this - anxiety to get rid perhaps, though hale would be its haunt." - of me; but with the and sinewy. "The Lord - usual obstinacy of help us!" he ... I followed ... to - curiosity caused soliloquised in an the attics, and - by this apparent undertone of peevish thence by a trap-door - anxiety, I determined displeasure, while to the roof of the - not to be thwarted; relieving me of my hall ... a laugh - so, putting up my horse, looking ... in struck my ear ... - horse, I entered the my face so sourly "Who is it?" - house, and sat down that I charitably - to a humble but conjectured he must ... the laugh was as - substantial meal, have need of Divine preternatural ... as - prepared during aid to digest his any I ever heard.... - my absence in the dinner, and his pious - stable; and though ejaculation had no The ... door opened, - comfort had sway with reference to my and a servant came - all around me, yet unexpected advent. out--a woman of - there was an evident between thirty and - air of profound "Guests are so forty; a set, - mystery between my exceedingly rare in square-made figure - hostess and her this house that I and ... and with a hard, - boy-of-all-work, a my dogs hardly know plain face.... - thick-set son of the how to receive them," - north, with a deep says Heathcliffe. One day Jane, out for - voice and a sturdy a walk, sees a - manner; whilst I, Resuming his horseman approaching - with all the narrative in Chapter who, in sympathy with - malignant pleasure of II., Lockwood tells Montagu's story of - counteracting any us he goes again to laming a horse, has - mystery, secretly Wuthering Heights and an accident. - enjoyed the hope of gains admittance with - discovering the difficulty, after "Did the horse fall - reason of wishing my muttering, "Wretched in Hay Lane?" Jane - absence.... I was not inmates, you deserve asks later of a - at all disconcerted, perpetual isolation servant. - but philosophically ... for your churlish - finished my meal ... inhospitality. I "Yes, it slipped." - and at an early hour don't care, I will - requested to be shown get in." Thus Jane learns the - where I was to rest horseman is the - for the night. "As to staying here," master of Thornfield - Refusing to listen cries Heathcliffe, "I Hall. She discovers - to any excuse, I was don't keep an air of mystery - shown up a ladder accommodations for surrounds the master - into a small room.... visitors: you must of the house; and a - I thanked my guide, share a bed with thick-set woman - and ... laid down Joseph [the servant is involved. - with the expectation country-bred servant] - of sleeping hard, an if you do." - expectation which was Chapter XV. - not realized, for - thoughts obtruded Chapter III. Though I had now - themselves upon me, extinguished my - wholly preventing Lockwood at last is candle and was laid - repose. Midnight had guided to bed by a down in bed, I could - scarcely fallen when servant. While not sleep for - I heard voices in the leading the way, she thinking of the - room below, and by a recommended ... "I [mystery that seemed - light which grew should hide the to surround Mr. - stronger every moment candle, ... for her Rochester].... I - I felt some person master had an odd hardly knew whether I - was about to ascend notion about the had slept or not - the ladder. chamber ... and never after this musing; at - let anybody lodge any rate I started - Before Charlotte there willingly."... wide awake on hearing - Brontë proceeds I sank back in bed a vague murmur.... I - with the dramatic and fell asleep.... wished I had kept my - experiences of this Alas! what could it candle burning; the - terrible night she be that made me pass night was drearily - provides entirely such a terrible dark.... I rose and - original matter night? I don't sat up in bed - independent of remember another that listening;... I was - Montagu, as a I can compare with it chilled with fear.... - preface. I will give since I was capable I began to feel the - Montagu his space, of suffering. return of slumber. - however, for we But it was not fated - have here a duet in ... I began to ... I should sleep - unison, so to speak, dream.... I had set that night. A dream - between _Wuthering out on my way home, had scarcely - Heights_ and _Jane with Joseph for a approached my ear - Eyre_. The trio will guide. The snow lay when it fled - be resumed in perfect yards deep in our affrighted.... There - sequence after road. We came to a was a demonia laugh - Montagu has rested a chapel.... Presently ... at my chamber - few bars in the the whole chapel door.... I thought - introduction. My resounded with the goblin laughter - reader will note with rappings and stood at my - sensational interest, counter-rappings; ... bedside.... Something - I am sure, that in at last, to my ... moaned. "Was that - both of Charlotte unspeakable relief, Grace Poole?" [the - Brontë's they awoke me.... thick-set servant] - introductions to the What ... had thought I.... There - appearance of the suggested the tumult? was a candle burning - candle-bearing, ... the branch of a outside. - frenzied, bedside fir-tree that touched - apparition, the my lattice as the - separate narrators blast wailed by.... Chapter XXV. - tell us that a gale - is blowing; that I dreamt again, if ... After I went to - they dreamed most possible still more bed I could not - disagreeably twice. disagreeably than sleep--a sense of - The first dream being before.... I heard anxious excitement - in each instance that the gusty wind, ... I depressed me. The - of journeying upon an thought I rose ... to gale still rising - unknown road, and the unhasp the casement. seemed to my ear to - second dream that of "I must stop [the fir muffle a ... doleful - an unknown ice-cold bough's teasing undersound.... During - little child (always sound]," I muttered, my first sleep I was - referred to in the knocking my hand following the - neuter "it"), which through the glass and windings of an - "wailed piteously" stretching an arm out unknown road; ... - and "clung" to the to seize the ... rain pelted me; I was - narrators in branch; instead of burdened with the - "terror," intense which my fingers charge of a little - horror being closed on the fingers child--a very small - accentuated by their of an ice-cold hand! creature, ... which - being unable to rid The intense horror of shivered in my cold - themselves of the nightmare came over arms and wailed - clinging, shivering me: I tried to draw piteously in my ear. - small "creature," as back my arm, but the - Charlotte Brontë hand clung to it, and I dreamt another - calls "it." The a most melancholy dream.... I still - "doleful" moaning and voice sobbed.... I carried the unknown - the "blast" play discerned ... a little child: I might - their part in each child's face looking not lay it down - version, and in both through the window. anywhere, however - a "branch" is duly Terror made me cruel, tired were my - grasped or seized by and finding it arms--however its - the dreamer. For the useless to attempt weight impeded my - origin of this shaking the creature progress, I must - wailing little off, I pulled its retain it.... I - creature see my wrist on to the climbed the thin - chapter, "Charlotte broken pane, ... wall [of the house] - Brontë's Child rubbing it to and fro with frantic, - Apparition." till the blood ran perilous haste, ... - down; ... still it the stones rolled - Further, the reader wailed ... and from under my feet, - will observe that in maintained its the ivy branches I - both _Wuthering tenacious gripe, grasped gave way, the - Heights_ and _Jane almost maddening me child clung round my - Eyre_ Montagu's with fear. neck in terror, and - bedside, almost strangled - candle-bearing I said, "Let me go!" me.... The blast blew - apparition is not a The fingers relaxed, so strong.... I sat - dream, but a I snatched mine ... down on the narrow - candlelit reality, and stopped my ledge; I hushed the - immediately sequent ears.... Yet the scared infant, ... - to the dream of the instant I listened the wall crumbled; I - tenacious child again, there was the was shaken; the child - phantom. doleful cry, rolled from my knee; - moaning;... I tried I lost my balance, - I will here resume to jump up, but could fell, and awoke. - Montagu's narrative: not stir a limb.... - ... By a light which - grew stronger every Hasty footsteps "Now, Jane, that is - moment, I felt some approached my chamber all," put in - person was about to door, ... a light Rochester. To which - ascend the ladder. At glimmered ... at the Jane Eyre replies, - this moment every top of the bed. I sat "All the preface; the - murder ... I had shuddering yet, and tale is yet to come." - heard of crowded upon wiping the On waking a gleam - my brain, and I perspiration from my dazzled my eyes; ... - instantly determined forehead. The it was candle - to make the best intruder appeared to light.... A form - fight I could, ... hesitate.... emerged from the - and with my partially closet; it took the - closed eyes turned ... Heathcliffe stood light and held it - towards the near the entrance, in aloft.... I had risen - trap-door. I had only his shirt and up in bed, I bent - just time to make my trousers, with a forward, ... then my - arrangements when, candle dripping over blood crept cold - clad in a white gown, his fingers and his through my veins.... - fastened close up to face white.... The It was not even that - her neck, with her first creak of the strange woman Grace - black hair, matted by oak startled him, ... Poole [the thick-set - carelessness, hanging the light leaped from servant].... It - over her collar, and his hold.... seemed ... a woman - as pale as death, ... with thick and - ascended my hostess. "It is only your dark hair hanging - Never shall I forget guest, sir," I called long down her back. I - her dreadfully out. "I had the know not what dress - hideous expression. nightmare." she had on: it was - She came up to the white and straight; - bedside and looked at "Mr. Lockwood ... who but whether gown, - me for a full minute, showed you up to this sheet or shroud I - and after passing the room?" grinding his cannot tell. The - candle carefully teeth to control the features were fearful - before my eyes, left maxillary and ghastly to me; - me, and carefully convulsions. ... it was a savage - descended the ladder. face. I wish I could - "It was your servant, forget ... the - Montagu arises, and, Zillah," I replied, lineaments.... Just - looking down the flinging myself on to at my bedside the - ladder, finds the the floor, and ... figure stopped: the - thick-set servant is resuming my fiery eye glared upon - also astir with the garments.... "The me--she thrust up her - mysterious, hideous place ... is swarming candle close to my - visitant. Then with ghosts and face, and - Montagu hears his goblins." extinguished it under - trap-door replaced; my eyes. - and he wakes to learn "What do you mean?" - he has had the asked Heathcliffe.... "Now," says - nightmare. "Lie down and finish Rochester. "I'll - out the night since explain to you all - you _are_ here...." about it. It was half - dream, half reality: - I descended; ... a woman did, I doubt - nothing was stirring not, enter your room; - ... and then Joseph and that woman - [shuffled] down a was--must have - wooden ladder that been--Grace Poole - vanished through a [the thick-set - trap--the ascent to servant]. You call - his garret, I her a strange being - suppose. yourself." - -Truly Montagu's description of the coarse-voiced, thick-set, -country-bred servant, and his implication with the mystery of the lonely -house had impressed Charlotte Brontë considerably. Whether she portrayed -him as the Joseph of _Wuthering Heights_ or, by her Method I., as the -Grace Poole of _Jane Eyre_, Charlotte Brontë respects the original -associations of this character as they were figured to her by Frederic -Montagu's little fiction of "A Night's Repose." Herewith have we -evidence as to mental idiosyncrasy and elective-sensitiveness -recognizable as Charlotte Brontë's--proof that her brain and none other -was responsible for both the _Wuthering Heights_ and the _Jane Eyre_ -versions of the midnight incident from Montagu. - - - - -CHAPTER III. - -ORIGIN OF THE FOUNDLING HEATHCLIFFE AND HIS NAME IN "WUTHERING -HEIGHTS"--ORIGIN OF THE INSANE LADY AND THE WHITE VEIL SCENE IN -"JANE EYRE." - - -We have now seen that Montagu's book provided Charlotte Brontë with the -idea for a lonely house of mystery--a mystery which should surround a -host with a peculiar, harsh-voiced, uncouth, north-country servant, and -I have shown how that idea was adopted by her for _Wuthering Heights_ -and afterwards for _Jane Eyre_. At one time Charlotte Brontë wrote the -_Tale of a Foundling_, and she certainly read with interest a remarkable -story told by Montagu of a foundling who, he tells us in the letter next -before the Malham letter, was discovered by a shepherd on the top of a -craggy "mountain," a circumstance which perhaps led her in making use of -this foundling story to name the child Heathcliffe. I will place the -substance of the two stories side by side:-- - - MONTAGU. _Wuthering Heights._ - - On the top of a craggy height In a wild, hilly country, a male - a male infant "was found by a infant was brought home by a - shepherd, who took it to his farmer who had found it - home, and after feeding and homeless. He brought up the - clothing it he had the child child, and the rest of its - named Simon; being himself but career is the obvious "cuckoo - a poor man he was unable to story": the child ousts the poor - maintain the foundling," when farmer's family. It was called - was agreed to by his friends Heathcliffe. - that the child should be kept - "ameng 'em." The child was - called Simon Amenghem. - -The cuckoo story derived obviously from the history Montagu gives of the -foundling became thus the backbone of _Wuthering Heights_; but it is -possible that the cuckoo story requiring the foundling should be painted -with all the viciousness and cruelty of character necessary to his part, -Charlotte Brontë found herself dissatisfied with the story. And -portraying herself in the narrative as Catherine Earnshaw, her hero -became M. Héger. This naturally led to an awkward clashing. Whether the -extreme "demonism" of Heathcliffe must be understood as being in the -main due to his rôle as the "cuckoo," who was to oust the poor farmer's -offspring "like unfledged dunnocks," to quote Mrs. Dean, I will not in -this chapter inquire. - -Turning again to Montagu's book, Charlotte saw a further suggestion that -contained excellent "plot" possibilities. This was the question of -lunacy being an exception to the objection against the separation of -husband and wife, Montagu's relation being Barry Cornwall (to whom, by -the way, Thackeray dedicated _Vanity Fair_), who was a Metropolitan -Commissioner in Lunacy. To Charlotte Brontë, however, the subject came -simply as a useful suggestion. She had no views upon it, and she desired -only that her heroine would marry Rochester, the hero with an insane -wife. At heart Charlotte was indifferent as to the vital point, even -nullifying the very theme of the plot by making Rochester aver that if -Jane Eyre had been the mad wife, he would still have loved and cherished -her. - -It would appear that in conjunction with Montagu's remarks on lunacy and -the separation of husband and wife, an extract he gives from Shelley is -also responsible for a wife's lunacy being the theme of the plot of -_Jane Eyre_. The extract which Montagu quotes in the Malham letter is -where the poet speaks of "The Waning Moon" as like-- - - "A ... lady lean and pale - Who totters forth wrapt in a gauzy veil - Out of her chamber led by the insane - And feeble wanderings of her fading brain." - -Thus was evidently suggested to Charlotte Brontë the hanging up in the -closet of the "vapoury veil" for the stage purposes of the "insane -lady"; and in _Jane Eyre_ Montagu's night-wandering, candle-bearing -hostess became a lady who passed, after the manner of the lines he -quoted,-- - - Out of her chamber led by the insane - And feeble wanderings of her fading brain-- - -became Mrs. Rochester. Norton Conyers, a house near Ripon, it is said, -is associated with the story that a mad woman was once confined -there.[17] If Charlotte Brontë was familiar with this story, and we are -told the interior is somewhat similar to the descriptions of Thornfield, -we can understand that, perusing Montagu's book at the time when she was -utilizing his narrative of the candle-bearing, hideous-faced, white-clad -midnight visitant in a house of mystery, she would the more readily -appropriate the further suggestions his work contained in regard to a -wife's insanity, and the "veil-clad" apparition of a night-roaming -insane lady. It is important to note, however, that the evidence of my -preceding chapter proves indubitably the "mad woman" was but a secondary -suggestion--the primary suggestion responsible for the plot of _Jane -Eyre_ being that of Montagu's midnight apparition. And just as the -thick-set country-bred servant denotes in the question as to the origin -and author of the candle-bearing bedside visitant in _Wuthering Heights_ -and _Jane Eyre_, the "gauzy veil" likewise denotes as to the origin of -the mad woman of _Jane Eyre_. So we read in the beginning of Chapter -XXV. of _Jane Eyre_, that Jane leaves the vapoury veil in the closet:-- - - To conceal the strange, wraith-like apparel it contained; which, - at this evening hour ... gave out certainly a most ghostly shimmer - through the shadow of my apartment. "I will leave you by yourself, - white dream," I said. - -Then farther on we read that:-- - - The moon shut herself wholly within her chamber, and drew close - her curtain of cloud, - -which is simply an antithetical paraphrase of Montagu's quoted verse on -"The Waning Moon" which, like - - A ... lady ... pale ... totters forth wrapt in a gauzy veil, out - of her chamber. - -And in the same chapter of _Jane Eyre_ we read finally that the insane -lady, who has come out of her chamber, - - "... took my veil from its place; she held it up, gazed at it - long, and then she threw it over her head, and turned to the - mirror ... it removed my veil from its gaunt head, rent it in two - parts, and flinging both on the floor, trampled on them." - - - - -CHAPTER IV. - -A RAINY DAY IN CHARLOTTE BRONTË'S CHILDHOOD: THE OPENING INCIDENT IN THE -AUTOBIOGRAPHIES OF THE HEROINES OF "WUTHERING HEIGHTS" AND "JANE EYRE." - - -Seeing Catherine Earnshaw, the heroine of _Wuthering Heights_, was -drawn, as I find, by Charlotte Brontë for her autobiographical self, the -real commencement of that work, in so far as personal narrative was -concerned, is the diary extract she wrote of herself in her earliest -childhood.[18] In _Jane Eyre_ she placed her earliest childhood memories -at the beginning of the story. I will give extracts side by side, when -it will be seen they agree practically word for word. It is of course -undeniable that none but Charlotte Brontë herself would or could have -penned these incidents of her own childhood. - - _Wuthering Heights._ _Jane Eyre._ - - Chapter III. Chapter I. - - A rainy day in the early A rainy day in the early - childhood of Catherine childhood of Jane Eyre, - Earnshaw, as told by herself. as told by herself. - - -------- -------- - - ... All day had been flooding There was no possibility of - with rain; we could not go to taking a walk that day, ... - church. the cold winter wind had - brought with it a rain so - penetrating that further - outdoor exercise was out of - the question. - - Hindley [Branwell Brontë] and Eliza, John [Branwell Brontë], - his wife [? Sister Maria] basked and Georgiana were now clustered - downstairs before a comfortable round their mamma [Aunt - fire. Branwell] in the drawing-room - ... by the fireside ... looking - perfectly happy. - - Heathcliffe [Method I., Me she had dispensed from - interchange of the sexes. In joining the group.... A small - the childhood of Heathcliffe breakfast-room adjoined the - Charlotte often portrays drawing-room; I slipped in - herself], myself, and the ... there, ... I possessed myself of - ploughboy were commanded to take a volume, ... I mounted into the - our prayer-books and mount ... window-seat, ... and having - on a sack ... [in the garret. drawn the ... curtain nearly - They go downstairs again]. close, I was shrined in ... - retirement.... With ... [a book] - "You forget you have a master in on my knee I was ... happy; ... - me," says the tyrant [Hindley: but interruption ... came too - Branwell Brontë]. soon. The ... door opened: - "Boh!" cried the voice of John - ... We made ourselves ... snug Reed [Branwell Brontë]. - ... in the arch of the dresser. - I had just fastened our "It is well I drew the curtain," - pinafores together and hung them thought I, ... but Eliza ... - up for a curtain, when in comes said: "She is in the - Joseph.[19]... He tears down my window-seat, ... Jack - handiwork [the curtain], boxes [Branwell]." - my ears, and ... thrust [a book] - upon us.... I took my ... volume - ... and hurled it into the - dog-kennel, vowing I hated a - good book. - - Hindley [Branwell Brontë] I came out immediately, for I - hurried up from his paradise on trembled at the idea of being - the hearth, and seizing ... us dragged forth by the said Jack - ... hurled both into the [Branwell Brontë]. - back-kitchen. - "What were you doing behind the - curtain?" he asked. "I'll teach - you to rummage my bookshelves, - for they _are_ mine; all the - house belongs to me, or soon - will do.... Go ... by the door." - - I did so, ... but ... I saw him - lift the book and stand in the - act to hurl it.... The volume - was flung.... He ran ... at - me.... I saw in him a tyrant.... - Then Mrs. Reed [Aunt Branwell] - subjoined: "Take her to the - red-room."... - - ... How little did I dream that ... All John Reed's [Branwell - Hindley [Branwell Brontë] would Brontë's] violent tyrannies ... - ever make me cry so.... My head turned in my disturbed mind.... - aches, till I cannot keep it on My head still ached ... no one - the pillow; and still I can't reproved John [Branwell].... How - give over. all my brain was in tumult.... I - could not answer the question - _why_ I thus suffered; now at - the distance of--I will not say - how many years--I see it clearly. - -Thus we see the "volume-hurling" incident with which John Reed is -associated had its origin in some incident connected with Charlotte -Brontë's childhood and her brother Branwell. As Catherine, Charlotte -Brontë calls Hindley "a tyrant" in this connection, and as Jane Eyre she -calls John Reed "a tyrant" here. Branwell, as John Reed, is made to tell -Jane in connection with this incident that "all this house belongs to -me, or will do"; and as Hindley Earnshaw he tells his sister Catherine, -"You forget you have a master here." By Charlotte Brontë's Method II., -altering the age of a character portrayed, Branwell is represented in -the _Wuthering Heights_ scene as a man in years. Without further appeal -it was likely enough that Hindley Earnshaw, Catherine's brother, was -drawn for Charlotte Brontë's brother, seeing Catherine was Charlotte. -Herewith we find an explanation for a fact Mr. Francis A. Leyland has -strongly emphasized in his work _The Brontë Family_, that in _Wuthering -Heights_ incidents (the carving-knife incident, etc.) and epithets known -by his intimates to have been common to Branwell Brontë are associated -with Hindley Earnshaw in the days of his moral deterioration. That -deterioration is reflected in the portrayal of the latter end of John -Reed in _Jane Eyre_; in _Wuthering Heights_ it is given in detail. As -for Emily Brontë, she always liked and commiserated with Branwell -Brontë.[20] - -I hope the attempt to interfere with this tradition recently has no -relation to the fact that I briefly stated in my _Fortnightly Review_ -article that John Reed and Hindley Earnshaw were one and the same. It is -plain to see that if Emily really liked Branwell, as people stated who -gleaned from hearsay, she could not have portrayed him as Hindley -Earnshaw. But a wrong estimate of the nature of the evidence I promised -to bring has been formed if it were thought I should base my book upon -such a point. It is enough that Charlotte Brontë's private letters -regarding Branwell are quite in agreement with her own harsh portrayals -of him in her _Wuthering Heights_ and _Jane Eyre_. - -It is interesting to recall Branwell avowed he, and not Emily, wrote -_Wuthering Heights_. This fact and the association of Branwell Brontë -incidents and epithets with the book induced Mr. Leyland to advocate -Branwell's authorship. _The Key to the Brontë Works_ shows the -absurdness of such a claim. Mr. Leyland suggested Branwell may have -collaborated with Emily; and he professed to discover a break in the -style. I find, however, that though there were violent psychical -fluctuations in the mood of the writer of _Wuthering Heights_, the book -is throughout the work of Charlotte Brontë. This may be proved alone by -the Chapter III., with which I now deal: it is the "key" chapter, and -is, so to speak, a microcosm of _Wuthering Heights_, as the reader will -perceive by help of my index. Whosoever was the writer of this third -chapter wrote the whole of _Wuthering Heights_, and we see it was Currer -Bell. - -By Charlotte Brontë's Method I., interchange of the sexes, the -interloper Jane in the early chapters of _Jane Eyre_ and the interloper -Heathcliffe in the early chapters of _Wuthering Heights_ become one and -the same; and Hindley's tyrannizing over Heathcliffe is John Reed's -(Branwell Brontë's) tyrannizing over Jane Eyre (Charlotte Brontë). -Again, by Method I., interchange of the sexes, old Joseph, in -Charlotte's _Wuthering Heights_ version of the rainy day incident in her -childhood, serves the part of the servant Tabitha Aykroyd, for whom -Bessie in the _Jane Eyre_ version of the rainy day incident was drawn. -(See "Joseph" and his bit of garden, _Wuthering Heights_, Chapter -XXXIII.; also my footnote on page 47.) Thus Charlotte Brontë as -Catherine tells us that when she was banished from the comfortable fire -"Joseph" sermonizes, and that she hoped he might give "a short homily -for his own sake"; and in the scene in _Jane Eyre_ drawn from the same -incident Jane was left to Bessie, who "supplied the hiatus by a homily -of an hour's length, in which she proved beyond a doubt that I was the -most wicked and abandoned child ever reared under a roof." - -Catherine's story of the rainy day in _Wuthering Heights_ was written by -her in childhood on "a 'red-hot' Methodist's tract." Hence it is -interesting to read Charlotte Brontë's words in _Villette_, where as -Lucy Snowe she says she had "once read when a child certain Wesleyan -Methodist tracts seasoned with ... excitation to fanaticism." As -Caroline Helstone[21] in _Shirley_, Charlotte tells us she had read -"some mad Methodist magazines, full of miracles and apparitions, of -preternatural warnings, ominous dreams, and frenzied fanaticism; ... -from these faded flowers Caroline had in her childhood extracted the -honey--they were tasteless to her now." Let the reader compare Charlotte -Brontë's reference to Briar Chapel and the shouts, yells, ejaculations, -frantic cries of "the assembly" in Chapter IX. of _Shirley_ with the -references in Chapter III. of _Wuthering Heights_ to the frantic zeal of -"the assembly" of the chapel of Gimmerden Sough. It will be at once -recognized that the former is but the extension of the other, amplified -by the same hand. - -Thus, in the light of the name Branderham ("Brander'em," from "brander," -a hot iron over a fire) for the name of the zealous Rev. Jabes -Branderham,[22] of the chapel of Gimmerden Sough, of _Wuthering -Heights_, we see a connection with the play Charlotte Brontë makes upon -"burning and fire" in the hymn sung at Briar Chapel in Chapter IX. of -_Shirley_:-- - - "For every fight - Is dreadful and loud-- - The warrior's delight - Is slaughter and blood; - His foes overturning - Till all shall expire-- - And this is with burning - And fuel and fire." - -In the rainy day incident Charlotte Brontë as Catherine vowed "she hated -a good book," and this rebellion against the thrusting upon her of -religious "lumber," as she calls it in _Wuthering Heights_, was a -characteristic of her childhood shown also in the "Jane Eyre and Mr. -Brocklehurst" incident, where the latter asks-- - - "And the Psalms? I hope you like them?" - - "No, sir," replied Jane. - - "No? Oh, shocking!" - -At heart, however, Charlotte Brontë was a true Christian, though -disliking excessive zealousness in the demonstrations of the members of -any church. Read what M. Emanuel says in Chap. XXXVI. of _Villette_; the -last paragraph. Lockwood tells us in the incident connected with -Catherine's diary that "a glare of white letters started from the dark -as vivid as spectres--the air swarmed with Catherines." This, Charlotte -Brontë's idea of spectral writing running in the air, occurs in Chap. -XV. of _Jane Eyre_, where Rochester speaks of a phantom hag (see -Charlotte Brontë's phantom hag in Chap. XII. of _Wuthering Heights_), -who "wrote in the air a memento which ran in lurid hieroglyphics all -along the house-front." Says Lockwood in _Wuthering Heights_, -continuing:--"An immediate interest kindled within me for the unknown -Catherine, and I began ... to decipher her hieroglyphics"--the diary. - - - - -CHAPTER V. - -CHARLOTTE BRONTË'S FRIEND, TABITHA AYKROYD, THE BRONTËS' SERVANT, -AS MRS. DEAN OF "WUTHERING HEIGHTS," AND AS BESSIE AND HANNAH OF -"JANE EYRE." - - -It is a remarkable fact that of all the members of Charlotte Brontë's -home circle the one to whom, excepting herself, she gave most prominence -in her works was Tabitha Aykroyd, the Brontës' servant or housekeeper. -For I find this good woman was portrayed by Charlotte Brontë as Mrs. -Dean of _Wuthering Heights_, Bessie and Hannah of _Jane Eyre_, and, on -occasion, as Mrs. Pryor of _Shirley_. Indeed, strange though it may -sound to say, my discovery that Tabitha Aykroyd, as she appealed to -Currer Bell, was the original of these characters, alone explains the -chief mystery of _Wuthering Heights_, and shows clearly enough Charlotte -Brontë was its heroine and its author. In a word, we see by this -discovery that _Wuthering Heights_ is book the first of Charlotte -Brontë's life as told by herself from old Tabitha's standpoint, and -_Jane Eyre_ book the second, giving her life's story and confession as -related by herself entirely from her own point of view. - -Never in _Wuthering Heights_ did Nelly Dean really understand Catherine, -and "the honest but inflexible servant," as Currer Bell calls Tabitha as -Hannah of _Jane Eyre_, never yielded herself to a surrender of her -rough-hearted but genuine nature wherein Charlotte was concerned. - -"Tabby," said Mrs. Gaskell, "had a Yorkshire keenness of perception into -character, and it was not everybody she liked." That Tabitha Aykroyd -would readily appeal to Charlotte Brontë as fitted for the narrator of -the histories in _Wuthering Heights_ we may easily perceive by reading -Mrs. Gaskell's further words on this Brontë servant:-- - -"When Charlotte was little more than nine years old ... an elderly woman -of the village came to live as servant at the parsonage. She remained -there, as a member of the household, thirty years [Hannah was thirty -years with the Rivers family in _Jane Eyre_--an approximate date, of -course, when that work was written] and from the length of her faithful -service, and the attachment and respect she inspired is deserving of -mention. Tabby was a thorough specimen of a Yorkshire woman of her -class, in dialect, in character. She abounded in strong, practical sense -and shrewdness. Her words were far from flattering, but she would spare -no deeds in the cause of those whom she kindly regarded. She ruled the -children pretty sharply; and yet never grudged a little extra trouble to -provide them with such small treats as came within her power. In return -she claimed to be looked upon as a humble friend.... Tabby had lived in -Haworth in the days when the pack-horses went through once a week.... -What is more, she had known the 'bottom' or valley in those primitive -days when the fairies frequented the margin of the 'beck' on moonlight -nights, and had known folk who had seen them. [See references to -'Bessie's' fairy tales in _Jane Eyre_, Chaps. I., II., and IV.].... No -doubt she had many a tale to tell of bygone days of the countryside: old -ways of living, former inhabitants, decayed gentry, who had melted away, -and whose places knew them no more; family tragedies and dark -superstitious dooms; and in telling these things, without the least -consciousness that there might ever be anything requiring to be softened -down, would give at full length the bare and simple details." - -Says Mrs. Dean, the Yorkshire servant who narrates the family tragedies -of _Wuthering Heights_ just after the manner of Tabitha Aykroyd:-- - - "But, Mr. Lockwood, I forget these tales cannot divert you, ... I - could have told Heathcliffe's history, all that you need hear, in - half-a-dozen words." - - "Sit still, Mrs. Dean," cried Lockwood, "... you've done just - right to tell the story leisurely. That is the method I like.... - Excepting a few provincialisms, ... you have no marks of the - manners ... peculiar to your class; ... you have been compelled to - cultivate your reflective faculties for want of occasions for - frittering your life away in silly trifles." - - Mrs. Dean laughed. "I certainly esteem myself a steady, reasonable - kind of body," she said; "not exactly from living among the hills - and seeing one set of faces, and one series of actions, from - year's end to year's end; but I have undergone sharp discipline - which has taught me wisdom." - -"Jane" says of Mrs. Dean as "Bessie" of _Jane Eyre_, Chap. IV., Method -II., altering the age of characters portrayed:-- - - When gentle, Bessie seemed to me the ... kindest being in the - world;... I wished ... intensely ... she would always be so - pleasant and amiable, and never push about or scold, or task me - unreasonably, as she was ... wont to do. Bessie Lee[23] must, I - think, have been a girl of good natural capacity, for she was - smart in all she did, and had a remarkable knack of narrative; so, - at least, I judge from the impression made upon me by her nursery - tales.... But she had a capricious and hasty temper and - indifferent ideas of principle or justice ["Hannah" would have - driven off the destitute Jane Eyre], still, such as she was, I - preferred her to any one else at Gateshead Hall. - -"Mrs. Dean"[24] in her turn says of "Catherine"--Charlotte Brontë:-- - - "She was never so happy as when we were all scolding her at once - and she defying us.... I vexed her frequently by trying to bring - down her arrogance; she never took an aversion to me though." - -In Chap. IV. of _Jane Eyre_ Bessie says to Jane Eyre, after the latter -has asked her not to scold:-- - - "Well, I will, but mind you are a very good girl, and don't be - afraid of me. Don't start when I chance to speak sharply." - - "I don't think I shall ever be afraid of you again, Bessie, - because I have got used to you." - -Jane suggests Bessie dislikes her, to which is replied:-- - - "I don't dislike you.... I believe I am fonder of you than of all - the others." - - "You don't show it." - - "You sharp little thing!... What makes you so venturesome and - hardy?" - -The idiosyncratic appeal Tabitha Aykroyd made to Charlotte is related -identically wherever she is portrayed. That Charlotte Brontë had been -initially entranced by her fairy tales, and the old songs she sang, is -shown more especially in the phases she gives of Tabitha as Bessie and -as Ellen Dean. Thus we read in _Jane Eyre_, Chap. IV., in the close of -the scene just given:-- - -"That afternoon lapsed in peace and harmony; ... in the evening Bessie -told me some of her most enchaining stories, and sang me some of her -sweetest songs. Even for me life had its gleams of sunshine." And in -_Wuthering Heights_, Chap. XXII., Ellen Dean says of Miss Catherine -Linton (see my reference to this character as a phase of Charlotte -Brontë, in my preface):--"From dinner to tea she would lie doing nothing -except singing old songs--my nursery lore--to herself, ... half -thinking, half dreaming, happier than words can express." So in the same -work, Chap. XXIV., the same Catherine says:--"He was charmed with two or -three pretty songs [I sang]--_your_ songs, Ellen." The italics are -Charlotte Brontë's. - -_Jane Eyre_, Chap. III., says:-- - - Bessie had now finished ... tidying the room ... she sang:-- - - "In the days we went agipsying - A long time ago." - - I had often heard the song before, and always with lively delight; - for Bessie had a sweet voice--at least I thought so. But now, - though her voice was still sweet, I found in its melody an - indescribable sadness. Sometimes, preoccupied with her work, she - sang the refrain very low, very lingeringly: "a long time ago," - came like the saddest cadence of a funeral hymn. She passed into - another ballad. - -Tabby Aykroyd going to the Parsonage when the motherless Charlotte -Brontë was but nine, Charlotte seems to have been drawn to look upon -her as a new-found friend, and afterwards she idealized those memories -associated with her. It is noticeable she had been impressed in -childhood by her singing and the sympathetic sweetness of her voice. -There is a world of meaning--a gracious waiving aside of qualifying fact -in the sentence, "Bessie had a sweet voice--at least I thought so." -Charlotte was fond of Scottish ballads, and in _Villette_, Chapter XXV., -she identifies herself in her phase as Paulina (see my further reference -to this phase of Charlotte Brontë) with a a love for a Scottish song. -With Tabitha Aykroyd she loved to associate the singing of her favourite -ballads, as we have seen in her reference to the songs of Tabitha in her -phases as Bessie of _Jane Eyre_ and Mrs. Dean of _Wuthering Heights_. -And so it is we find Mrs. Dean telling us in Chapter IX. of _Wuthering -Heights_, 'I was rocking Hareton on my knee, and humming a song that -began:-- - - "It was far in the night and the bairnies grat, - The mither beneath the mools heard that."' - -Whether traits of Nancy Garrs or her sister, or Martha Brown, the other -Brontë servants, contributed to Charlotte's portrayal is doubtful. I -think they did not. We see in this chapter the original of Bessie of -_Jane Eyre_ was certainly the original of Mrs. Dean of _Wuthering -Heights_--Tabitha Aykroyd; and as Charlotte Brontë portrayed Mrs. Dean -as an elderly woman servant, before she began _Jane Eyre_, we must -decide the question of the real age of the original of Bessie by that -fact. Confirming is the portrayal of the same character by Charlotte as -the elderly Hannah in _Jane Eyre_. See my chapter on "The Rivers or -Brontë Family."[25] - -Of "Dean" or Tabitha Aykroyd in the rôle of Hannah of the family "Jane" -says:--"I had a feeling that she did not understand me, ... that she was -prejudiced against me." Nevertheless she says to her: "You ... have been -an honest and faithful servant, I will say so much for you." - -Much stress is placed by Tabitha Aykroyd, as Nelly Dean, and Bessie, on -Charlotte Brontë's passionateness. Says Mrs. Dean of Catherine in -_Wuthering Heights_: - - "The doctor had said that she would not bear crossing much, she - ought to have her own way; and it was nothing less than murder in - his eyes, for any one to presume to stand up and contradict her, - ... serious threats of a fit ... often attended her rages." - -Thus I find there is a connection between Catherine's "fit of frenzy" -and delirium in _Wuthering Heights_, Chapters XI. and XII., and the -scenes attendant upon Jane's fit of frenzy in _Jane Eyre_, Chapters I., -II., III. The one is told by Charlotte as from Tabitha Aykroyd's -(Bessie's) standpoint, the other from Catherine's (Charlotte Brontë's), -an inversion of attitude which proves Charlotte Brontë to be the author -and heroine of _Wuthering Heights_. - - _Wuthering Heights._ _Jane Eyre._ - - Charlotte Brontë in the locked Charlotte Brontë in the locked - chamber, and Tabitha Aykroyd, chamber, and Tabitha Aykroyd, - the Brontë servant, told by the Brontë servant, told by - Tabitha, as it were. Charlotte. - - -------- -------- - - She [Catherine--Charlotte I [Jane--Charlotte Brontë] sat - Brontë] rang the bell till it looking at the white bed, ... - broke.... I [Tabitha--Nelly occasionally turning a - Dean] entered leisurely. It was fascinated eye towards the ... - enough to try the temper of a mirror ... I hushed my sobs, - saint, such senseless, wicked fearful lest ... signs of grief - rages! There she lay dashing her might waken a preternatural - head against the ... sofa and voice ... or elicit from the - grinding her teeth.... I brought gloom some haloed face.... This - a glass of water; and as she ... I felt would be terrible.... - would not drink, I sprinkled it At this moment a light gleamed - on her face. In a few seconds on the wall; ... shaken as my - she stretched herself out stiff, nerves were by agitation, I - and ... assumed the aspect of thought the swift-darting beam - death. was a herald of some coming - vision from another world. My - Linton [? Mr. Brontë] looked heart beat thick, my head grew - terrified. "There is nothing the hot; a sound filled my ears - matter," ... and I which I deemed the rushing of - [Tabitha--Mrs. Dean] told him wings: something seemed near me; - how she had resolved ... on I was oppressed, suffocated; - exhibiting a fit of frenzy. I endurance broke down; I rushed - incautiously gave the account to the door and shook the lock - aloud, ... she [Charlotte in desperate effort. Steps came - Brontë] started up ... and then running along the ... passage, - rushed from the room. The master ... Bessie and Abbot entered. - directed me to follow; I did to - her chamber door; she ... "Miss Eyre, are you ill?" said - secured it against me.... On the Bessie [Tabitha Aykroyd]. - third day Catherine [Charlotte - Brontë] un-barred her door, ... "What a dreadful noise! It went - desired a basin of gruel, for through me!" exclaimed Abbot. - she believed she was dying. - "Take me out!" was my cry. - "These ... awful nights; I've - never closed my lids--and oh!... "... Are you hurt? Have you seen - I've been ... haunted, Nelly! something?" demanded Bessie - [Tabitha]. But I begin to fancy [Tabitha]. - you don't like me.... They have - all turned to enemies; ... "Oh! I ... thought a ghost would - _they_ have, the people _here_." come." - - Tossing about, she increased her "She has screamed on purpose," - feverish bewilderment of declared Abbot [?].... "And what - madness.... "Don't you see that a scream! If she had been in - face?" she inquired, gazing pain one would have excused it, - nervously at the mirror.... "Oh! but she only wanted to bring us - Nelly [Tabitha], the room is all here: I know her naughty - haunted! I'm afraid of being tricks." - left alone...." - ... Mrs. Reed [Aunt Branwell] - I [Nelly Dean--Tabitha] came.... "Silence!" she - attempted to steal to the door exclaimed; "this scene is - ... but I was summoned back by a repulsive." I was a precocious - piercing scream. actor in her eyes. She sincerely - looked upon me [Charlotte] as a - ... "As soon as ever I barred compound of virulent passions, - the door," proceeded Catherine mean spirit, and dangerous - [Charlotte Brontë], "utter duplicity.... I suppose I had a - darkness overwhelmed me, and I species of fit: unconsciousness - fell on the floor. I couldn't closed the scene.... The next - explain ... how certain I felt thing I remembered is waking ... - of having a fit, or going mad." with a feeling as if I had had a - frightful nightmare ... - "A sound sleep would do you agitation, uncertainty, and a - good," said Nelly Dean--Tabitha predominant sense of terror - Aykroyd. confused my faculties.... Bessie - [Tabby] stood at the bed-foot - with a basin in her hand. - - "Do you feel as if you could - sleep, Miss?" asked Bessie - [Tabitha Aykroyd] rather softly. - - For me [Charlotte] the watches - of that long night passed in - ghostly watchfulness; ear, eye, - and mind were alike strained by - dread, such dread as children - only can feel. - -By her Method II.: altering the age of a character portrayed, Charlotte -Brontë gives us Tabitha Aykroyd as a young woman in Bessie; and by the -same Method II, in the scene just read from _Wuthering Heights_, we have -an instance of her presenting, as an incident in womanhood, an incident -which the testimony of _Jane Eyre_ and other evidences show occurred -really in Charlotte's own childhood. As she relates in _Jane Eyre_, her -dread was "such dread as children only can feel"; and she goes on to say -"this incident [of the locked room] gave my nerves a shock of which I -feel the reverberation to this day." Thus in both _Wuthering Heights_ -and _Jane Eyre_ Charlotte paints an excellent picture of the -matter-of-fact but good-hearted Tabitha Aykroyd going to the room in -response to her, Charlotte Brontë's, frantic appeal, sceptical and -certainly unsympathetic. - -The part played by the wild summoning of Tabitha to the room, the -references to "a fit," the ghost and haunted chamber, the dread of the -mirror, the suggestion that the frenzy of fear was wilfully assumed, the -piercing scream, Tabitha Aykroyd with her basin and her final suggestion -of sleep, are in themselves ample evidence that Charlotte Brontë in both -_Wuthering Heights_ and _Jane Eyre_ drew this scene from an experience -of the kind in her own childhood. In each work stress is laid by her -upon her own hypersensitiveness, and we learn how the Brontë household -misunderstood her excessive passionateness and misread it as wicked -acting[26]. - -We see Tabitha best in Mrs. Dean of _Wuthering Heights_, as Hannah of -the Rivers family of _Jane Eyre_, and by Currer Bell's Method II., -alteration of age of the character portrayed, as Bessie of that work. -Tabitha Aykroyd lives and breathes her life through the pages of -Charlotte Brontë's _Wuthering Heights_ and _Jane Eyre_ to-day, and ever -will she remain in literature, a real Yorkshire woman amazingly -translated from the wide Yorkshire hearth with its great, wind-whitened -fire and smell of hot cakes, to the pages of two of the finest examples -of the English novel. Her portrayal I declare to be one of the most -admirable achievements in the works of Charlotte Brontë. - - - - -CHAPTER VI. - -CHARLOTTE BRONTË'S CHILD APPARITION IN "THE PROFESSOR," "WUTHERING -HEIGHTS," AND "JANE EYRE." - - -Mrs. Gaskell, the Brontë biographer, relates that a friend of Charlotte -Brontë said Charlotte had told her "a misfortune was often preceded by -the dream which she gives to Jane Eyre of carrying a wailing child. She, -Charlotte Brontë, described herself as having the most painful sense of -pity for the little thing.... The misfortunes she mentioned were not -always to herself. She thought such sensitiveness to omens was ... -present to susceptible people...." This in the main explains the origin -of the child-apparition as an omen of disaster in Charlotte Brontë's -works. - -It would seem by Charlotte's statement in _Jane Eyre_ that Tabitha -Aykroyd, as "Bessie," was responsible for the origin of this little -superstition; and it is instructive to find the child-apparition as an -ill-omen in connection with Tabitha Aykroyd as Mrs. Dean in _Wuthering -Heights_. I have shown John Reed and Hindley Earnshaw represent Branwell -Brontë; we may notice, therefore, that the child-apparition is given -equally in _Wuthering Heights_ and in _Jane Eyre_ as coming before -disaster or disgrace to Branwell Brontë. - - _Wuthering Heights._ _Jane Eyre._ - - Chapter XI. Chapter XXI. - - Tabitha Aykroyd's child-apparition Tabitha Aykroyd's child-apparition - as a token of calamity to Branwell as a token of calamity to Branwell - Brontë. Brontë. - - -------- -------- - - Says Mrs. Dean [Tabitha]: "I Presentiments are strange - came to a stone which serves as things! ... and so are signs.... - a guide-post to ... the Heights Sympathies I believe exist (for - and the village.... Hindley instance, between far-distant - [Branwell Brontë] and I held it ... wholly estranged relatives). - a favourite spot twenty years When I was a ... girl I heard - before, ... and ... it appeared Bessie [Tabitha Aykroyd] say - that I beheld my ... playmate that to dream of children was a - seated on the ... turf, ... his sure sign of trouble.... During - little hand scooping out the the last week scarcely a night - earth."[27] had gone ... that had not - brought ... the dream of an - "Poor Hindley!" [Branwell infant which I ... watched - Brontë] I exclaimed playing with daisies on a lawn - involuntarily. I started--my or ... dabbling its hands in - bodily eye was cheated in the running water.[27] It was a - belief that the child lifted its wailing child this night, ... a - face and stared straight into laughing one the next, ... but - mine! It vanished in a whatever mood the apparition - twinkling; but immediately I evinced ... it failed not ... to - felt an irresistible yearning to meet me.... I grew nervous.... - be at the Heights. Superstition It was from companionship with - urged me to comply with this this baby-phantom I had been - impulse--"Suppose he were dead! roused ... when I heard the cry: - ... supposing it were a sign of and on the ... day following ... - death!" I found a man [Bessie's husband] - waiting for me; ... he was ... - in deep mourning, and the hat in - his hand was surrounded with a - crape band. - - "I hope no one is dead," I said. - And the man replies that John - Reed [Branwell Brontë] had got - into great trouble and was dead. - -Branwell Brontë was not dead when Charlotte Brontë wrote those two -versions, but it seems certain that an apparition of a child in some -period of Charlotte's life preceded a further debasement of Branwell, -the original of Hindley Earnshaw and John Reed. We may note Charlotte -Brontë's Method II., in regard to Hindley. - -In Charlotte Brontë's _The Professor_ we find reference to her -child-phantom wailing outside, and to the eerie, premonitory signal made -against a lattice, as in her _Wuthering Heights_:-- - - _Wuthering Heights._ _The Professor._ - - Chapter III. Chapter XVI. - - Scene: An isolated homestead on Scene: An isolated homestead on - a winter's night, snow-wind a winter's night, snow-wind - blowing, storm threatening. blowing, storm threatening. - - -------- -------- - - While leading me upstairs she Take care, young man - [Zillah, the stout housewife] [recommended "the herdsman's - recommended that I should hide wife"], that you fasten the door - the candle and not make a noise, well, ... whatever sound you - ... they had so many queer hear stir not and look not out. - goings-on. The night will soon fall, ... - strange noises are often heard - He sleeps and is awakened by-- ... you might chance to hear, as - it were, a child cry, and on - The branch of a fir that touched opening the door to give it - my lattice.... I listened succour ... a shadowy goblin dog - doubtingly, ... I heard the might rush over the threshold; - gusty wind and the driving of or more awful still, if - the snow;... I heard also the something flapped, as with - firbough repeat its teasing wings, against the lattice, and - sound.... I ... endeavoured to then a raven or a white dove - unhasp the casement, ... flew in and settled on the - knocking my knuckles through the hearth, such a visitor would be - glass, and stretching an arm out a sure sign of misfortune. - to seize the ... branch; instead - of which my fingers closed on The stranger, left alone, - the fingers of a little ice-cold listens awhile to the muffled - hand.[28]... I tried to draw snow-wind. - back my arm, but the hand clung - to it and a melancholy voice - sobbed--"Let me in--let me in!" - - ... As it spoke, I discerned - obscurely a child's face looking - through the window.... Still it - wailed "Let me in!" and it - maintained its tenacious gripe, - almost maddening me with fear. - - "How can I?" I said.... "Let - _me_ go, if you want me to let - you in." I stopped my ears to - exclude the lamentable prayer, - ... yet the instant I listened - again, there was the doleful cry - moaning on! - - "Begone!" I shouted; "I'll never - let you in, not if you beg for - twenty years." - -In _Wuthering Heights_ Charlotte Brontë has worked the child-phantom -into the story proper, setting it for the spirit of the departed -Catherine, who as a child again (Method II., altering age of the -character portrayed) seeks Heathcliffe. The building of the -child-phantom in the plot of _Wuthering Heights_ created a peculiar -state of affairs; but as we have seen by Charlotte Brontë's reference to -it in the extract from _The Professor_, she was impressed by its -possibilities of giving a weird spiritual atmosphere, and she did not -extend the idea in _The Professor_. The substance of Charlotte Brontë's -two versions of the child-phantom wailing outside a house for admittance -is identical:-- - - _The Professor._ _Wuthering Heights._ - - Scene: An isolated homestead on a Scene: An isolated homestead on a - winter's night, snow-wind blowing, winter's night, snow-wind blowing, - storm threatening. Young stranger storm threatening. Young stranger - admonished by the good housewife admonished by the good housewife - that there are queer goings-on that there are queer goings-on - thereabouts. thereabouts. - - Subjunctive Mood. Indicative Mood. - - Something might brush against Something brushes against the - the lattice, and a phantom-child lattice, and a phantom-child - might wail outside for succour. wails outside for succour. - On opening to admit it an awful, On opening to admit it an awful, - supernatural incident might occur. supernatural incident occurs. - -Thus we perceive the famous child-phantom incident in Chapter III. of -_Wuthering Heights_ had its origin (1) in Montagu's lonely-house -incident; (2) in Charlotte Brontë's awe of a child-apparition; (3) in -Charlotte Brontë's Method II., alteration of age of character portrayed, -by which Catherine the woman becomes a child again; and (4) in Charlotte -Brontë's notion, as evidenced in _Shirley_, Chapter XXIV., that a loved -dead one can "revisit those they leave"; can "come in the elements"; -that "wind" could give "a path to Moor(e)"--Heath(cliffe), "passing the -casement sobbing"; that the loved dead one could "haunt" the wind. -These, then, we see were the notions in Charlotte Brontë's head -responsible for Catherine's returning so sensationally to the abode of -her lover as a child-spectre. For Catherine's love for Wuthering Heights -was not simply because of the place and its moors, as so many writers -have wrongly contended, but because it was associated with -Heathcliffe.[29] Let my reader peruse again the "wailing child" passages -I quote from _Wuthering Heights_ and _Jane Eyre_ in Chapter II. of _The -Key to the Brontë Works_. - -Truly the testimony of Charlotte Brontë's child-phantom were alone the -sign-manual that she and none other wrote _Wuthering Heights_. - - - - -CHAPTER VII. - -THE ORIGINALS OF GIMMERTON, GIMMERDEN, GIMMERTON KIRK AND CHAPEL, -PENISTON CRAGS, THE FAIRY CAVE, ETC., IN "WUTHERING HEIGHTS," AND OF THE -FAIRY CAVE AND THE FAIRY JANET IN "JANE EYRE." - - -The uncommon stress Charlotte Brontë has laid upon the outlandishness of -the _Wuthering Heights_ country and its solitudes assuredly would have -been absent from that work had she drawn her background from the -comparatively characterless Haworth moors on the skirts of manufacturing -towns, and not from impressions created in her mind by Montagu's -description in his _Gleanings in Craven_ of the wildest and weirdest -scenery in Yorkshire. There has been a noticeable tendency on the part -of town-bred, and also of romantic, biographers to be awed by the -ordinary moorland surroundings of Haworth, and to associate with them -all the wildness of the Craven or Scottish Highlands, though Miss Mary -Robinson, whose work entitled _Emily Brontë_ is in effect an -"appreciation" of _Wuthering Heights_, says frankly regarding the house -standing beyond the street on the summit of Haworth Hill, shown as the -original of _Wuthering Heights_, that to her thinking "this fine old -farm of the Sowdens is far too near the mills of Haworth to represent -the God-forsaken, lonely house." But of course an author can place a -given abode against any background. Wuthering Heights has been connected -by some people with a locality called Withins--how wrongly a reference -to the origin of Gimmerton and Gimmerden alone shows. The primary origin -of the name and title of "Wuthering Heights" I reveal in the final -chapter on "The Recoil." - -The following passage from _Wuthering Heights_ tells that Charlotte -Brontë's imagination was enjoying the latitude of a half-realized, -suggested background. It reads just like the traveller Montagu with his -horse, attendant servant on horseback, roadside inns, hostlers, and -description of country. But the connection of Montagu with Lockwood of -_Wuthering Heights_ we have already seen in the early chapters of _The -Key to the Brontë Works_:-- - - 1802--This September I was invited to devastate the moors of a - friend in the North, and on my journey ... I unexpectedly came - within fifteen miles of Gimmerton. The hostler at a roadside - public-house was holding a pail of water to refresh my horses when - a cart of very green oats ... passed by, and he remarked-- - - "Yon's frough Gimmerton, nah! They're allus three wick after other - folk wi' ther harvest." - - "Gimmerton?" I repeated; my residence in that locality had already - grown dim and dreamy. "Ah, I know. How far is it from this?" - - "Happen fourteen mile o'er th' hills; and a rough road." A sudden - impulse seized me to visit Thrushcross Grange. It was scarcely - noon, and I conceived that I might as well pass the night under my - own roof as in an inn.... Having rested a while, I directed my - servant to inquire the way to the village; and, with great fatigue - to our beasts, we managed the distance in some three hours. I left - him there, and proceeded ... down the valley alone. The grey - church looked greyer, and the churchyard lonelier. I - distinguished a moor sheep cropping the short turf on the - graves.... The heat did not hinder me from enjoying the delightful - scenery above and below; had I seen it nearer August, I'm sure it - would have tempted me to waste a month among its solitudes. [Be it - observed he would rather have done so than have gone to "the - moors" of his friend.] In winter nothing more dreary than those - glens shut in by hills,[30] and those bluff, bold swells of heath. - -So we too would imagine, judging by Montagu's description of the -district in his little work. - -Throughout _Wuthering Heights_ we hear mention of Gimmerton, but it is -apparent the village was "dim and dreamy" to Charlotte Brontë--somewhere -about the little valley we should imagine, to conclude by general -observations. However, clear it is that Gimmerton and Gimmerden were -drawn by Charlotte Brontë merely from impressions created in her mind by -other than a personal acquaintance with the district. Where then, and in -what peculiar circumstances, did Charlotte receive these -suggestions--suggestions that must have appealed to her at a time -immediately coincident with her commencing this foundling story with -the house of mystery, the inhospitable host, the uncouth man-servant, -and the candle-bearing bedside visitant--all from Montagu's book? My -evidence declares these suggestions also came from Montagu's little -work, and that the originals of Gimmerton in _Wuthering Heights_, and -Gimmerden, or the valley of Gimmerton, were Malham and Malhamdale, or -the valley of Malham. This district Montagu describes as being "most -interesting ... in its own variety of wildness." - -I believe Kilnsey Crags, which Montagu describes on the last page of the -letter next to that written from Malham, figured in Charlotte Brontë's -mind as the originals of Peniston Crags ("Peniston" may have been -suggested by Montagu's mention of Pennigent). Montagu's description of -Kilnsey Crags I will place side by side with the reference to Peniston -Crags in _Wuthering Heights_:-- - - MONTAGU. _Wuthering Heights._ - Chapter XVIII. - - KILNSEY CRAGS. PENISTON CRAGS. - - A lofty range of limestone rocks The abrupt descent of Peniston - ... stretching nearly half a Crags particularly attracted her - mile along the valley, and notice; especially when the - rendered perhaps, more striking setting sun shone on it and the - by contrasting with the vale topmost heights, and the whole - immediately at its base. extent of the landscape, besides - [by contrasting] lay in shadow. - -Clearly Joseph's "leading of lime" from Peniston Crags in _Wuthering -Heights_ was suggested to Charlotte Brontë by the "Kiln" of Kilnsea -Crags, and Montagu's reference to the crags being limestone. Dean -describes them to Cathy, and her words are simply Montagu's -description--treated antithetically--of Gordale Scar in the Malham -letter:-- - - MONTAGU. _Wuthering Heights._ - Chapter XVIII. - - In the clefts in the rocks' They were bare masses of stone, - sides, or wherever a lodgement with hardly enough earth in - of earth appears [is] the ... their clefts to nourish ... a - yew. tree.... One of the maids - mentioning the Fairy Cave, quite - turned her head.... - -In his Malham letter Montagu describes a Fairy Cave, and of course -Gimmerton has the Fairy Cave in its neighbourhood. It is placed under -the Crags, but we have no description in _Wuthering Heights_:-- - - MONTAGU. _Wuthering Heights._ - Chapter XVIII. - - Montagu has a boy-guide "adapted Says Catherine Linton to the boy - to show the prominent features Hareton:--"I want ... to hear - to strangers." He takes Montagu about the _fairishes_, as you - on to Malham, where Montagu sees call them.".... Hareton opened - the Fairy Cave. This boy-guide the mysteries of the Fairy Cave - was called Robert Airton, and he and twenty other queer places. - was aged twelve.[31] But ... I was not favoured with - a description of the interesting - objects she saw. I could gather, - however, that her guide had been - a favourite. - -The name of Linton appears in Montagu in the letter next that in which -he describes the Fairy Cave. We may understand that Charlotte Brontë's -romantic imagination was entranced, as she says Catherine Linton's was, -with the mention of the Fairy Cave; and _Jane Eyre_ is testimony that -after writing _Wuthering Heights_ she turned again to consider its -possibilities of suggestion. - -In fact, I find that Charlotte Brontë when she chose the name of Janet -Eyre for herself was also calling herself the Fairy Janet. And where, -then, read Charlotte Brontë of the fairy Janet Eyre? The evidence of -Montagu's work proves that when she wrote the name Eyre, she was -implying by this Derbyshire variant the name Aire or Ayre, meaning the -river Ayre. Where acquired Charlotte Brontë so intimate an acquaintance -with the history of the Fairy Janet of the Aire as to take upon herself -poetically, the rôle of that Craven elf and her name? - -Mr. Harry Speight recently, in _The Craven Highlands_, told us "the -Fairy Jennet or Janet was queen of the Malhamdale elves" who frequented -the enchanted ground round the source of the Aire. But prior to -Montagu's dealing with Janet's Cave, the home of the Malhamdale fays, -the queen-elf had been referred to as Gennet. Montagu spelt the name -Jannet, and later writers having referred to him, the fairy cave now -bears the name Janet's Cave. A Malham writer prior to Montagu referred -only briefly to the Fairy Cave, and quite prosily. In his Malham letter -Montagu says:-- - -"Leaving a farmhouse at the entrance of the vale to the left, we [he and -his boy-guide] proceeded over two fields, then ascended about twenty -yards, suddenly turned an acute angle, and penetrating some bushes we -stood at the entrance of a deep and narrow glen, before a perpendicular -fall of water. At the foot of this cascade is - - JANNET'S CAVE. - -It is so called from the queen or governess of a numerous tribe of -faeries, which tradition assures us anciently held their court here; and -as there may be some of my readers who may like at the moonlit hour to -be entertained at one of Jannet's banquets, I will give an idea as to -the mode of obtaining admission into such society.... On the evening -when I first learned the mystic lore, the golden sun had kissed every -flower, even unto the retiring lily, and was gliding westward when, from -the heart's couch of a moss rose, there came the eldest daughter of -faeryland, probably the self-same Jannet's daughter, saying:-- - - 'I have come from whence - Peace with white sceptre wafting to and fro, - Smooths the wide bosom of the Elysian world,' - -and who, upon being informed that I was desirous of swearing allegiance -to her sweet mother, said that she would bring intelligence whether I -might be admitted to her pretty vassalage; she then bade her attendants -bring her car, which was a leaf of a favourite hyacinth, drawn by two -lady-birds who were guided by reins of gossamer; the mellow horn of the -herald bee summoned her attendants, who, to the number of twenty, obeyed -the call; and taking the coronets from off their brows, made low -obeisance to their young princess, which she pleasingly acknowledged. -Then they each captured a sphere of thistle-down, and seating themselves -thereon, followed their princess; who, attended by her guards, each -armed with a maiden's eye-lash, journeyed onwards towards the realms of -enchanted ground. I should think that not many minutes elapsed when the -cavalcade returned, and the charter written upon the leaf of a -'forget-me-not,' with the gold from a butterfly's wing, was placed into -my hand by 'a fay,' with injunctions not to divulge the secrets of the -order. I would have promised but awoke from this pleasant dream." - -We will now read Montagu's description of the Fairy Janet, and a fairy -coming to him at sundown when adapted by Charlotte Brontë in _Jane -Eyre_. - -Adèle asks Rochester whether she is to go to school without her -governess, Jane Eyre:-- - - "Yes," he replied; ... "for I am to take mademoiselle to the moon, - and there I shall seek a cave in one of the white valleys among - the volcano tops, and mademoiselle shall live with me there, and - only me." - - "... But you can't get her there...." - - "Adèle ... late one evening ... I sat down to rest me on a stile - ... when something came up the path.... Our speechless colloquy - was to this effect-- - - "It was a fairy, and come from Elf-land, it said.... It told me of - the alabaster cave and silver vale.... I said I should like to - go.... 'Oh,' returned the fairy.... 'Here is a talisman which will - remove all difficulties' and she held out a pretty gold ring...." - - "But what has mademoiselle [Jane Eyre] to do with it? I don't care - for the fairy...." - - "Mademoiselle [Jane Eyre] is a fairy," he said, whispering - mysteriously. - -But Adèle assures him she made no account of his "_contes de fée_." - -For the present it is enough to know that in the main and ostensibly the -Fairy Janet Eyre was Charlotte Brontë's adaptation of Montagu's Fairy -Janet, the queen-elf of the Malhamdale fairies, said to frequent the -enchanted land round the source of the Aire. - -The fairy idea, Charlotte discovered, served well to give a certain -gallantry to Rochester's bestowing of epithets. These the reader may -have interest in finding in _Jane Eyre_. For instance, when Jane, -returning from her visit to a dead relative, informs Rochester, he -says:-- - - "A true _Janian_ reply! [italics mine]. Good angels be my guard! - She comes from the other world--from the abode of people who are - dead, and tells me so when she meets me alone here in the - gloaming! If I dared, I'd touch you, to see if you are substance - or shadow, you elf!--but I'd as soon offer to take hold of a blue - _ignis-fatuus_ light in the marsh." - -A few lines lower Rochester asks:-- - - "Tell me, now, fairy as you are--can't you give a charm?" - -And then farther down: - - "Pass, Janet: go up home and stay your weary little wandering feet - at a friend's threshold." - -When Rochester's bed is in flames, and he awakes to find Janet has -thrown water upon it, he demands:-- - - "In the name of all the elves in Christendom, is that Jane Eyre?" - -And so I might continue. It is observable Charlotte Brontë never allows -Rochester to call Jane Eyre "Janet" and "fairy" in the same breath. She -permits the use of Janet, however, when the fairy notion is concealed, -as when Rochester says: - - "Just put your hand in mine, Janet, that I may have the evidence - of touch as well as sight, to prove you are near me." - -Certain it is that in Charlotte Brontë's inmost heart her -autobiographical self was called Janet Aire.[32] - -Charlotte Brontë's conceptions, when she let her imagination have play -and forgot the world of readers were, like Jane Eyre's thoughts, -"elfish." See the fairy tale, _The Adventures of Ernest Alembert_ -(attributed by Charlotte Brontë to her pen in her fifteenth year). It -has been remarked this story is not in the handwriting Charlotte Brontë -affected at this period, and that the manuscript has not Charlotte's -customary title-page.[33] In view of the evidence of _The Key to the -Brontë Works_, it is of interest to make a comparison between _Alembert_ -and Montagu's _Gleanings in Craven_, published eight years later than -the date Charlotte Brontë ascribed to its completion. The association of -the family of Lambert with hypothetical high treason and with being -extinct; with the Malham country as described by Montagu--the -references, so frequent in his pages, to the awe inspired by the -wildness of the scenery, to the underground torrent, the contrasting -range of crags, the lake, the fairy cave, the fairy and the admittance -into faerydom; to "the mellow hum of the bee," etc., are interesting in -the extreme, seeing by aid of Montagu that Malham as presented by him -became Gimmerton of _Wuthering Heights_. Whether "coincidence" has to do -with this matter of _Alembert_ and Montagu, or Charlotte Brontë has for -some reason ante-dated _Alembert_, I leave to the reader to decide. - - MONTAGU. _The Adventures of Ernest - Alembert._ - - Montagu, speaking of the church Charlotte Brontë begins by - of Kirkby-Malham, "in the ... relating that there once lived - vale of Malham," says:--"Some of an Ernest Alembert. One of the - the Lamberts are buried Alemberts having been "beheaded" - here--here is a monument to ... for "high treason,"[34] "the - John Lambert, who aided Cromwell family had decayed" until the - in his murder of Charles the only survivor was Ernest - First (as all did who were Alembert. We are told that he - implicated in Cromwell's beside a valley; and the river - rebellion)[34]--after the became a lake. A stranger - Restoration lived he died putting him under a spell, - banished and forgotten at [A]lembert accepts him for a - Guernsey. The family is now guide, and they wend their way - extinct." up the valley. - - In the chapter on Malham, [A]lembert finds himself at a - Montagu accepts a guide who place where the torrent goes - takes him up the vale of Malham. underground. - He mentions Malham Lake, or - Tarn, and says of the River Aire - in the connection that the water - "delves into the mountain, and - does not appear again until it - reaches the village of Airton, - below Malham." - - We have descriptions of wild We have descriptions of wild - moor, "tremendous" precipices, moors and precipices, and - and "grand and terrific foaming cataracts. When they - cataracts":--"At last we stopped to rest after a climb - attained the summit of the "the scene was grand and awful - mountain, when, looking down in in the extreme.... The mellow - the chasm beneath, horror and hum of the bee was no longer - immensity were defined with heard.... Above rose tremendous - thrilling truth." precipices, whose vast shadows - blackened all that portion of - the moor [see "Peniston Crags," - page 59], and deepened the frown - on the face of unpropitious - nature." - - Montagu and his guide go to a [A]lembert and his guide go to a - cave--the cave of the Fairy cave. Farther on the guide - Janet. Montagu falling asleep as vanishes, but [A]lembert wakes - it were, a fairy comes to his to find him by his side as a - side and tells him he is in the fairy [Charlotte Brontë, Method - realm of fairies. She promises I., interchange of the sexes], - to induct him into the wonders who addresses [A]lembert as - of faeryland, and "the mellow follows:-- - horn of the herald bee" summoned - her attendants. And so on. See "I am a fairy. You have been, - Charlotte Brontë's mention in and still are, in the land of - _Alembert_ of "the mellow hum of fairies. Some wonders you have - the bee." seen; many more you shall see if - you choose to follow me." And so - on in extension. - -I have often wondered why no one has ever observed before that the hand -which wrote _The Adventures of Ernest Alembert_ must assuredly have -written every line of _Wuthering Heights_. We may well understand why -Charlotte Brontë in _Wuthering Heights_ wrote of Catherine Linton that -"the mentioning the Fairy Cave quite turned her head" with interest. And -that the original of the Fairy Cave in _Wuthering Heights_ was the Fairy -Cave of Malhamdale Montagu mentions at such length in his Malham -letter, the use of the names Linton and Airton in the connection -irrefutably proves without other appeal: Hareton--that variant of Aire, -cannot be associated with Derbyshire like "Eyre"; and despite the use of -"Eyre," Aire was the name in Charlotte Brontë's mind, just as "Airton" -was when she wrote "Hareton." - -Both the "boy-guide" and "Gimmerton's mist" were obviously suggested to -Charlotte Brontë for _Wuthering Heights_ by Montagu, the original, as I -have shown, of Lockwood:-- - - MONTAGU. _Wuthering Heights._ - - I ... took leave of my host and Says Heathcliffe:--"People - followed the youthful steps of familiar with these moors often - my guide whose services I had miss their road on such an - accepted.... Upon the summit of evening." - the mountain is Kilnsea Moor, - over which it is impossible to "Perhaps I can get a guide among - find a route to Malham Water your lads, ... could you spare - without a guide, more one?" asks Lockwood of his host. - particularly as a mist creates a - difficulty, even to a person - well acquainted with the - locality. - -Montagu's frequent references to the mountainous character of the Malham -country were doubtless responsible for Charlotte Brontë's choice of the -word "heights" used in her title. Why the name of Gimmer, from "gimmer" -a female sheep, and signifying with "ton" the place of sheep, was chosen -by her for Gimmerton, is clear when we read the etymology Montagu gives -of Skipton. He mentions Skibden and Skipton, proceeding to explain that -"Skipton, or Sceptown (from the Saxon word 'scep,' a sheep)" meant "the -town of sheep"; and Montagu tells us a native spoke of the village as -"the town of Malham." Hence we perceive why Charlotte Brontë coined -"Gimmerton," the village of sheep, and "Gimmerden," the valley of sheep, -for Malham and Malhamdale with the source of the Aire, the Fairy Cave, -the Sough, the adjacent crags, the heights, the glens, the rising mists, -the Methodist chapel and kirk in the lonely vale, when in the light of -all the foregoing we read in Montagu's work that:-- - -"Here [at Malham] there is an annual fair held on the 15th of October, -appropriated entirely for the sale of sheep.[35] I am within the limit -of fact when I say that upwards of one hundred thousand [sheep] have -been shown at one time. [Joseph takes cattle to "Gimmerton Fair," of -course not in October.] The houses are mostly built of limestone, and -covered with grit slates, and irregularly situated at the base of a -range of steep mountains"--"the Heights." - -Malham he describes as "a small township, divided into east and west -portions by a rapid stream"--"the beck down Gimmerton." "There is a -Methodist chapel at Malham," he states, and says that the old church of -Kirkby-Malham "is in the very bosom of the vale of Malham." Thus -Gimmerton Kirk, in the lonely valley of Gimmerton,[36] was Charlotte -Brontë's name in _Wuthering Heights_ for the kirk by Malham, in the -lonely vale of Malham. This insight into the origin of the name of -"kirk" for a Yorkshire church excuses what, without it, would have been -an anachronistic misnomer. As for the Nonconformists' place of worship, -Dean is made to remark:--"They call the Methodists' or Baptists' -place--I can't say which it is at Gimmerton--a chapel." - -In the light of the foregoing evidence it is impossible to ignore the -reference Montagu makes to "the sinks," where the water from Malham Tarn -sinks underground for a considerable distance. Whether Charlotte Brontë -thought this would produce a quag in the neighbourhood I cannot tell; -but if she has used the word "sough" (pronounced _suff_) in its ordinary -acceptance in Yorkshire, she originally meant "a subterranean passage or -tunnel, draining water as from a sink," if I may quote a definition in -Dr. Joseph Wright's _English Dialect Dictionary_. There is every sign in -her writings of a loose, composite adaptation of Montagu's topography, -etc., yet Charlotte Brontë was ever jealous of associations, and under a -guise or not she frequently preserved carefully recognizable -characteristics necessary to locality and to personality; and we see -Montagu had associated a sough with Malham. We have mention of Gimmerton -Sough in Chapter III. of _Wuthering Heights_, and in Chapter X.:--"... -the valley of Gimmerton, with a long list of mist winding nearly to its -top (for very soon after you pass the chapel ... the sough that runs -from the marshes joins a beck which follows the bend of the glen). -Wuthering Heights rose above this silvery vapour." And we have read what -Montagu says about the mists of Malham. - -The influence of Montagu's descriptions of this wild locality is -likewise observable in the scenery and the background of _Jane -Eyre_,[37] as I mentioned in the article "The Key to _Jane Eyre_" I -wrote in _The Saturday Review_. The yews and evergreens, mentioned by -Montagu in connection with Malham, and introduced by Charlotte Brontë, -with other trees of the fir-tribe, in descriptions of Morton in _Jane -Eyre_, Chap. XXX., etc., and in _Wuthering Heights_, are not common to -Haworth. - - - - -CHAPTER VIII. - -THE RIVERS OR BRONTË FAMILY IN "JANE EYRE." - - -Charlotte Brontë, while she often portrayed the main characters of her -stories from people in her own life, was quite at home with them in -whatsoever condition or surroundings she placed them.[38] She loved the -memory of Tabitha Aykroyd--that faithful servant, companion, and friend; -hated the vices of her brother Branwell Brontë, and was obsessed by -thoughts of M. Héger, her Brussels friend. So she placed the good old -housekeeper of the parsonage--under an ecclesiastical cognomen truly--as -Mrs. Dean at Wuthering Heights; set up her brother Branwell on the same -premises as Hindley Earnshaw, and put her Brussels friend in the -position of master of that abode. - -In _Jane Eyre_ Tabitha Aykroyd is Bessie of Mrs. Reed's household, and -Hannah of the Rivers family; Branwell is among better surroundings as -John Reed, and M. Héger is portrayed more proportionately as the master -of Thornfield; while in the same work Charlotte Brontë portrays her own -sister Maria Brontë, and makes her say she is a native of Northumberland -and describe the scenery round her birthplace there! - -In _Shirley_ Charlotte admits to having placed Emily Brontë as "Shirley -Keeldar," surrounded by the environment of a wealthy woman--a landed -proprietress in the Dewsbury neighbourhood; and she gives us phases of -M. Héger as a resident of Yorkshire, in the two Moores. - -_Villette_ contains in Dr. John, towards the close, a portrait of the -Rev. Mr. Nicholls, who became her husband, as a resident of the foreign -town Villette--for I find the character Dr. John was a portrait not -wholly drawn, as is supposed, from Mr. Smith of Messrs. Smith & Elder, -the Brontë publishers; and glimpses of Mr. Thackeray as a Villette -lecturer appear in a flitting usurpation of M. Héger's rights as the -original of M. Paul. - -Charlotte Brontë's thus placing given characters against any background -is doubtless responsible for the fact that when I wrote the _Fortnightly -Review_ article, "The Lifting of the Brontë Veil: A New Study of the -Brontë Family," in March, 1907, nigh on sixty years of readers of the -Brontë works had failed to recognize Charlotte Brontë had portrayed in -_Jane Eyre_ not only herself and her sister, Maria Brontë, as was -commonly known, but also her brother, Branwell Brontë; her Aunt -Branwell; her cousin, Eliza Branwell; her sister, Elizabeth Brontë; her -sister, Emily Brontë; her sister, Anne Brontë; her father, the Rev. -Patrick Brontë; and also Tabitha Aykroyd, the Brontë servant. Perhaps it -was because readers believed Morton was Hathersage, Derbyshire, that a -suspicion of the Rivers family being the Brontë family at Haworth never -had been entertained. - -I found, however, that all the above-mentioned members of the Brontë -family were placed in _Jane Eyre_ under a "Rivers" surname; and -proceeding into the inquiry as to their identity, I perceived this -discovery of the Brontë family in _Jane Eyre_ numbered with the more -important of my Brontë discoveries, and that despite her purposed and -reasonable cross-scents--the spired church, the mention of -knife-grinders, and the hinting at the proximity of Sheffield, all so -necessary in her day to permit the portrayal of phases of the life at -Haworth Parsonage--Morton to Charlotte Brontë was in the main Haworth. -What importance would attach to a discovery of an unknown portrait group -of his family deliberately painted from life by an old master! Such is -the importance of this discovery of the Brontë family drawn by the pen -of Charlotte Brontë herself in _Jane Eyre_. Currer Bell portrayed with -unvarying truth; and with cunning artistry she brought forward in her -literary legacy to the English novel the sure characteristics--the very -soul, the shallowness, the pretty affectionateness, the cooing -"dove-like voice," the "blue steel glance," of those she had watched and -loved and feared. - -Now, in the selection of a Christian name for the heroine Jane Eyre, in -whom she had portrayed herself, there was every reason why Charlotte -Brontë would be unlikely to adopt the second name of her sister, Emily -Jane. We have seen, however, that Charlotte Brontë had been led by -Montagu's mention of the Fairy Jannet, or Janet, poetically to make her -heroine a Fairy Janet. This evidence shows, therefore, that "Jane" was -really only secondary. The Fairy Cave which this fairy was supposed to -frequent is near Malham or Gimmerton, and, as I have said, the Fairy -Janet is termed "the queen of the Malhamdale elves that frequent the -enchanted land round the source of the Aire." Montagu mentions the fact -that the river Ayre takes its rise at Malham--at Malham Tarn, and hence -Charlotte Brontë seems to have named her heroine originally Janet Aire. -Obvious it is she would be led, naturally, to use later some variant of -Aire or Ayre; and the fact that she visited in the summer of 1845 -(evidence shows she had read Montagu at the time)[39] her friend Miss -Nussey, then at Hathersage in Derbyshire, where Eyre is a common name, -would suggest she was led to adopt this variant through her visit there. -We already have seen Charlotte Brontë used the variant of "Hare" for -"Air" in _Wuthering Heights_ for the boy Hareton from Montagu's -boy-guide, Robert Airton. And that she wished in _Jane Eyre_ to break -through the confines of the variant she had chosen for Aire, and give -open expression to her original and poetic idea, is seen plainly enough -where Adèle asks:-- - - "And Mademoiselle--what is your name?" - - "Eyre--Jane Eyre." - - "Aire? bah, I cannot say it." - -Having made this interesting discovery, I further found that, not -satisfied with appropriating for herself the "stream" surname, she -placed such a surname upon those who were related to her and whom she -had portrayed in _Jane Eyre_. So she used Burns from "burn," a stream -spelt with an "s," for Maria Brontë; Rivers, from a river also spelt -with an "s," for Emily Brontë, Anne Brontë, and the Rev. Patrick Brontë, -with Tabitha Aykroyd in attendance as Hannah; Reed, from the river of -that name for Charlotte's Aunt Branwell, her cousin Eliza Branwell, and -her brother, Branwell Brontë; Severn, from the river of that name for -her sister Elizabeth Brontë--just as she used Aire from the river of -that name for herself, as Janet Aire. - -A reference to Mrs. Gaskell's Brontë _Life_ were sufficient to establish -the identifications, when I say that by Charlotte Brontë's Method II. -(the alteration of the age of a character portrayed) the Rev. Patrick -Brontë is represented as a young man in the Rev. St. John Eyre -Rivers--certainly a very necessary obfuscation, for it is to be seen the -home at Morton gives a most enlightening insight into the life at the -Haworth Parsonage. A death is supposed to have occurred in the Rivers -family; and when it is remembered Thornfield to Charlotte Brontë -represented the Hégers' establishment at Brussels, and that she left -Brussels the first time on account of the death of her aunt, Miss -Elizabeth Branwell who, after being the female head of the parsonage -some years, died there in the close of 1842, we may know for whom the -Rivers family were really in mourning. Charlotte Brontë tells us that, -looking through the window of Moor House--Haworth Parsonage:-- - - I could see ... an elderly woman [Tabitha Aykroyd--the Mrs. Dean - of _Wuthering Heights_], somewhat rough-looking, but scrupulously - clean, like all about her, ... knitting a stocking.... Two young, - graceful women [Emily and Anne Brontë]--ladies in every - point--sat, one in a low rocking-chair, the other on a lower - stool; both wore deep mourning, ... which sombre garb singularly - set off very fair necks and faces: a large old ... dog [Emily had - a favourite dog] rested his massive head on the knee of one - girl--in the lap of the other was cushioned a black cat. A strange - place was this humble kitchen for such occupants [but they were - ever fond of it]. Who were they? They could not be the daughters - of the elderly person at the table [Tabitha]; for she looked like - a rustic, and they were all delicacy and cultivation. I had - nowhere seen such faces as theirs; and yet, as I gazed on them I - seemed intimate with every lineament. I cannot call them - handsome--they were too pale and grave for the word: as they each - bent over a book they looked thoughtful almost to severity. A - stand between them supported a second candle and two great volumes - to which they frequently referred; comparing them ... with the - smaller books they held in their hands like people consulting a - dictionary to aid ... in the task of translation. This scene was - as silent as if all the figures had been shadows and the fire-lit - apartment a picture. - - "Listen, Diana [Emily Brontë]", said one of the absorbed students, - ... and in a low voice she read ... in German.... The other girl, - who had lifted her head to listen to her sister, repeated, while - she gazed at the fire, a line.... "Good!" ... she exclaimed, while - her dark and deep eyes sparkled, ... "I like it!" - - "Is there ony country where they talk i' that way?" asked the old - woman [Tabitha, using her Haworth Yorkshire dialect], and being - told there is:--"Well, for sure case, I knawn't how they can - understand t'one t'other: and if either o' ye went there, ye could - tell what they said, I guess?" - - "... Not all--for we are not as clever as you think us, Hannah. We - don't speak German...." - - "And what good does it do you?" - - "We mean to teach it some time--or at least the elements, as they - say; and then we shall get more money than we do now." - - "Varry like; but give ower studying: ye've done enough for - to-night." - - "I think we have.... I wonder when St. John [the Rev. Patrick - Brontë] will come home." - - "Surely he will not be long now: it is just ten" (looking at a - little gold watch she drew from her girdle). "It rains fast. - Hannah, will you have the goodness to look at the fire in the - parlour?" - -Charlotte seems to have portrayed particularly those happy months at -home in 1842, when, after the death of their aunt, all three sisters -were together and their brother Branwell was away. It is Anne Brontë -who, as Mary Rivers, consults her watch. For the circumstances in which -she acquired this gold watch see the will of Miss Elizabeth Branwell, -her aunt.[40] - - The woman [Tabitha] rose: she opened a door, ... soon I heard her - stir the fire in an inner room. She presently came back: "Ah - childer!" said she, "it fair troubles me to go into yond room now: - it looks so lonesome wi' the chair empty and set back in a - corner." - -The Brontë sisters were "always children in the eyes of Tabitha." -Continuing her description of her sisters, Charlotte as Jane says:-- - - Both were fair complexioned and slenderly made; both possessed - faces full of distinction and intelligence. One [Emily Brontë] to - be sure had hair a shade darker than the other, and there was a - difference in their style of wearing it: Mary's [Anne Brontë's] - pale brown locks were parted and braided smooth; Diana's [Emily - Brontë's] duskier tresses covered her neck with thick curls.... - [She] had a voice toned to my ear, like the cooing of a dove. She - possessed eyes whose gaze I delighted to encounter. Her whole face - seemed to me full of charm, Mary's [Anne Brontë's] countenance was - equally intelligent--her features equally pretty; but her - expression was more reserved; and her manner, though gentle, more - distant. Diana looked and spoke with a certain authority [it was - Emily Brontë's manner]: she had a will.... It was my nature to - feel pleasure in yielding to an authority supported like hers; and - to bend, where my conscience and self-respect permitted, to an - active will. - -The following is the portrait of Charlotte Brontë's father (Method II., -the altering the age of the character portrayed) as her imagination -pictured him to have been in his young days. St. John's was the Rev. -Patrick Brontë's college at Cambridge:-- - - Mr. St. John ... had he been a statue instead of a man ... could - not have been easier. He was ... tall, slender; his face riveted - the eye; it was like a Greek face, very pure in outline; quite a - straight classic nose, quite an Athenian mouth and chin. It is - seldom indeed an English face comes so near the antique models as - did his.... His eyes were large and blue, ... his high forehead, - colourless as ivory, was partially streaked over by careless locks - of fair hair.... He ... scarcely impressed one with the idea of a - gentle ... or even of a placid nature; ... there was something - about his nostril, his mouth, his brow, which ... indicated - elements within either restless, or hard or eager. - -Charlotte Brontë's references herewith, and in other instances, to the -passionate nature of her father are interesting reading, especially in -view of the fact that this point has been the subject of controversy. To -return to _Jane Eyre_:-- - - Mr. Rivers [Mr. Brontë] now closed his book, approached the table, - and, as he took a seat, fixed his pictorial-looking eyes full upon - me. There was an unceremonious directness, a searching, decided - steadfastness in his gaze now which told that intention ... had - hitherto kept it averted ... St. John's eyes, though clear enough - in a literal sense, in a figurative one were difficult to fathom. - He seemed to use them rather as instruments to search other - people's thoughts, than as agents to reveal his own: the which - combination of keenness and reserve was considerably more - calculated to embarrass than to encourage. - -Mrs. Gaskell states that even in his old age Mr. Brontë[41] was a tall -and a striking-looking man, with a nobly shaped head and erect carriage, -and that in youth he must have been unusually handsome. And to use the -words of Hannah, "Mr. St. John when he grew up would go to college and -be a parson." Continuing, Mrs. Gaskell further says:-- - - The course of his life shows a powerful and remarkable character, - originating and pursuing a purpose in a resolute and independent - manner--separating himself from his family. There was no trace of - his Irish origin in his speech; he never could have shown his - Celtic origin in the straight Greek lines and long oval of his - face. - -Another writer accentuating this says Mr. Brontë was "proud of his Greek -profile," and we have now seen that Charlotte Brontë herself says his -(St. John's) face was "like a Greek face, pure in outline." Mr. Brontë -had also "fine blue eyes," like Mr. St. John. "His (Mr. Brontë's) -passionate nature was compressed down with stoicism, but it was there, -notwithstanding all his philosophic calm and dignity of demeanour, -though he did not speak when displeased. He was an active walker, -stretching away over the moors for many miles. He dined alone, and did -not require companionship." - -Which is, of course, all consonant with what we read of St. John Eyre -Rivers. Charlotte Brontë continues:-- - - As to Mr. St. John, the intimacy which had arisen so naturally ... - between me and ... [my] sisters did not extend to him. One reason - of the distance ... observed between us was, that he was - comparatively seldom at home: a large proportion of his time - appeared devoted to visiting the sick and poor among the scattered - population of his parish. No weather seemed to hinder him in these - pastoral excursions: rain or fair, he would, when his hours of - morning study were over, take his hat and ... go out on his - mission of love and duty.... But, besides his frequent absences, - there was another barrier to friendship with him: he seemed of a - reserved, an abstracted, and even a brooding nature. Zealous in - his ministerial labours, blameless in his life and habits, he yet - did not appear to enjoy that mental serenity, that inward content - which should be the reward of every sincere Christian and - practical philanthropist. Often of an evening, when he sat at the - window, his desk and papers before him, he would cease reading or - writing, rest his chin on his hand, and deliver himself up to I - know not what course of thought; but that it was perturbed and - exciting might be seen in the frequent dilation of his eye. - - I think, moreover, that Nature was not to him that treasury of - delight it was to his [my] sisters. He once expressed, and but - once in my hearing, a strong sense of the rugged charm of the - hills, and an inborn affection for the dark roof and hoary walls - he called his home; but there was more of gloom than pleasure in - the tone and words in which the sentiment was manifested; and - never did he roam the moors for the sake of their soothing - silence--never to seek out or dwell upon the thousand peaceful - delights they could yield. - - Incommunicative as he was, some time elapsed before I had an - opportunity of gauging his mind. I first got an idea of its - calibre when I heard him preach in his own church.... I wish I - could describe that sermon; but it is past my power. I cannot even - render faithfully the effect it produced on me. - - It began calm, and indeed, as far as delivery and pitch of voice - went, it was calm to the end: an earnestly felt, yet strictly - restrained zeal breathed soon in the distinct accents, and - prompted the nervous language. This grew to force--compressed, - condensed, controlled.... Throughout there was a strange - bitterness; an absence of consolatory gentleness; stern allusions - to Calvinistic doctrines--election, predestination, - reprobation--were frequent.... It seemed to me ... that the - eloquence to which I had been listening had sprung from a depth - where lay turbid dregs of disappointment--where moved troubling - impulses of insatiable yearnings and disquieting aspirations. I - was sure St. John Rivers, pure-lived, conscientious, zealous as he - was--had not yet found that peace of God which passeth all - understanding: he had no more found it ... than had I: with my - concealed and racking regrets for my broken idol and lost elysium. - -"Charlotte Brontë," says Miss Laura C. Holloway, "early exhibited -antagonistic feelings towards the Calvinistic views of her father." And -so I might continue at great length. Excluding the love passages -necessary to "story" and the missionary suggestions for which it seems -that Brussels priest whom I may call Charlotte Brontë's Fénelon was -originally responsible, the portrayal of the Rev. Patrick Brontë, like -that of Charlotte's sisters, is absolutely true to prototype and -fact.[42] We discover that at heart Charlotte Brontë loved her father, -hence she honoured him--the head of the "Rivers" family--by giving him -the final word in her autobiography, speaking of him as he appeared to -her: an old man whose days were drawing to a close. Jane relates of -Morton:-- - - Near the churchyard, and in the middle of the garden, stood a - well-built though small house, which I had no doubt was the - parsonage. - -In Charlotte Brontë's mind this was Haworth Parsonage; but it is clear -that, despite the church "spire" and other efforts at obfuscation, she -did not dare to portray her sisters and father in the parsonage. Thus -she placed the family in another house. And now we will have another -glimpse of Tabitha Aykroyd, this time as "Hannah," speaking her Haworth -Yorkshire dialect:-- - - "Have you been with the family long?" - - "I've lived here thirty year. I nursed them all three.... I thowt - more o' th' childer nor of mysel'.... They've like nobody to tak' - care on 'em but me ... I'm like to look sharpish." - - Hannah was evidently fond of talking [see my chapter on Tabitha - Aykroyd]. While I picked the fruit and she made the paste for the - pies, she proceeded to give me sundry details about ... her - deceased ... mistress, and "the childer," as she called the young - people.... There was nothing like them in these parts, nor ever - had been; they had liked learning, all three, almost from the time - they could speak; and they had always been "of a mak" of their own - [had individual character]. They had lived very little at home for - a long while, and were only come now to stay a few weeks on - account of their father's [aunt's] death: but they did so like - Marsh End and Morton [Haworth] and all these moors and hills - about. They had been in ... many grand towns, but they always said - there was no place like home; and then they were so agreeable with - each other--never fell out nor "threaped" [asserted beyond the - argumentative point]. She did not know where there was such a - family for being united. - -Emily Brontë as Diana says it is "a privilege we exercise in our home to -prepare our own meals when ... so inclined, or when Hannah [Tabby] is -baking, brewing, washing or ironing," which of course was true at -Haworth Parsonage. To give yet another description:-- - - The Rivers [Brontës] clung to the purple moors behind and around - their dwelling with a perfect enthusiasm of attachment. I could - comprehend the feeling, and share both its strength and truth. I - saw the fascination of the locality, ... my eye feasted on the - outline of swell and sweep.... The strong blast and the soft - breeze; the rough and the halcyon day; the hours of sunrise and - sunset ... developed for me ... the same attraction as for - them--wound round my faculties the same spell that entranced - theirs. - -Then follow pictures of the life at Haworth Parsonage, which tell us how -Charlotte Brontë adored her sisters; and with the modesty of true genius -she places herself at their feet, as it were. We have a sketch of -Tabitha Aykroyd ironing Aunt Branwell's lace frills and crimping her -nightcap borders in _Jane Eyre_, Chapter I., wherein both figure as -Bessie and Aunt Reed. Years ago it came to be thought the original of -Jane Eyre's Aunt Reed was Miss Branwell, the aunt of the Brontë -children, though one writer identified her with a certain Mrs. Sidgwick -whose son threw a book at Miss Brontë in her governess days, because -"the son of Mrs. Reed" threw a Bible at Jane Eyre. The fact the -rainy-day narrations in _Wuthering Heights_ and _Jane Eyre_ establish, -that Charlotte Brontë associated a "volume-hurling" incident with her -childhood and Branwell Brontë's "tyranny," disposed finally of the -Sidgwick identifications. John Reed we have now seen was, like Hindley -Earnshaw, Catherine's brother, drawn by Charlotte Brontë from her -brother Branwell Brontë. Always she wrote of him vindictively, and with -a retributive justice, her strong characteristic. At about the period -when Currer Bell was penning _Wuthering Heights_ and _Jane Eyre_ -Branwell was a source of considerable distress to her. He was disgraced; -his habits were the reverse of temperate, and it was daily feared that -in a fit of delirium he might make an attempt upon his own life. Indeed -Charlotte Brontë palpably writes of Branwell Brontë and those miserable -associations which brought trouble upon Mrs. Gaskell's first edition of -the Brontë _Life_, in _The Professor_, Chapter XX., where she says:-- - - Limited as had yet been my experience of life, I had once had the - opportunity of contemplating, near at hand, an example of the - results produced by a course of ... domestic treachery.... I saw - it bare and real, and it was very loathsome. I saw a mind degraded - ... by the habit of perfidious deception, and a body depraved by - the infectious influence of the vice-polluted soul. I had suffered - much from the forced and prolonged view of this spectacle. - -Charlotte's letters also show she was ashamed of and losing patience -with him. John Reed is spoken of as "a dissipated young man; they will -never make much of him, I think.... Some people call him a fine-looking -young man; but he has such thick lips." For obfuscation's sake he is -"tall," and Mrs. Gaskell in speaking of Branwell's profile says:--"There -are coarse lines about the mouth, and the lips, though handsome in -shape, are loose and thick, indicating self-indulgence." Aunt Reed -exclaims at the last of her favourite:--"John is sunken and degraded, -his look is frightful--I feel ashamed for him when I see him." It was -near the time that Aunt Branwell died at Haworth there was this decided -degradation of her favourite nephew Branwell. For story purposes -Charlotte Brontë makes her aunt a married woman in _Jane Eyre_, and -places her nephew Branwell and her niece Eliza Branwell in the relation -of children to her as John and Eliza Reed--Georgiana is no doubt a -Brontë relative of whom we have not heard, and Charlotte thought vain. -The fact that in _Jane Eyre_, Chapter XXI., her name is mentioned in -connection with "a title," would show Currer Bell early apportioned her -a place in the book by reason of Montagu's reference to a Lady -Georgiana. - -A child, sympathetic and intensely emotional, Charlotte Brontë, -evidently, felt injustices with an acuteness not easy to understand -without reading her _Wuthering Heights_ and _Jane Eyre_ by aid of _The -Key to the Brontë Works_. It would be like Maria Brontë to protest with -her younger sister on her holding resentment against Aunt Branwell; and -with the inference that she herself had endured her harshness, she says -as Helen Burns:--"What a singularly deep impression her injustice seems -to have made on your heart! No ill-usage so brands its record on my -feelings. Would it not be happier if you tried to forget her severity, -together with the passionate emotions it excited?" - -Of Eliza Reed (Cousin Eliza Branwell), as seen by Jane at the death of -Aunt Reed, we are told: "she was now very thin, and there was something -ascetic in her look." She wore "a nun-like ornament of a string of ebony -beads and a crucifix. This I felt sure was Eliza, though I could trace -little resemblance to her former self in that elongated and colourless -visage." In 1840 Charlotte Brontë wrote of her "Cousin Eliza Branwell" -that she spoke of nothing but botany, her own conversion, Low Church, -Evangelical clergy, and the Millennium.[43] And thus in _Jane Eyre_ we -read of Cousin Eliza Reed, by way of emphasis on this side of her -character:-- - - Eliza ... had no time to talk, ... yet it was difficult to say - what she did.... Three times a day she studied a little book which - I found ... was a Common Prayer Book. I asked her once what was - the great attraction of that volume, and she said 'the Rubric.' - Three hours she gave to stitching, with gold thread, the border of - a square crimson cloth; ... she informed me it was ... for the - altar of a new church.... Two hours she devoted to ... working by - herself in the kitchen garden. [Cousin Eliza's parterre is also - referred to in Chapter IV. of _Jane Eyre_.] Eliza [attended] a - saint's-day service at ... church--for in matters of religion she - was a rigid formalist: no weather ever prevented the punctual - discharge of what she considered her devotional duties; fair or - foul she went to church thrice every Sunday, and as often on - week-days as there were prayers. And by way of climax, Jane Eyre - tells us that Cousin Eliza says:--"I shall devote myself ... to - the examination of the Roman Catholic dogmas, and to a careful - study of the workings of their system; if I find it to be, as I - half suspect it is, the one best calculated to ensure the doing of - all things decently and in order, I shall embrace the tenets of - Rome and probably take the veil." - -The river Reed, I may remark, has its rise close to the Cheviot Hills, -within about five miles of the source of the Keeldar Burn, which name -Charlotte Brontë used later in _Shirley_ for the surname of Shirley -Keeldar who, the world knows, is really Emily Brontë. To quote a ballad -of Leyden, - - "The heath-bell blows where Keeldar flows, - By Tyne the primrose pale." - -The Reed has a Rochester near, which doubtless provided a name for -Charlotte's hero. - -Having now the key to this method of Charlotte Brontë, we also discover -portrayed in _Jane Eyre_ an utterly neglected sister of Currer Bell in -Julia Severn, called after a river. Remembering that Emily Brontë would -be younger than Charlotte, we perceive Julia must mean Elizabeth Brontë, -born, like Emily, in July. We almost had forgotten this sister was at -the Clergy Daughters' School. One of two things was responsible, it -seems, for the choice of "Julia": either her natal month or her going to -the above school in July. Elizabeth Brontë, the second sister of -Charlotte Brontë, was born at Hartshead, near Dewsbury. - - "Miss Temple," cries Mr. Brocklehurst, "... what--_what_ is that - girl with curled hair--red hair, ma'am, curled--curled all over?" - - "It is Julia Severn," replies Miss Temple quietly, ... "Julia's - hair curls naturally." - -Thus from this discovery the world learns for the first time that Diana -Rivers represents Emily Brontë, afterwards Shirley Keeldar;[44] Mary -Rivers, Annie or Anne Brontë; St. John Eyre Rivers, the Rev. Patrick -Brontë; and the elderly Hannah, the old, dialect-speaking Tabitha -Aykroyd--the original of Charlotte Brontë's Mrs. Dean and Bessie; that -Aunt Reed represents Aunt Branwell; Cousin Eliza Reed, Cousin Eliza -Branwell; John Reed, Charlotte Brontë's brother Branwell; and Julia -Severn, her sister Elizabeth Brontë, all of whom but for _The Key to the -Brontë Works_ would have remained for ever hidden and unrecognized in -_Jane Eyre_. - -I have refrained from extending this volume with full extracts from the -Brontë books, once having indicated the place and nature of my -references. I must emphasize, however, that in dealing with the Rivers -family Charlotte Brontë gives most appealing portrayals of the various -phases of the life at Haworth Parsonage:--The studying, the -painting,[45] the minor interesting domestic incidents dear to her -memory, the parting of the Brontë sisters with St. John (Mr. Brontë), -the "house-cleaning"--so very "Yorkshire"!--the preparations for -Christmas, the return home of the Brontë girls, and many other facts and -associations that render _Jane Eyre_ in the light of _The Key to the -Brontë Works_ the surpassing of all Brontë biographies. Presented for -posterity by her own sure hand, Charlotte Brontë's picture is bright and -exhilarating; and as we glance uneasily again to Mrs. Gaskell's sombre -portrayal, we on a sudden remember that biographer wrote in the shadow -of death. But it is with life we have to do. - - - - -CHAPTER IX. - -THE ORIGIN OF THE YORKSHIRE ELEMENT IN CHARLOTTE BRONTË'S HUNSDEN OF -"THE PROFESSOR"; HEATHCLIFFE OF "WUTHERING HEIGHTS"; ROCHESTER OF "JANE -EYRE"; AND YORKE OF "SHIRLEY." - - -M. Héger, Miss Brontë's Brussels friend, by the showing of all evidence -was essentially the original of her leading male characters.[46] M. -Sue's _Miss Mary_ and its "Manuscript of Mdlle. Lagrange," which I -present farther on, are sufficient testimony that M. Héger was the -original of the inner Heathcliffe and Rochester, and Charlotte Brontë's -other chief male characters. An inquiry, therefore, is at once required -as to the significance of Mrs. Gaskell's statement that she suspected -Charlotte Brontë drew from the sons of the Taylor family[47] "all that -was of truth in the characters of the heroes of her first two works." -That the Yorkshire element of her heroes was provided by a living model -or models from one family, is proved by a consistency of the -characterization in this regard. I find, truly enough, that male members -of the Taylor family were indeed the originals to which she referred in -the composition of a Yorkshire-Héger.[48] The Taylors, of the Red House, -Gomersall, (obviously the Briarmains of the Yorkes), and of Hunsworth, -were mill-owner friends, and Independents, with whom Charlotte Brontë -visited. In _Shirley_ Miss Brontë ostensibly portrayed Mr. Taylor and -his two daughters, her friends Mary and Martha, as Mr. Yorke and Rose -and Jessie. Mary and Martha Taylor were at school with Charlotte at Roe -Head, near Dewsbury and Huddersfield. They were also at Brussels with -Charlotte, though not at the Hégers'. Martha was taken ill and died at -Brussels; a touching reference to her death is made where she is -portrayed as Jessie Yorke, in _Shirley_, Chapter XXIII. Mary Taylor -(Rose Yorke) was in New Zealand when Charlotte Brontë died. Her fondness -for travel is mentioned in the _Shirley_ chapter named. The male members -of this family were thought by Currer Bell most characteristic Yorkshire -folk, hence the name of Yorke. I mention Yorke Hunsden as one of the -Yorkshire-Hégers of Miss Brontë's method of dual portraiture. I believe -this important character in _The Professor_ will be found, like his -fellows, to be entirely a Taylor-Héger. The name for Hunsden was -apparently dictated by the Taylors' connection with Hunsworth, and it -may be noted his Christian name of Yorke came to be later the surname of -Mr. Taylor as portrayed in _Shirley_. - -But the Héger element was always superior to the Yorkshire element in -Charlotte Brontë's heroes. The latter might provide useful and necessary -external characteristics, but the "intensitives" were the lines she drew -from her model, M. Héger. Of him as M. Pelet in _The Professor_, she -writes:-- - - His face was pale, his cheeks were sunk, and his eyes hollow; his - features ... had a French turn, ... the degree of harshness - softened by ... a melancholy, almost suffering expression of - countenance; his physiognomy was _fine et spirituelle_. - -This "melancholy almost suffering expression of countenance" she thus -described was evidently once a marked characteristic of M. Héger's -physiognomy. A reference to it occurs in M. Sue's _Miss Mary_, in the -French and "adapted" version, where we find M. de Morville, whom I -identify as a phase of M. Héger, sitting in a reverie:-- - - ... l'expression de légère souffrance habituelle à sa physionomie, - d'ailleurs si ouverte, s'est compliquée d'une sorte de contrainte - lorsqu'il se trouve au milieu de sa famille. Seul, et ne subissant - pas cette contrainte ... M. de Morville semble profondément - attristé. - -Thus, of Yorke Hunsden in _The Professor_, we read:-- - - His general bearing intimated complete ... satisfaction, ... yet, - at times, an indescribable shade passed like an eclipse over his - countenance, and seemed to me like the sign of a sudden and strong - inward doubt of himself, ... an energetic discontent, ... perhaps - ... it might only be a bilious caprice. - -And again of Hunsden, in the same vein:-- - - I discerned ... there would be contrasts between his inward and - outward man; contentions too.... Perhaps in these - incompatibilities of the "physique" with the "morale" lay the - secret of that fitful gloom; he _would_ but _could_ not, and the - athletic mind scowled scorn on its more fragile companion, ... his - features ... character had set a stamp upon ... expression re-cast - them at her pleasure, and strange metamorphoses she wrote, giving - him now the mien of a morose bull, and anon, that of an ... arch - girl. - -Regarding these facial metamorphoses Charlotte Brontë wrote similarly -concerning M. Héger.[49] - -I remark that M. Héger's harshness evidently had impressed Charlotte -Brontë considerably at first, and thus reflects her thoughts on this -point in the introduction of the phases she gives of him in her books. -So we read of Yorke Hunsden, of Heathcliffe, and of Rochester:-- - - _The Professor._ _Wuthering Heights._ _Jane Eyre._ - - I said to myself "his Heathcliffe's "walk There was something - rough freedom pleases in" expressed the in the forced, stiff - me not at all."... sentiment "Go to bow, in the - There was something the Deuce."[50]... impatient, yet formal - in Mr. Hunsden's I think that tone which seemed ... - point-blank mode of circumstance to express: "What the - speech which rather determined me Deuce is it to me - pleased me than to accept the whether Miss Eyre be - otherwise, because it invitation; I felt there or not?[50] At - set me at my ease. interested in a this moment I am not - I continued the man who seemed disposed to accost - conversation with more exaggeratedly her." I sat down, - a degree of reserved than quite disembarrassed. - interest.... myself. A reception of - Hunsden's manner now finished politeness - bordered on the would probably have - impertinent, still confused me, ... but - his manner did not harsh caprice laid me - offend me in the under no - slightest--it only obligation.... - piqued my curiosity; Besides, the - I wanted him to go eccentricity of the - on. proceeding was - piquant. I felt - interested to see how - he would go on. - -We read of Rochester:--"The frown, the roughness of the stranger -set me at my ease"; and in _Villette_, we read of M. Héger as M. -Paul:--"Once ... I held him harsh and strange, ... the darkness, the -manner displeased me. Now ... I preferred him before all humanity," -which explains why Charlotte Brontë wrote of Rochester:--"The sarcasm -that had repelled, the harshness that had startled me once, were only -like keen condiments in a choice dish," and explains why she admits to -the piquancy in exploiting the possibilities of Heathcliffe's startling -harshness. - -And again, as further evidence of the influence of M. Héger over her -Yorkshire Hunsden, we find this character in the close of _The -Professor_ implicated with a mysterious "Lucia," whom he would have -married but could not, which Lucia we discover to have meant really the -original of the Lucy Snowe of _Villette_--Charlotte Brontë herself. - -It is obvious that while Currer Bell, for "story" and other purposes, -made use of a composite method in presenting a portrait, she drew from -characters who possessed much in common: as with the composite character -of the Rev. Mr. Helstone, meant for her father, a clergyman, but -presenting also a phase of another clergyman, the Rev. Hammond Roberson; -and as with Dr. John Bretton, a composite character drawn from the two -Scotsmen, Mr. Smith her publisher, and the Rev. A. B. Nicholls, who -subsequently became her husband. Doubtless, characteristics in the -Taylors were similar to some of M. Héger's. Perhaps the fact that they -spoke French and sojourned on the Continent, accentuated to her these -characteristics. In a letter, Miss Brontë described all the Taylors as -"Republicans." And so of Yorke Hunsden in _The Professor_, Chap. XXIV., -we read, "republican, lord-hater, as he was, Hunsden was proud of his -old ----shire blood ... and family standing." Thus, in _Shirley_, Chap. -IV., in which work that character appears stripped of the Héger element, -as Mr. Yorke, we read of the latter:-- - - Kings and nobles and priests ... were to him an abomination.... - The want of ... benevolence made him very impatient of ... all - faults which grated on his strong, shrewd nature: it left no check - to his ... sarcasm. As he was not merciful, he would sometimes - wound ... without ... caring how deep he thrust.... Mr. Yorke's - family was the first and oldest in the district. - -_Viâ_ Yorke Hunsden of _The Professor_ and Mr. Yorke of _Shirley_ the -reader has returned to a character who typified more than any other of -Charlotte Brontë's Yorkshire-Héger portrayals the merciless, strong and -shrewd-natured Taylor--Heathcliffe of _Wuthering Heights_. But the -Yorkshire element in Heathcliffe was a caricature and an exaggeration -for the purposes of the "cuckoo story," resulting from the tale Montagu -tells of a foundling; and the emphasis laid upon his barbarity was -largely a result, too, of the consideration I mention in the chapters -entitled "The Recoil," which consideration had to do with the Héger -phase of Heathcliffe. The fact that evidence shows Heathcliffe to have -been, like Hunsden and Rochester, a composite character drawn from a -dual model--the Taylor-Héger model--traceable in origin absolutely to -Charlotte Brontë's idiosyncratic estimate of two male characters who are -shown to have seriously interested her, in itself sufficiently -demonstrates her authorship of _Wuthering Heights_, and is indeed of -great interest. - -If reference be made to a letter written by Charlotte Brontë in -1846, the year when she offered _Wuthering Heights_ to a publisher, -it will be found she mentioned that one of the Taylors had--like -Heathcliffe--suffered in the teens of years from hypochondria, "a most -dreadful doom," Charlotte called it, and related she herself had endured -it for a year.[51] - -Having herself suffered thus, there was a temptation--at what I -elsewhere call the dark season of Charlotte Brontë's inner life, at the -season of the recoil--to present in her work _Wuthering Heights_ the -Yorkshire-Héger with the hypochondria of her Yorkshire model, and let -his demon be the original of her Catherine Earnshaw--be herself. To this -temptation Charlotte Brontë gave no opposition, much to her regret -later. Herewith we have the origin of Heathcliffe's miserable -hypochondria and monomania--his digging for Catherine in the grave till -his spade scraped the coffin, in _Wuthering Heights_, Chap. XXIX., and -his saying because his "preternatural horror" always haunted, but never -abided with him:-- - - "She showed herself, ... a devil to me! And, since then ... I've - been the sport of that intolerable torture! Infernal--keeping my - nerves at such a stretch that, if they had not resembled catgut, - they would long ago have relaxed.... It racked me! I've groaned - aloud.... It was a strange way of killing! not by inches, but by - fractions of hairbreadths, ... through eighteen years!" Mr. - Heathcliffe paused, ... his hair wet with perspiration, ... the - brows not contracted, but raised next the temples; diminishing the - grim aspect of his countenance, but imparting a peculiar look of - trouble, and a painful appearance of mental tension towards one - absorbing subject. - -In the light of the foregoing, therefore, we may understand the truth of -Charlotte Brontë's narration in _The Professor_, Chap. XXIII.:-- - - My nerves ... jarred ... A horror of great darkness fell upon me; - I felt my chamber invaded by one I had known formerly, ... I was - ... a prey to hypochondria. She had been ... my guest ... before - ... for a year.... I had her to myself in secret; she lay with me, - she ate with me, showing me nooks in woods, hollows in hills, - where we could sit together, and where she could drop her drear - veil over me, and so hide sky and sun, grass and green tree; - taking me entirely to her death-cold bosom and holding me with - arms of bone. What tales she would tell me at such hours!... How - she would discourse to me of her own country--the grave.... I was - glad when ... I could ... sit ... freed from the dreadful tyranny - of my demon. - -Both by reason of Mrs. Gaskell's suspicion that she had drawn from them -in the portrayals of the heroes of her first books and by reason of the -undeniable evidence of her works, we must accept the Taylors as the -originals of most that was "Yorkshire" in Charlotte Brontë's Yorke -Hunsden, Heathcliffe, Rochester, and Yorke, understanding the term in -Currer Bell's implication of "independent," "hard," and "open-spoken." -But M. Héger contributed what Charlotte Brontë calls in Chap. XXVII. of -_Villette_, in speaking of him as M. Paul Emanuel--"that swart, sallow, -southern darkness which spoke his Spanish blood," and this gave colour -to the physiognomy of "the swart, sallow" Heathcliffe and Rochester.[52] - -In the succeeding chapters I deal more particularly with the relation of -Heathcliffe of _Wuthering Heights_, to Rochester of _Jane Eyre_, and I -promise my readers to present therein most important and sensational -revelations. - - - - -CHAPTER X. - -HEATHCLIFFE OF "WUTHERING HEIGHTS" AND ROCHESTER OF "JANE EYRE" ONE -AND THE SAME. - - -Without herewith further entering into the question as to the original -of the morose and harsh characters who were the heroes of Charlotte -Brontë's novels, I will at once show she had drawn from the same model -in both _Wuthering Heights_ and _Jane Eyre_. I have given in the -foregoing chapter the introduction of Lockwood to Heathcliffe and that -of Jane to Rochester side by side. Let us also read the following:-- - - _Wuthering Heights._ _Jane Eyre._ - - Heathcliffe. Rochester. - - With a stubborn countenance ... Most people would have thought - Heathcliffe is a dark-skinned Mr. Rochester an ugly man; yet - gipsy in aspect, in dress and there was an unconscious pride - manners a gentleman; ... rather in his port; so much ease in his - slovenly, perhaps, yet not demeanour; such a look of - looking amiss with his complete indifference to his own - negligence, because he has an appearance ... that ... one - erect and handsome figure; and inevitably shared the - rather morose. Possibly some indifference, and even in a - people might suspect him of a blind sense put faith in his - degree of under-bred pride; I confidence.... He was proud, - have a sympathetic cord within sardonic; ... in my secret soul - that tells me it is nothing of I knew his kindness to me was - the sort: I know by instinct his balanced by unjust severity to - reserve springs from an aversion others. He was moody, too, ... - to showy displays of feeling--to and when he looked up a morose, - manifestations of mutual almost a malignant, scowl - kindliness. He'll love and hate blackened his features. - equally under one cover, and - esteem it a species of - impertinence to be loved or - hated again. No, I am running on - too fast; I bestow my own - attributes over liberally on - him. - -Heathcliffe and Rochester are both black-avised, stubborn of -countenance, negligent as to external appearance, moody, proud in carry, -and morose. Charlotte Brontë tells us of one that on external judgment -"most people would have thought him" possessed of a disqualification, -and of the other that "some people might suspect him" of having a -disqualification. And in each case a similar offset--the internal -reading of the man's character--is brought forth by Charlotte Brontë as -Lockwood or Jane:--"A sympathetic cord within" tells the former that -Heathcliffe's reserve read as under-bred pride springs from an aversion -to "manifestations of mutual kindliness"; and Jane, commenting on -Rochester's being proud and sardonic, says, "In my secret heart I -knew ... his kindliness to me was balanced by unjust severity to -others." - -I find the singular expression indicated by the "hell's light" epithets -applied to Heathcliffe's eyes was an expression Charlotte Brontë had -apparently noticed in the original of this character. Rochester's eyes -in _Jane Eyre_ have "strange gleams," and we are told "his eye had a -tawny--nay, a bloody light in its gloom," and so forth. Indeed, -Heathcliffe's eyes, which were "clouded windows of hell" with -"black-fire in them," are seen in Rochester's clearly enough, and the -singular "hell's light" is associated with them at considerable length, -in - - _Jane Eyre_:-- - - And as for the vague something--was it a sinister or a sorrowful - ... expression?--that opened upon a careful observer ... in his - eye, and closed again before one could fathom the strange depth - partially disclosed; that something which used to make me fear and - shrink, as if I had been wandering amongst volcanic-looking hills, - and had suddenly felt the ground quiver and seen it gape. - -The following description of Heathcliffe could be read as of Rochester, -whose "olive cheek" and "deep eyes" Jane describes:-- - - _Wuthering Heights._ - - His cheeks were sallow and half-covered with black whiskers, the - brows were lowering, the eyes deep-set and singular. I remembered - the eyes. His upright carry suggested his having been in the army - [M. Héger had fought as a soldier] ... His countenance ... looked - intelligent. A half-civilized ferocity lurked in the depressed - brows and eyes full of black fire, but it was subdued, and his - manner was even dignified, though too stern for grace. - -In view of the general evidence that Heathcliffe, like Rochester, was -drawn by Charlotte Brontë from M. Héger, her Brussels friend the -professor, it is not surprising that Heathcliffe's was "a deep voice and -foreign in sound." Her reference in _Wuthering Heights_ to his Spanish -extraction reminds us of M. Paul Emanuel's "jetty hair and Spanish face" -in _Villette_, and of course it is well known M. Paul Emanuel was drawn -by Currer Bell from M. Héger. - - - - -CHAPTER XI. - -CATHERINE AND HEATHCLIFFE OF "WUTHERING HEIGHTS" AS JANE AND ROCHESTER -OF "JANE EYRE." - - -We have already seen Catherine in _Wuthering Heights_ represented -Charlotte Brontë as intimately portrayed by herself in the work, and -that Heathcliffe was drawn by her from the original of the Rochester of -_Jane Eyre_. So faithfully did Charlotte Brontë tell again in _Jane -Eyre_ the history of her life in relation to her family and M. Héger, -that she gives the main lines of her biography in both works. I will -show them side by side. - -For the literal parallels when not given in this chapter see the index. -My amazing discovery on the return of the runaway Heathcliffe to -Catherine and the return of the runaway Jane to Rochester I give -literally herewith. - - _Wuthering Heights._ _Jane Eyre._ - - Opening scene: A rainy day in Opening scene: A rainy day in - Catherine's (Charlotte Brontë's) Jane's (Charlotte Brontë's) - childhood. She is treated childhood. She is treated - unkindly by the rest of the unkindly by the rest of the - household. It is impossible to household. It is impossible to - go out on account of the rain. go out on account of the rain. - She had been commanded to keep She had been commanded to keep - aloof from the family group. aloof from the family group. - This group included in This group included in - particular, little Catherine particular, little Jane tells us - tells us with bitter feeling, with bitter feeling, John Reed - Hindley Earnshaw (Branwell (Branwell Brontë), who - Brontë), who luxuriated in the luxuriated in the warmth of the - warmth of the fire with other fire with other members of the - members of the family. family. - - Nevertheless, though banished, Nevertheless, though banished - Catherine (Charlotte Brontë) herself, Jane (Charlotte Brontë) - makes herself snug in a recess makes herself snug in a recess - behind a curtain, and believes behind a curtain, and believes - herself secure, when Hindley herself secure, when John Reed - Earnshaw (Branwell Brontë), (Branwell Brontë), coming up - coming up from his paradise on from his paradise on the hearth, - the hearth, makes her come out makes her come out of the recess - of the recess precipitantly, precipitantly. He hurls the book - after she has hurled the book she was reading. Little Jane - she was reading. Little (Charlotte Brontë) sees a tyrant - Catherine (Charlotte Brontë) in John Reed (Branwell Brontë). - sees a tyrant in Hindley He tells her that he is the - Earnshaw (Branwell Brontë). He master of the house, or soon - tells her that he is the master will be. - of the house. - - Later, Catherine complains to Later, Jane complains to herself - herself of her brother Hindley's of John Reed's (Branwell's) - (Branwell's) tyrannies. He has tyrannies. He has made her cry - made her cry and her head ached, and her head ached, she says, as - she says, as a result of his a result of his behaviour. - behaviour. - - Little Catherine (Charlotte Little Jane (Charlotte Brontë), - Brontë), although she was held although she was held to be - to be passionate, and was passionate, and was treated - treated harshly and almost as an harshly and almost an outsider - outsider by the rest of the by the rest of the household, - household, finds a kind, but finds a kind, but apparently - apparently unsympathetic, friend unsympathetic, friend in a - in a woman-servant, Nelly Dean, woman-servant, Bessie, who has a - who has a remarkable gift of remarkable gift of narrative, - narrative, like Tabitha Aykroyd, like Tabitha Aykroyd, whom - whom Charlotte Brontë loved, and Charlotte Brontë loved, and who - who came to the Haworth came to the Haworth parsonage - parsonage when Charlotte was when Charlotte was about nine - about nine years of age. But years of age. But even Bessie - even Nelly Dean (Tabitha (Tabitha Aykroyd) sometimes - Aykroyd) sometimes tasked and tasked and scolded Jane - scolded Catherine (Charlotte (Charlotte Brontë) unreasonably, - Brontë) unreasonably, and and mistrusted her. - mistrusted her. - - She even believes that Catherine She even believes that Jane - (Charlotte Brontë) is an actor (Charlotte) is an actor and - and feigns in regard to certain feigns in regard to certain fits - fits of frenzy. of frenzy. - - On the occasion of one of these On the occasion of one of these - bouts of frenzy, Catherine bouts of frenzy, Jane (Charlotte - (Charlotte Brontë) is in a room, Brontë) is in a room, the door - the door of which has been of which has been locked. - locked. - - In a paroxysm of alarm, In a paroxysm of alarm, Jane - Catherine (Charlotte Brontë) (Charlotte Brontë) summons - summons Mrs. Dean (Tabitha Bessie (Tabitha Aykroyd) - Aykroyd) frantically, and with a frantically, and with a piercing - piercing scream. The latter scream. The latter enters - enters annoyed, and quite annoyed, and quite - unsympathetic. unsympathetic. - - It is suggested Catherine was It is suggested Jane was only - only acting, and Catherine acting, and Jane overhears this. - overhears this. She had desired She finds Bessie (Tabitha - Mrs. Dean (Tabitha Aykroyd) to Aykroyd) at the foot of her bed - bring her a basin of gruel. with a basin in her hand. - - Catherine (Charlotte) relates Jane (Charlotte) relates her - her fears of the locked room: fears of the locked room: How - How she thought it haunted; she she thought it haunted; she - showed fear of the mirror, and showed fear of the mirror, and - describes excitedly to Mrs. Dean describes excitedly to Bessie - (Tabitha) her terrifying (Tabitha) her terrifying - sensations previous to her sensations previous to her - losing consciousness, and how losing consciousness. She - she supposed she must supposed she must immediately - immediately have had a species have had a species of fit. - of fit. - - Mrs. Dean (Tabitha) suggests Bessie (Tabitha) suggests sleep - sleep to Catherine (Charlotte to Jane (Charlotte Brontë). - Brontë). - - Mrs. Dean (Tabitha) believes Bessie (Tabitha) believes that - that to see the apparition of a the apparition of a child is a - child is a sign of calamity sign of calamity having befallen - having befallen some one near some one near akin. Jane dreams - akin. One day Mrs. Dean sees a of a child-apparition, and fears - child-apparition, and fears it it may be a sign of calamity, - may be a sign of calamity to and the day following Bessie's - Catherine's (Charlotte's) husband brings word of the - brother, Hindley Earnshaw disgrace of John Reed (Branwell - (Branwell Brontë). He is really Brontë, Charlotte's brother). - in disgrace. - - Catherine falls in love with Jane falls in love with a - a morose, "sallow-cheeked" morose, "olive-cheeked" - individual with deep eyes, that individual with deep eyes, that - have a singular expression, have a singular expression, - which makes the narrator which makes the narrator - associate "hell's light" with associate "hell's light" with - them. He has a handsome, erect them. He has a handsome, erect - carry, but is rather negligent carry, but is rather negligent - in his apparel. His speech is in his apparel. His speech is - abrupt. (His name is abrupt. (His name is Rochester.) - Heathcliffe.) - - But Catherine loved him, and he But Jane loved him, and he loved - loved Catherine. Indeed, Jane. Indeed, Jane likens - Catherine likens themselves to a themselves to a cloven tree, - cloven tree by saying that which is one at the root, but - whosoever would come between divided by storm. Thus she - them to divide them would meet believes in the "twin-soul" or - the fate of Mïlo, who, of the elective affinities, and - course, endeavoured to drive says of Rochester:-- - asunder a cloven tree held - firmly at its base, and was - himself trapped by it for his - pains. Thus she believes in the - "twin-soul" or the elective - affinities, and says:-- - - "It would degrade me to marry "I feel akin to him.... I have - Heathcliffe now; so he shall something in my brain and heart - never know how I love him; and that assimilates me mentally to - that not because he's handsome, him.... I know I must conceal my - ... but because he's more myself sentiments.... Yet, while I - than I am. Whatever our souls breathe and think, I must love - are made of, his and mine are him."[53] - the same."[53] - - However, Heathcliffe and However, Rochester and Jane - Catherine part, Heathcliffe part, Jane running away - running away unexpectedly. unexpectedly. - (Method I., interchange of - the sexes of characters.) - - Catherine dreams she is in Jane finds refuge with the - heaven, but broke her heart to Rivers family (the Brontë family - come to earth again, upon which at Haworth). She is tempted to - the angels flung her out near take to a religious - Heathcliffe's abode, where she life:--"Angels beckoned, and - awoke sobbing for joy: Catherine Heaven rolled together like a - preferred her lover to scroll," but she heard - heaven.[54] Rochester's voice calling, - though he was miles away. Jane - preferred her lover to - heaven.[54] - - The two parted lovers, however, The two parted lovers, however, - meet again, and by Charlotte meet again, and by Charlotte - Brontë's Method I., (interchange Brontë's Method I., (interchange - of the sexes of characters of the sexes of characters - portrayed), we arrive at another portrayed), we arrive at another - of my sensational and important of my sensational and important - Brontë discoveries. Brontë discoveries. - - - THE RETURN OF THE RUNAWAY LOVER THE RETURN OF THE RUNAWAY LOVER - HEATHCLIFFE TO CATHERINE.[55] JANE TO ROCHESTER.[55] - - _Wuthering Heights._ _Jane Eyre._ - - Chapter X. Chapter XXXVII. - - On [an] ... evening ... I was ... I came, just ere dark ... - coming from the garden.... It the darkness ... of dusk - had got dusk, ... the moon gathered.... I beheld the - causing ... shadows to lurk in house--scarce by this dim light - the corners of ... portions of distinguishable.... Entering a - the building. I set my burden on portal fastened by a latch, ... - the house steps by the ... door I stood.... The windows were - and lingered to rest ... my back latticed, ... the front door was - to the entrance, when I heard a narrow; ... one step led up to - voice behind me say:-- it.... I heard a movement--that - narrow front-door was unclosing, - "... Is that you?" and some shape was about to - issue from the grange. - It was a deep voice, and foreign [Charlotte Brontë's _Wuthering - in sound.... Something stirred Heights_ version of the returned - in the porch; and moving nearer runaway lover, is also staged at - I distinguished a tall man "the grange."] It opened slowly: - dressed in dark clothes, with a figure came out into the - dark face and hair. He leant twilight and stood on the step; - against the side, and held his a man, ... he stretched forth - fingers on the latch as if his hand.... Dusk as it was I - intending to open for had recognized him--it was my - himself.... A ray fell on his master ... Rochester. I stayed - features; the cheeks were my step, almost my breath.... - sallow, and half-covered with His form was of the same strong - black whiskers; the brows and stalwart contour as ever: - lowering, the eyes deep-set and his port was still erect, his - singular. I remembered the eyes. hair was still raven-black: nor - were his features altered or - sunk.... But in his countenance - I saw a change: that looked - desperate and brooding--that - reminded me of some wronged and - fettered wild beast or bird, - dangerous to approach in his - sullen woe.... He closed the - door. I now drew near and - knocked: John's wife opened for - me.... She started as if she had - seen a ghost: I calmed her. To - her hurried "Is it really you, - "What!" I cried, uncertain Miss, come at this late - whether to regard him as a hour...?" I answered by taking - worldly visitor, and raised my her hand. - hands in amazement. "What! you - come back? Is it really you? Is "... Tell your master ... a - it?" person wishes to speak to him." - - "Yes; Heathcliffe," he replied When she returned, I inquired - ... "where is she?... Is she what he had said. - here? Speak! I want to have one - word with her--your mistress "You are to send in your name - [Catherine]. Go, and say some and business," she replied. - person ... desires to see her." - She then proceeded to fill a - "... And you _are_ Heathcliffe. glass of water, and place it on - But altered!" a tray, together with candles. - - ... I could not persuade myself "Is that what he rang for?" I - to proceed. At length I resolved asked. - on making an excuse to ask if - ... [Catherine] would have the "Yes; he always has candles - candles lighted, and I opened brought in at dusk...." - the door. [She] sat ... by a - window whose lattice lay back. "Give the tray to me, I will - carry it in." - "What does he want?" asked - Catherine. ... Mary opened the door for - me.... Mr. Rochester turned - "I did not question him," I mechanically. - answered. - "This is you, Mary, is it not?" - ... Mr. Edgar inquired ... who - it was? "Mary is in the kitchen," I - answered. - "Some one mistress does not - expect," I replied. "That "_Who_ is it? _What_ is it? Who - Heathcliffe.... Hush! you must speaks?" - not call him ... names.... She'd - be sadly grieved to hear you. "... I came only this evening," - She was nearly heart-broken when I answered. - he ran off. I guess his return - will make a jubilee to her." "Great God!--what delusion has - come over me? What sweet madness - "Oh, ... Heathcliffe's come has seized me?... Oh! I _cannot_ - back--he is," panted Catherine. see.... Whatever--whoever you - "... I'll ... secure my guest. are--be perceptible to my touch - I'm afraid the joy is too great or I cannot live!" - to be real!" - I arrested his hand and prisoned - "... Catherine, try to be glad it in both mine. - without being absurd! The whole - household need not witness the "Is that Jane?" - sight of your welcoming a - runaway servant." "... This is her voice," I - added.... "My dear master, ... I - I ... found Heathcliffe ... and am Jane Eyre:... I am come back - ushered him into the presence of to you." - the master and mistress. - "In truth?--in the flesh? My - ... Now, I was amazed [by] the living Jane?" - transformation of - Heathcliffe;... A half-civilized "You touch me, sir--you hold me. - ferocity lurked yet in the I am not vacant like air, am I?" - depressed brows and eyes full of - black fire, but it was subdued, "... But I cannot be so blest - quite divested of roughness, after all my misery. It is a - though too stern for grace.... dream: such dreams I have - He took a seat opposite had.... But I always woke and - Catherine, who kept her gaze found it an empty mockery; and I - fixed on him, as if she feared was desolate and abandoned." - he would vanish were she to - remove it. He did not raise his ... I began ... to withdraw - to her often; a quick glance now myself from his arms--but he - and then sufficed; but it eagerly snatched me closer:-- - flashed back each time; ... the - undisguised delight he drank "No, you must not go. No--I have - from hers.... Catherine ... rose touched you, heard you; ... my - and seized Heathcliffe's hands very soul demands you.... Who - again, and laughed like one can tell what a dark, hopeless - beside herself. life I have dragged on for - months past? ... feeling but a - "I shall think it a dream ceaseless sorrow, and at times a - to-morrow!" she cried. "I shall very delirium of desire to - not be able to believe that I behold my Jane again. Yes; for - have seen and touched, and her restoration I longed.... - spoken to you once more.... Will she not depart as suddenly - Cruel Heathcliffe! You don't as she came? To-morrow ... I - deserve this welcome. To be shall find her no more.... - absent and silent for three Cruel, cruel deserter! O Jane, - years, and never to think of what did I feel when I - me!" discovered you had fled and left - Thornfield?" - "... I've fought through a - bitter life since I last heard "Jane! ... my heart swells - your voice, and you must forgive with gratitude to the beneficent - me, for I struggled only for God of this earth just now.... I - you!" did wrong: I would have sullied - my innocent flower: the - "... The event of this evening," Omnipotent snatched it from me. - said Catherine, "has reconciled I, in my stiff-necked rebellion, - me to God and humanity! I had almost cursed the dispensation: - risen in angry rebellion against instead of bending to the decree - Providence--oh, I've endured I defied it.... Of late, Jane, - very, very bitter misery.... I ... I began to experience - can afford to suffer anything remorse, repentance; the wish - hereafter! Should the meanest for reconciliation to my - thing alive slap me on the Maker.... Now I thank God." - cheek, I'd not only turn the - other, but I'd ask pardon for - provoking it.... I'm an angel!" - - (Later on in _Wuthering Heights_ - Charlotte Brontë, temporarily - neglecting her use of Method I., - interchange of the sexes, in - this connection, makes - Heathcliffe say to Catherine:-- - - "Why did you betray your own - heart, Cathy?... You loved me, - then what _right_ had you to - leave me?... Because misery and - degradation and death and - nothing that God or Satan could - inflict would have parted us, - _you_ of your own will did it."). - -The above parallel descriptions, it will be found, agree practically -word for word. I will now give the substance side by side, and let the -reader keep in mind Charlotte Brontë's Method I., interchange of the -sexes of characters:-- - - _Wuthering Heights._ _Jane Eyre._ - - Catherine and Heathcliffe love Jane and Rochester love each - each other, but Heathcliffe other, but Jane suddenly - suddenly disappears. disappears. - - One evening Heathcliffe as One evening Jane as suddenly - suddenly returns. The narrator returns. The narrator of the - of the return of the runaway return of the runaway Jane tells - Heathcliffe tells us that it is us that it is evening, and she - evening, and she is outside the is outside the house, when in - house, when in the dim light she the dim light she distinguishes - distinguishes the figure of a the figure of a man, a stranger - man, a stranger she has not seen she has not seen for some time. - for some time. Dusk as it is, Dusk as it is, she recognizes - she recognizes Heathcliffe. Rochester. - - In his countenance, however, In his countenance, however, - there is "a transformation, ... there is "a change--that looked - a half-civilized ferocity lurked desperate and brooding--that - yet in his eyes full of black reminded ... of ... some - fire, but was subdued." fettered wild beast ... - dangerous to approach in his - sullen woe." - - "What! you come back? Is it "Is it really you, Miss, come at - really you?" cries the servant, this late hour?" cries the - "raising her hands, uncertain servant, "starting as if she had - whether to regard him as a seen a ghost," addressing the - worldly visitor," addressing the runaway Jane. - runaway Heathcliffe. - - "I want to have one word with "... Tell your master a person - your mistress," says Heathcliffe wishes to see him," says Jane to - to the servant. "Go and tell her the servant. - some person ... desires to see - her." - - But there is a difficulty, and But there is a difficulty, and - eventually, to accomplish the eventually, to accomplish the - meeting of the parted lovers, meeting of the parted lovers, - the taking in of the candles is the taking in of the candles is - considered as a pretext. considered as a pretext. - - Catherine cries:--"Heathcliffe's Rochester cries:--"... What - come back--he is.... I'm afraid sweet delusion has come over me? - the joy is too great to be What sweet madness has seized - real!" me?" - - "I shall think it a dream "I am come back to you," says - to-morrow. I shall not be able Jane. - to believe I have seen and - touched and spoken to you once "I have touched you, heard - more," says Catherine to you.... To-morrow I fear I shall - Heathcliffe. And reproachfully find [you] no more," says - he exclaims:-- Rochester to Jane. And - reproachfully he exclaims:-- - "I've fought through a bitter - life since last I heard your "Who can tell what a dark, - voice, and you must forgive me, hopeless life I have dragged on - for I struggled only for you." for months past? ... feeling ... - but ... a ceaseless sorrow and - "Cruel Heathcliffe, you don't ... a very delirium of desire to - deserve this welcome," says behold my Jane again. Yes; for - Catherine; "to be absent ... and her restoration I longed.... - never think of me." Cruel, cruel, deserter! O Jane, - what did I feel when I - discovered you had fled from - Thornfield?" says Rochester. - - Catherine had risen in angry Rochester had risen in angry - rebellion against God because of rebellion against God because of - the cruel fate that had divided the cruel fate that had divided - her and Heathcliffe; but now him and Jane, but now that she - that he was restored to her, she was restored to him, he was - was reconciled, and was thankful reconciled, and was thankful of - of heart. heart. - - -------- -------- - - And thus, from the rainy day And thus, from the rainy day - incident in Catherine's early incident in Jane's early - childhood to the reconciliation childhood to the reconciliation - of Catherine and Heathcliffe, we of Jane and Rochester, we have - have the main narrative of the the main narrative of the - heroine and hero of _Wuthering heroine and hero of _Jane Eyre_, - Heights_, obviously written by obviously written by Charlotte - Charlotte Brontë from facts in Brontë from facts in her own - her own life. life. - -The absolute dependence of Charlotte Brontë's _Wuthering Heights_, _Jane -Eyre_, and _Villette_ upon her own inner life in relation to M. Héger is -proved by the evidence in the chapter on "The Rivers Family," in the -chapters on "Eugène Sue and Charlotte Brontë's Brussels Life," and in -those entitled "The Recoil." - - - - -CHAPTER XII. - -EUGÈNE SUE AND CHARLOTTE BRONTË'S BRUSSELS LIFE. - - -I. - -MDLLE. LAGRANGE AND HER MANUSCRIPT "CATHERINE BELL THE ORPHAN." - -When Mrs. Gaskell published her Brontë biography it was discovered that -while she had been enabled by aid of the mass of commonplace Brontë -correspondence to present an interesting picture of the domestic -conditions at the Haworth parsonage, she had yet been unable to throw -any light upon that episode in Charlotte Brontë's life which, it had -been suspected, was responsible for the extraordinary love passages in -the Brontë works and Miss Brontë's insistence in choosing the hero of -each of her books from the same model. - -It is therefore most miraculous and sensational that after having found -Montagu's _Gleanings in Craven_ was the key to _Wuthering Heights_ and -_Jane Eyre_, I should further come to discover, what the world had -thought would never be found: external evidence throwing light upon Miss -Brontë's real relations with the Hégers at Brussels, to whose -_pensionnat_ she went in the 'forties. This discovery was the subject of -my article "The Lifting of the Brontë Veil" Mr. W. L. Courtney -commissioned me to write in the _Fortnightly Review_. Therein I showed -Eugène Sue had presented the whole history of M. Héger's passion for -Charlotte Brontë, and Madame Héger's jealousy, in a work entitled _Miss -Mary ou l'Institutrice_, published in 1850-51--seven years before the -publication of Mrs. Gaskell's _Life_, and before the publication of -either _The Professor_ or _Villette_; and we saw that M. Héger knew all -Miss Brontë's literary secrets in 1850. - -Skilfully enough Eugène Sue in this story--the first version of which -was issued serially in September 1850, from _The Weekly Times_ Office, -London, whence were published many of M. Sue's serials;[56] the second, -an abridged and altered version for French readers, published in Paris -in March 1851--gave two phases of Charlotte Brontë, something after the -method we see Miss Brontë herself employed in _Jane Eyre_, wherein she -gave two phases of Tabitha Aykroyd, one in the beginning as Bessie, -another later on as Hannah of the Rivers family.[57] - -Indeed it will be found that in this work Eugène Sue also imitated -Charlotte Brontë's Method I., interchange of the sexes of characters -portrayed from life. - -The two phases of Miss Brontë in this romance are Miss Mary Lawson, an -Irish governess at the de Morville establishment; and Mademoiselle -Lagrange, a former governess at the same house. The Mademoiselle -Lagrange is, however, always referred to in the abstract, and serves to -illustrate, it appears, Miss Brontë before her first departure from and -return to Brussels, as well as after, for she was twice at the Hégers. -And it may be observed that Charlotte Brontë was called "Mademoiselle -Charlotte" at the Héger _pension_ when she was governess there in 1843. -Certainly the choice of Lagrange for Miss Brontë was pertinent: _la -grange_ is French for "the barn," and may have been suggested by the -Eyre of _Jane Eyre_, which to a French ear would recall _aire_--a barn -floor. Mdlle. Lagrange who had left the de Morville (_Anglicè_, Morton. -As we have seen, Morton of _Jane Eyre_ was Haworth to Charlotte Brontë) -establishment on account of the jealousy of Madame de Morville, whom I -identify as Madame Héger, is a plain-featured literary aspirant, and she -writes a manuscript entitled not exactly Currer Bell, but "Kitty Bell, -the Orphan." - -This manuscript has been sent by the author for an opinion of its merits -to M. de Morville, who reads it aloud to his family. It is a parody, as -it were, of _Jane Eyre_, with an imitation of Charlotte Brontë's methods -of introducing private biographical facts. For instance, in presenting -the Lowood school incidents it calls the school "the Kendall Institute," -named after "a Mr. Kendall, its founder." Evidently the writer had -heard, as only few indeed had at this early day, that the Lowood school -of _Jane Eyre_ was afterwards removed to Casterton in the Union of -Kendal, or had heard that in a wise it was connected with a place of -that name. - -Other extraordinary facts with which he shows acquaintance are, that -Charlotte Brontë had a sister Elizabeth at this school; that Helen Burns -was her sister; that there was a West Indian girl at the school; that -Charlotte Brontë was born on or about the 21st of April; that she might -be called Kitty (Currer) Bell at home, but she must be called Catherine -(Catherine Earnshaw); that Miss Brontë was the governess-daughter of an -Irishman; that the original of John Reed was her brother and was no -hero, and had shown strange signs of insanity during the last year or -two, as it is now known he had at the time; that a female relative had -provided Miss Brontë the money for the _pensionnat_; that skin disorders -as well as the typhus fever were prevalent at the Clergy Daughters' -School (it is in a private letter that Miss Brontë referred to scrofula -at this school); that the original of Mr. Rochester was a foreigner and -a resident abroad, an ex-soldier, and married to a lady who was not -pretty, albeit "la vivacité, l'agrément de sa physionomie expressive, -suppléaient à la beauté qui lui manquait"; that Charlotte Brontë had had -in her possession since her childhood an old copy in English of _The -Imitation of Christ_; that Miss Brontë was called a _bas bleu_ at the -_pensionnat_; that to form an opinion of her character by Madame Héger's -estimate of her disposition would be completely erroneous; that M. Héger -was accustomed to read _feuilletons_ aloud; that religious differences -existed between her and others at the establishment where Charlotte -Brontë was; that Catherine's (Catherine Earnshaw's) rival was Isabella -(Heathcliffe's wife--Madame Héger of the Rue d'Isabelle); that Miss -Brontë travelled alone to Brussels and was accosted by _deux jeunes -gens_--compare the opening chapters of _Miss Mary_ with Lucy Snowe's -arrival at Villette, evidently in some wise founded on fact, as to these -two young men. See also _The Professor_, Chapter VII. - -But to return to "Mdlle. Lagrange's Manuscript," the pseudo _Jane Eyre_, -which of course at once identifies its author, Mdlle. Lagrange, as -Charlotte Brontë, I find therein the whole Lowood school incidents--the -typhus fever, the hair-cutting incident, the death of the consumptive -Helen Burns, etc., amplified with biographical additions. For instance, -take the hair-cutting incident of _Jane Eyre_ as represented in -"Lagrange's Manuscript"-- - - The master called out:-- - - "Elizabeth----" - - ... Meanwhile all the Elizabeths in the school must have felt the - claws of the tiger in their necks, for who could tell which of them - it was?... - - "Superintendent of the Kendall Institute! you are aware, madam, one - of the rules of this establishment enjoins you to cut short the - hair of every new girl.... And yet what do I see? Six girls with - long hair...." - - The last of these had not been a week at the institution. She was a - girl of fourteen, very dark, ... with a fine tinge of the Creole in - her face. How well I thought did Isabella Hutchinson, with her - dark, West Indian head, look by the side of the fair Yorkshire - girl, Sophia Leigh, whose pale, straw-coloured locks, looked paler - still by the side of that dark heap of hair, blacker than a raven's - wing...[!] - -We have seen in the chapter on "The Rivers or Brontë Family in _Jane -Eyre_" that Charlotte Brontë portrayed in the character Julia Severn, -who is first mentioned in connection with the hair-cutting incident, her -sister Elizabeth, and it is most significant that M. Sue made play upon -the name Elizabeth in the connection. In regard to the mention of a West -Indian girl at the Lowood school and her being coupled with a -fair-haired Yorkshire girl, it is important to note that no reference is -made in _Jane Eyre_ to a West Indian girl at this school. It is indeed -astonishing how much M. Sue knew of Charlotte Brontë's private life. -Here we find him telling the world in 1850 of a West Indian girl being -with Charlotte Brontë at the Clergy Daughters' School, and not till -seven years later did Mrs. Gaskell learn of the Rev. Patrick -Brontë--Charlotte Brontë was then dead--that a girl from the West Indies -had been Charlotte's friend at this school. Her name, he thought, was -Mellany Hane, so far as he could remember to pronounce it. Mysteriously -enough, the words "West Indies" or "West Indian" in this connection have -been deleted from the later editions of Mrs. Gaskell's _Life of -Charlotte Brontë_. See the Second Edition. - -"Lagrange's Manuscript" is of considerable length and interest, and can -be drawn upon in future editions of _The Key to the Brontë Works_. -Frequently it follows in parallel to _Jane Eyre_, but as parody -interspersed with biographical details which must have been intended -chiefly for Charlotte Brontë herself, as scarcely any one else could at -that day have understood the pertinence of the references.[58] Take a -Helen Burns incident whereby M. Sue shows he is aware she was a Brontë -sister, older than Charlotte--Maria Brontë who died of consumption:-- - - But the inexorable hand ... was upon Agnes Jones [Helen Burns]. - Day by day I saw her pretty cheeks growing thinner and thinner, - her eyes sinking still more deeply into her head, her little mouth - becoming more blue and ashy, her long, thin fingers more - transparent. Her voice, at all times so meek and low, dwindled - away to that thin and tiny sound to which we listen as to - something absent--already gone--something that comes from above or - below us--that is not living amongst us--not breathing as we - breathe--a retreating echo, rather than a living voice--a sigh, - and not a sound.... It was not much I had learned from Agnes - [Helen] since I had been at the institution; but never till then - had I known her spirit so genial, her heart so lovingly - persuasive; the beneficent lessons of those days, burning like - candles within me, have since guided me well through life: _she - spoke to me like a prophet, and I listened to her like a - believer_. Oh, I could have lived for ever in that chamber, and - Agnes [Helen] might have been to me the world! How often, as our - cheeks lay against each other have I wished that I, too, had been - ill, so that I also might have died, as she was dying, in my - innocence!... One evening, ... just at that pleasant hour of - twilight when two of God's wonders--night and day--cross each - other like ships on the sea, Agnes [Helen] said:--'Life has its - holiness as well as death, Catherine [Jane]; and you may live in - the world as purely and justly as those who die in the cradle.' - - "The world is full of temptation?" - - "So it is, but there lies the merit, my dear; wrestle with - temptation and do what is right, ... you must not allow my death - to afflict you much, since I rejoice at it.... If you think of me, - think of me living, not dead. Think of your playfellow in the - garden; think of your elder sister who lived with you for six - years." - -Maria Brontë, Charlotte's eldest sister, and the original of Helen -Burns, died when Charlotte was eight or nine. It is sensational indeed, -that M. Sue thus identified Helen Burns seven years before the -publication of Mrs. Gaskell's _Life of Charlotte Brontë_. The death of -this character in "Lagrange's Manuscript" is in perfect agreement with -that of Helen Burns. I will place the two side by side:-- - - _Jane Eyre._ "Kitty Bell, the Orphan." - - Chapter IX. By the Mademoiselle Lagrange, of - Eugène Sue's _Miss Mary ou - By Currer Bell. L'Institutrice_. - - The death of Helen Burns. The death of Agnes Jones. - - That forest dell, where Lowood The Master of the Kendall - lay, was the cradle of ... Institution ... had ... been - fog-bred pestilence, which ... very much shocked by the ravages - crept into the Orphan Asylum, of typhus fever, and since the - breathed typhus through [it] ... reports of Agnes's health had - and transformed the seminary become serious, had sent several - into a hospital.... One evening times to ascertain how she - ... Mr. Bates came out, and ... was.... "Miss Bell, I am come to - a nurse.... I ran up to her. inquire after our friend, Miss - Jones." - "How is Helen Burns?" - "... Agnes is always calm and - "Very poorly," was the easy-minded.... This is very - answer.... Two hours later ... I kind of you." - reached ... Miss Temple's room, - ... I looked in. My eye sought ... As I was preparing to lie - Helen, and feared to find down in the room, Agnes called - death.... "Helen!" I whispered to me:-- - softly; "are you awake?" - "Catherine, my dear, I feel - ... I got on to her crib and rather cold to-night; will you - kissed her: her forehead was sleep with me?" - cold, and her cheek both cold - and thin, and so were her hand Of course I complied, and we lay - and wrist, but she smiled as of talking in each other's arms - old. until the sweet dove fell - asleep. Poor Agnes, she was - "Jane, ... lie down and cover indeed cold; a strange chill - yourself with the quilt." came through me as I lay by her - side.... I still heard my sister - I did so: she put her arm over orphan breathe and pant.... Why - me, and I nestled close to her. did I listen ... so greedily? - Why--when the poor thing turned - ... I clasped my arms closer round once in the night, and - round Helen; she seemed dearer said: "Another kiss, - to me than ever; I felt as if I Catherine!"--why did I feel in - could not let her go; I lay with giving it her, as if a hundred - my face hidden on her neck. steel arrows had gone through my - Presently she said:--"... Don't heart? How long I lay awake and - leave me, Jane; I like to have thinking--wondering at the cold - you near me." emerging from the pure body at - my side, I know not! I must have - "I'll stay with you, _dear_ slept, too; for I remember - Helen; no one shall take me opening my eyes with the first - away."... She kissed me, and I dawn, before the bells rang. - her; and we soon slumbered. When - I awoke it was day; an unusual "Agnes!" said I, softly; "are - movement roused me. you awake?" - - A day or two afterwards, I But there was no answer!... I - learned that Miss Temple, on called again--then a third, and - returning to her own room at a fourth time! But still ... no - dawn, had found me laid in a reply! Wondering at this - little crib; my face against silence, ... I listened for that - Helen Burn's shoulder, my arms hard breathing I knew so well. - round her neck. I was asleep, But nothing--not a sound could I - and Helen was--dead. hear! Alarmed, but unwilling to - trust my fears, I felt for her - hand. Oh, God! it was cold as - ice, and rigid as stone! Wild - with affright, ... I started up - ... and rushed out to call the - Superintendent [Miss Temple]. I - found her preparing to come to - us.... When we entered the - chamber, we found no Agnes - there! No; her spirit had fled, - and all we saw was the lifeless - body of a poor houseless girl. - -Another biographical passage occurs where Catherine Bell first sees the -Miss Temple of "Lagrange's Manuscript," who herself, under the name of -Ashton (Eshton),[59] is at times Miss Brontë, who took the name of the -original of Miss Temple (Evans) for herself in the phase of Frances -Evans Henri in _The Professor_, a work not published, we must note, till -after Charlotte Brontë's death:-- - - "I love you, madam," I said. - - "Your name, I believe, is Catherine Bell, is it not?" - - "Kitty Bell, if you please, madam," I answered. - - "Kitty Bell at home, my dear, but here we must call you Catherine; - for a school, you know, is where many forms must be observed. How - old are you?" - - "I shall be ten next birthday, madam." - - "And when will that be?" - - "On the 23rd of April." - - "Shakespeare's Day, I declare!" - -The above is, of course, not in _Jane Eyre_. There is a stroke of -sarcasm in the last sentence. It would appear that Currer Bell playfully -had moved her birthday forward two days, in her private conversation -with one from whom M. Sue had gleaned information--and this could be -only M. Héger himself. Charlotte Brontë, as Lucy Snowe, in _Villette_, -Chapter XLI., tells us that M. Paul Emanuel (M. Héger) said:-- - -"I wanted to prove to Miss Lucy that I _could_ keep a secret. How often -has she taunted me with lack of dignified reserve and needful caution! -How many times has she saucily insinuated that all my affairs are the -secret of Polichinelle!" And this had doubtless a reference to some such -indiscretions as resulted in M. Sue whilst at Brussels (and he was -publishing _L'Orgueil_ from Brussels in 1844, in the January of which -year Charlotte Brontë arrived home from the Belgian capital), learning -the literary secrets of _Jane Eyre_, and perhaps _Wuthering Heights_. - -A further reference to Currer Bell's literary aspirations--in the spirit -of Mdlle. Reuter's sneers, in _The Professor_, at Mdlle. Henri's -literary ambition--occurs in M. Sue's _feuilleton_ in another version of -the fortune-telling incident of _Jane Eyre_:-- - - "Here," said I, to a brown, sunburnt damsel, ... "take this - shilling and tell me when I shall be Empress of Morocco?" - - I held out my hand.... The young girl looked at it, ... then shook - her head doubtfully:-- - - "Your life, lady, will be a troubled one--full of hopes and - fears!" - - "So I suppose; most people's lives are pretty well divided in this - manner." - - "But not so much as yours will be.... First, you are without - father or mother?... Without fortune, too?" - - "True, what more?" - - "You will be married and not married." - - "That's impossible. What can you mean by married and not married?" - - "That deserves another shilling!" - - "No; I only want a shillingsworth, ... that will do for to-day." - -"Mdlle. Lagrange's Manuscript" was bound in blue morocco leather, and -the term "Empress of Morocco" may have a reference to a literary -ambition, as has the "Shakspeare's Day, I declare!" passage. - -For constructive purposes the West Indian girl, or Creole, in -"Lagrange's Manuscript," is made to take the place of the Mrs. Rochester -of _Jane Eyre_, who is therein represented as a Creole:-- - - I did my best [continues Catherine Bell] to make a friend of her, - but to no purpose. Whatever was the reason she disliked me from - the first. ["I am convinced she does not like me," wrote Charlotte - to Emily of Madame Héger.] I felt intuitively she was my enemy.... - Had we been thrown together when I was a child [!] I should - probably have suited her ... for at that time I was a little given - to flattery myself. But that was before I had learned how many - better things there are than mere beauty.... Perhaps ... I - preferred more solid advantages, because my vanity assured me that - I had them myself, whilst my personal appearance was insignificant - compared with hers. I was certainly fond of talking of what I - knew, which answered very well with those who knew as much, and - was rather pleasing to those who knew more. [M. Héger seems to - have found pleasure in his intellectual talks with Currer Bell], - but to Isabella [this, as I have said, is the name of Catherine's - rival in _Wuthering Heights_, who was married to Heathcliffe] it - was hateful. She imagined I wanted to expose her ignorance. - -I have given some of the biographical facts respecting Miss Brontë -embodied in Mdlle. Lagrange's story, and before closing this chapter -dealing with that extraordinary manuscript I will print a further -extract or so from it. The opening is as follows:-- - - "KITTY BELL, THE ORPHAN." - - I was not above four years old when my mother died, my father - having gone to his grave two years before.... Oh, it is a sad, sad - thing to be an orphan!... My little head has been cut with more - than one fall, and blood has flowed down my neck. But nobody - cared.... It was only Kitty Bell.... There was no loving heart to - take me to itself and soothe me.... I had been taken home by some - relation of my mother, ... a widow [Mrs. Burke], and though she - treated me with great rigour, she melted on her death-bed. - -She is locked in the room wherein Mrs. Burke died, after the manner of -the same incident in _Jane Eyre_, and the writer takes an opportunity of -inserting the most distinctive feature of _Jane Eyre_, the light-bearing -apparition, the original of which I have shown Charlotte Brontë found in -Montagu's _Gleanings in Craven_:-- - - Suddenly there came a gleam of light through the key-hole, ... and - now I could hear a short, heavy tread upon the stairs--it was - coming up.... The gleam shot through the key-hole a third time, - with treble radiance. But what had I seen?... Was it a vision? was - it a ghost? It was a tall figure in white, like a winding sheet, - with a hideous face and balls of gleaming fire where the eyes - should be. The sight had stunned and levelled me almost like a - blow on the temple.... I cannot say how long I continued in this - swoon, but when I began to recover myself I was in my own bed. - -She had received medical treatment, she learns as did Jane Eyre in the -similar incident. The "ghost," however, had been only George Burke--the -John Reed of _Jane Eyre_. Hence the choice of the name Burke by reason -of its connection with the Hare of the Burke and Hare association, the -writer by this choice showing his acquaintance with the fact that in -real life the Reeds and Jane Eyre were relations. After this incident -the story is for a while occupied with the petty happenings connected -with this orphan who "was not yet nine years old." An aunt of the Burkes -[? Aunt Branwell] comes to live with them, a "poor, quiet, elderly -spinster who paid a small stipend in order to preserve her independence -and keep up her dignity.... I must not attempt to describe her ... she -was fully six feet high." This is palpably antithetical: Miss Branwell -was not tall. And it is this aunt who provides the money for Catherine -Bell to go to school. Under the guise of presenting the Lowood school in -"Lagrange's Manuscript," M. Sue gives us often the Héger _pensionnat_. -Aunt Branwell provided Charlotte Brontë the money that enabled her to go -to the Hégers'. - -I will give in parallel columns the arrival of Charlotte Brontë at the -Clergy Daughters' Institute as it is described in "Mademoiselle -Lagrange's Manuscript," and in _Jane Eyre_ the original:-- - - _Jane Eyre._ "Kitty Bell, the Orphan." - - By the Mademoiselle Lagrange, - By Currer Bell. of Eugène Sue's _Miss Mary ou - L'Institutrice_. - - The first days at the The first days at the - Institution. Institution. - - The coach door was open and ... We got to Kendall House.... I - a servant was standing at it: I had been sitting near my trunk - saw her ... by the light of the on the outside of the coach, and - lamps. my legs were numb with cold. I - was quite unable to move, so the - "Is there a little girl called coachman lifted me down along - Jane Eyre here?" she asked. I with my box. The door was open - answered "Yes," and was lifted when the coach stopped; a - out, my trunk was handed down. servant was standing there with - a lamp. "Are you Catherine Bell - we expects down here to-day?" - she asked me. - - "My name is Kitty Bell, if you - please," replied I. - - The servant led me ... into a The girl returned no answer, but - room, with a fire, where she having ushered me into a - left me alone.... I stood and spacious room with a fire in it, - warmed my numbed fingers over she left me there by myself; ... - the blaze; ... there was no there was no candle. I stood ... - candle. warming my numb hands and limbs. - I heard the door open ... and I - The door opened, and an saw a face ... I never can - individual entered, ... a tall forget. My heart told me - lady with dark hair, dark eyes, directly it was Miss Ashton - and a pale and large forehead [Eshton]. Dear, noble girl! her - [Miss Temple. Her real name was face was rather large, but - Miss Evans], her countenance was accurately oval--just as you see - grave, her bearing erect. them in the fine sacred pictures - of Murillo--those pictures of - grand female beauty. - - She considered me attentively Everything in that face was - for a minute or two. great, open, frank, truthlike, - ... and yet there was a grave - ... "Are you tired?" she asked, ... melancholy overspreading - placing her hand on my shoulder. that regal countenance.... It - was singular to see a woman - ... "A little, ma'am." acting as the manager of a - benevolent institution and - living apart from the world who - might have shone in any court in - Europe and ... perhaps had no - equal on any throne ... [!] She - advanced towards me stately, but - kindly, touched my cheek with - her finger, and then seeing me - smile, she smiled in return, - and, after scanning my features - a moment, she lifted me up and - kissed me. - - "I love you, madam," I said. - Then she set me down ... and, - putting her hand upon my head, - she asked me:-- - - "Your name is Catherine Bell, is - it not?"... [Here follows the - "Shakespeare's Day" reference I - have already given.] - - I have not ... alluded to the I had been at the Kendall - visits of Mr. Brocklehurst [Rev. Institute about three weeks - Mr. Carus Wilson]; his absence without seeing Mr. King [Mr. - was a relief to me.... One Brocklehurst] the master or - afternoon (I had ... been three registrar.... One morning when I - weeks at Lowood) ... I woke up I heard the bells in the - recognized almost instinctively dormitories ringing louder than - that gaunt outline, ... it was ever.... - Mr. Brocklehurst. - I knew without being told this - After some lines we have the strange man was Mr. King. - hair-cutting incident I have - quoted already from "Lagrange's "Catherine Bell!" called out - Manuscript." This incident comes Miss Ashton. - after and not before Catherine - (Jane) has been commanded to - stand before the class. - - On hearing my name I left my - place in the rank, and - advanced.... - - "So! this is Catherine Bell, is - it?" cried Mr. King. "I have - heard her kind friends at home - speak of Catherine Bell, and - ... "Fetch that stool," said Mr. they tell me she is a naughty, - Brocklehurst.... "Place the vicious, headstrong child--very - child upon it." ungrateful to those for whose - generosity she ought to have so - And I was placed there. much respect and gratitude! Is - this true, Catherine Bell?" - "Miss Temple, ... children, it - becomes my duty to warn you that "No, sir; not a word of it." - this girl ... is a little - castaway, ... this girl is--a "What, child!... Are you a - liar!... Let her stand ... on little liar as well as an - that stool." ingrate? Stand here!" - - What my sensations were no The passions and feelings of a - language can describe.... I child are only known to - mastered the rising hysteria ... children. Grown-up people seem - and took a firm stand on the to have forgotten them.[60] I - stool. stood there with cheeks burning - with shame, indignation, and - anger.... My pride had been - savagely assailed. I did not - want pity. I wanted ... a - refutation of the cruel charge; - I was not a liar; and those who - taxed me with ingratitude had no - gratitude to claim from me. - Great God! what emotions there - were raging in my breast! and - how my little heart did swell! - -Often Mdlle. Lagrange's "Kitty Bell the Orphan" is mysterious in its -allusions. As when Catherine Bell says she does not like a French lady -teacher. The seed-cake incident of Chapter VIII. of _Jane Eyre_, which -is given at length in "Lagrange's Manuscript," is herewith worked in -again:-- - - "I don't like Madame Dubois...." - - "Why so? she is a very good sort of a woman." - - "That may be, but she takes snuff...." - - "What is that to you or me, Catherine Bell? Surely it is no - business of ours?" - - "Sometimes it is, though.... I gave her a slice of my seed-cake - yesterday, and she returned me half of it." - - "That showed a good disposition in poor Madame Dubois; did it - not?" - - "Yes; but when I was going to eat it myself I was seized with a - fit of sneezing, which I shall not forget in a hurry, I promise - you!" - - "You took snuff then, Catherine Bell, for the first time in your - life?" - - "ALL IN--ALL IN--FOR SCHOOL!" shouted the teachers and examples - that moment. - -The following is an extract dealing with the fever scenes of _Jane -Eyre_:-- - - Fever and consumption had fixed their abode under the large roof - of Kendall Institution, death was stealing along with its soft, - wolf-like tread, to feed upon these poor children. The first - symptoms I remember that startled me were certain cold shiverings - and sudden fits of perspiration without warmth, which seized upon - the younger children. Then sickness and nausea, followed - immediately by vomiting. [M. Sue had been a surgeon.] ... Oh, how - cruel, how bitter it was to us when we saw the first little coffin - borne out of the school!... And now we began to hear, for the - first time, the dismal word _typhus_ uttered here and there in - whispers through the school.... When we went to the church on - Sundays, and saw the many little mounds of fresh black earth lying - over our innocent playmates of yesterday, our heads sank upon our - bosoms and we wept most sorrowfully. - -Faithful to its model, "Lagrange's Manuscript" brings Isabella the -Creole as the rival of Catherine Bell, and thus of the Creole's husband -Catherine writes:-- - - Unwittingly, and quite unknown to myself, I became the object of - his admiration--nay, of his marked preference; but I rejected - indignantly the homage of an affection which he had sworn to - another, and which it was his sacred duty to preserve - undefiled.... In the hope of overcoming my persistency in refusing - his so often proffered and as often rejected love, he urged on by - every imaginable means the final decision, which in the eyes of - man were to permit a second marriage, guilty in the sight of God. - With the natural instinct of divination peculiar to female - jealousy, his wife had guessed who was the deity at whose altar - the captain was burning his incense.... Nor did she consider - whether I encouraged or rebuked him. She suspected, she spied, she - believed, and unscrupulously involved me in the hateful vengeance - she swore to take both on her husband and myself. - -For a portrait of Mdlle. Lagrange who, as the author of this version of -_Jane Eyre_, is of course meant for Charlotte Brontë, we turn to the -_feuilleton_ itself:-- - - Meanwhile we have lost sight of our blue-stocking friend, Mdlle. - Lagrange ['Madame herself deemed me a regular _bas bleu_,' says - Lucy Snowe of Madame Beck (Madame Héger) in _Villette_] ... her - character ... remains to be described. Now, to form any opinion of - it by Madame de Morville's [Madame Héger's] appreciation of that - girl's disposition, would be completely erroneous. Lagrange was - not devoid of intellectual faculties; she possessed an imaginative - mind, rather too fond of romance, and too little of practical - truths; but, above all, cunning and ambition formed the main basis - of her character: she had risen from nothing, and _would_ become - something. Imbued as she was with the ideas prevalent among the - lower rank [Had Charlotte Brontë related her father's history to - the Hégers? She had 'views' on money. M. Sue, however, never seems - to have forgotten the rank of his own god-parents], she deemed it - her right and duty to concentrate all the power of her faculties - towards the end she sighed for--wealth and a name. Thus it was she - displayed all the resources of her subtle nature to make every - circumstance serve to the gratifying of her ambition. What, then, - was to be her means of success? Marriage?--yes, that perpetual - dream of maidens, and a dream which too often ends in an - everlasting nightmare. But the task was not easy, for, it has been - said, beauty had been forgotten by Dame Nature among the few gifts - she had granted her.[61] What the appearance failed in, the mind - should, at any cost, supply [!]. This had become her ruling - desire. Thence the manuscript ['Catherine Bell, The Orphan'] we - have already read had been the first ponderous lucubration of her - fortune-seeking imagination: she had been praised for this first - attempt by her friends, and also by one two distinguished - critics.[62] This was already a point gained, and an encouragement - to her literary propensities. - -Thus far the Mdlle. Lagrange phase of Currer Bell according to Eugène -Sue, and before the publication of _The Professor_, _Villette_, and Mrs. -Gaskell's _Life of Charlotte Brontë_. The next chapter shall deal with -Eugène Sue's relation of her as "Miss Mary," the leading character of -this extraordinary _feuilleton_, whereby it will be proved finally that -in her works Charlotte Brontë has written from her own life-story. - - - - -CHAPTER XIII. - -EUGÈNE SUE AND CHARLOTTE BRONTË'S BRUSSELS LIFE. - - -II. - -ACCUSATIONS AND PROTESTATIONS! - -I have said Eugène Sue, in _Miss Mary ou l'Institutrice_, gave two -phases of Charlotte Brontë. With the one as Mdlle. Lagrange I dealt in -the preceding chapter, and now I write concerning that wherein Miss -Brontë is openly represented as the Irish governess at the de Morville -establishment.[63] Easy it is to recognize this character is a phase of -Charlotte Brontë, but as her pupil Alphonsine puts it plainly in -describing her, she is "Mdlle. Lagrange, avec la beauté de -plus"--Charlotte Brontë, with beauty and virtues exaggerated. The -following incident I find only in the _feuilleton_ (not the extant -volume), the which circumstances support as history concerning the days -of Miss Brontë's dejection at the Brussels _pensionnat_. It should be -read in the light of the lines in Chapter XIX. of _The Professor_, where -she, as Frances Evans Henri, tells Crimsworth, obviously M. Héger, that -he remarked her _devoirs_ dwelt a great deal on fortitude in bearing -grief. In the evening Alphonsine, M. de Morville's daughter, who says -many things we know must have issued from M. Héger's lips--(this is in -palpable imitation of Charlotte Brontë's Method I., interchange of the -sexes of characters portrayed from life. For further use of this method -see also the close of Chapter XII. and elsewhere in _The Professor_, and -my writing on _Wuthering Heights_ and _Jane Eyre_)--pays a visit to the -chamber of the Irish governess:-- - - "Were you not reading?... I see a book on your work-table. May I - look?... _The Imitation of Christ!_" exclaimed Alphonsine, after - having read the title-page. "Oh! this is a beautiful book, is it - not?" - - "Truly beautiful!" answered Mary; "the cover is old, the pages - worn out in many places. You must not wonder at it: from the age I - began to read, I don't think I ever passed three nights without - reading at least one chapter of this admirable work." - -_The Imitation of Christ_ in English was a book Charlotte Brontë was -setting much store upon when she was but nine years of age.[64] Her copy -was then an old one. Evidently she took the book with her to Brussels -and read it at the _pensionnat_. It would seem M. Héger, whom she -instructed in English, requested to hear the work in this English -translation:-- - - "Pray what chapter were you reading?" continues Alphonsine. "I - should so much like to hear you read it to me: I have occasionally - read a page of _The Imitation_, but always in French; now, if you - would be so good as to read slowly and pronounce very distinctly, - I think I could understand this pious work in your language." - -She read:-- - - "THE NECESSITY OF HUMBLE SUBMISSION. - - "Let your conscience be pure, and surely God will know how to - defend you.... Learn to suffer in silence, without repining, and - you will ... receive assistance from Him." - - "What a truthful, becalming lesson!" observed Alphonsine; "you - will read to me every evening some passage of your _Imitation_, - will you not? English sounds so sweetly to my ear when spoken by - you. We will begin to-morrow evening, n'est ce pas?" - -Surely this is M. Héger and his sympathetic, depressed English teacher. - -There is in the opening chapter of _Miss Mary_ a long conversation -regarding the departed governess Lagrange, and Madame de Morville -(Madame Héger) avows she had been jealous of her, and that her harshness -towards the governess had resulted in her abruptly leaving on a false -plea of ill-health. Thus she says to M. de Morville:-- - - "I am speaking seriously to you of my foolish but most acute - sufferings ... tandis que tu restais seul ici avec tes livres. You - never suspected them;... I endeavoured to suppress them, to - suffer no part of what I felt to transpire; for I must confess - poor Lagrange was quite the lamb du bon Dieu, yet in spite of - myself I sometimes broke out into fits of petulance and absurd - irony, which wounded her. I saw it did by the sudden dejection of - that excellent young person. But even this was not all." - - "Louise! is it you who speaks thus? You whose kind, benevolent - heart I have so often admired." - - "Would you that I should avow something worse to you? What made me - tolerate that poor Lagrange is that she was as ugly as the seven - cardinal sins.... In fine, I cannot conceal from myself that the - result of all this was that Mdlle. Lagrange gave up her situation - on the plea of ill-health. ["Ah! she was not dismissed," said - Mdlle. Reuter (Madame Héger) in _The Professor_, Chapter XVIII., - when the Professor asked whether Mdlle. Frances Henri[65] (Miss - Brontë) had left voluntarily. "... No need to have recourse to - such extreme measures, I assure you."] Enfin, it faut bien me - l'avouer, le résultat de tout ceci a été que Mademoiselle Lagrange - a demandé à quitter la maison, sous prétexte de santé; véritable - prétexte. For the rest I will do myself this justice, I would have - suffered even to the end rather than have sent back that excellent - girl." - -The Hégers were surprised at Miss Brontë's sudden resolution to leave -them, but she is said to have had her father's failing eyesight as a -reason. "I suffered much before I left Brussels," wrote Charlotte, and -this was in mind, not body. - - "I have long concealed the greater part of these resentful - sentiments from you," continues Madame de Morville, - "notwithstanding the implicit trust reposed in you. I wish I alone - had suffered by them. But no, poor Lagrange doubtless could not - endure the thousand vexations and spites ('taquineries - sournoises') to which she was subjected, and was thereby driven - from our house." - -All this should be read as in connection with the departure of Miss -Mary, the other phase of Miss Brontë, towards the end of the book. "I -think, however long I live I shall not forget what the parting with M. -Héger cost me," said Charlotte Brontë.[66] - -Here is M. Sue's version:-- - - M. de Morville started, then regarding the governess with stupor, - for he could not believe what he heard, he cried:-- - - "Quoi! Miss Mary, vous dites?" - - "I say, monsieur, that I return to England, where I am recalled by - my family." - -The real reason why Miss Brontë left is given in the Lagrange passages -to which I have alluded. - - "Partir! but that is impossible! A departure so brusque, si peu - attendu!" - - "Pray do not perceive, monsieur," says the Irish governess, "in - this unlooked for departure any want of regard for you; ... il a - fallu des raisons graves, very grave, to compel me to such a - resolution." - - "Partir!" wailed M. de Morville. "What! that this should be the - last time that I should see you, that I should speak to you! But - this is not possible! They do not kill a man thus by a single - blow! For you well know that you kill me! You well know that I - love you! Oh! do not say you were unaware of my unhappy love," he - continues, "you know well enough what an irresistible charm has - drawn me towards you, what happiness I have had to tell you my - life, my secret thoughts, my wrongs even! A timid reserve followed - the first entrancement, but it was the struggle of respect, of - honour against a fatal passion. Ah! the traces of that struggle, - should they not have been too evident to your eyes! What! have - not you divined the cause of that sombre discouragement which made - me seek solitude where I isolated myself from all interests, from - all affection? And those nights without sleep passed in consuming - my tears, exaggerating more the consequences of that fatal - passion!... What! you have divined nothing, read nothing of mes - traits, in my eyes red with tears and sleeplessness? Mon Dieu! mon - Dieu! to have suffered so much ... suffered so much, and not to - have even the consolation of saying: She knows that I have - suffered." - -The reader of _Miss Mary_ will perceive throughout this scene in the -extant and apparently re-written French volume that M. de Morville's -unhappy love was that of an honourable and a loyal-hearted man, while -the governess was also without reproach. (These extracts do not occur in -the _feuilleton_ as published in English.) As he asks:-- - - "Is it my fault if in the monotony of my existence est tout à coup - apparue a person whose talents, education, and character have been - appreciated by all and by me.... Have I attempted to pervert your - mind, to seduce your heart? No, no! I have suffered, suffered in - silence [see my reference to the _Imitation of Christ_], suffered - alone, suffered always. And my crime, what is it?... It is to make - to you the avowal of suffering on the day when you go to leave me - for ever a prey to incurable despair!" - -Thus have we real insight into the state of affairs at Brussels when -Miss Brontë left. We see the divining, jealous Madame de -Morville--Madame Héger, of course--subjecting her to the "taquineries -sournoises"; we hear Madame saying of her: "Ce que me faisait tolérer -cette pauvre Mdlle. Lagrange, c'est qu'elle était laide comme les sept -péchés mortels," and sneering at the excuse she made to leave the -establishment, calling it a "véritable prétexte" when the real reason -was Madame's jealousy and its causes. Oh, the bitterness of it! And now -in this light read the carefully worded representation of Mrs Gaskell -that:-- - - Towards the end of 1843 various reasons conspired ... to make her - [Charlotte Brontë] feel that her presence was absolutely and - imperatively required at home, while she was ... no longer - regarded with the former kindliness of feeling by Madame Héger. In - consequence of this state of things working down with a sharp edge - into a sensitive mind, she suddenly announced to that lady her - immediate intention of returning to England. - -Something of the foregoing I gave in my article "The Lifting of the -Brontë Veil" in _The Fortnightly Review_, and I have to thank the press -generally for their kind acknowledgment of my important discovery. _The -Spectator_, in consonance with others, says:--"Mr. Malham-Dembleby has -found a _feuilleton_ by Eugène Sue which is curious, as it certainly -indicates a knowledge of Charlotte Brontë and of Monsieur and Madame -Héger at Brussels." - -In the extant French copy Eugène Sue has given a dramatic version of the -parting scene between "Miss Mary" and "Madame de Morville"--Charlotte -Brontë and Madame Héger. The latter had surprised her husband and the -Irish governess, _tête-à-tête_ in the lonely pavilion, late in the -evening. Monsieur protests:-- - - "Madame," he cries, "... I will not permit you, in my presence, to - dare to calumniate and outrage Mademoiselle Lawson." - - Miss Mary asks him not to defend her, as she does not wish to be a - cause of irritating discussion between them. - - "That is charming!" cried Madame de Morville, with a burst of - sardonic laughter--"Grâce au bon accord du ménage, mademoiselle - would desire to continue in perfect tranquillity the undignified - rôle she has played at my house!" - -Her husband protests that she outrages one of the purest characters in -the world, but the governess interrupts by addressing the wife:-- - - "Madam, suspicions so odious, so senseless, are unable to wound an - honourable soul.... I reply nothing to these words, which you will - soon regret. The two years that I have been here [Charlotte Brontë - was two years with the Hégers] I have learned to know you, madam; - and if sometimes I have without complaint [see the Lagrange - passages] suffered from the vivacité de vos premiers mouvements, I - have also often been able to appreciate your goodness of heart." - - "Enough, mademoiselle, enough! Believe you that you can dupe me by - your hypocrisies and base flatteries? Do you think you can impose - my silence by that pretended resignation?" - -So the scene continues until Madame de Morville accuses the other of -wishing to take the affections of her husband. To this, the governess -retorts:-- - - "You accuse me, madam, of wishing to win the affections of M. de - Morville, and of desiring to dominate at your house? Here is my - reply." - -And her reply is that she is returning to England. - - "You go away!" cried Madame de Morville.... "No, no, that is a lie - or a trick!"... Madame ... fut complètement déroutée par - l'annonce du départ de Miss Mary. - -The latter says she profoundly regrets if she had caused "malheurs," for -she had been the involuntary cause. - - "Involuntary or not," cried Madame de Morville, "you are un - _porte-malheur_, and thus have been two years, since your arrival - here. I have said it to M. de Morville, who, par prévision without - doubt, took at once your part against me.... And on whom, then, - will that responsibility fall!... We were all happy and peaceful - before your advent here, and to-day, when you go you leave us dans - le chagrin." - - To which Miss Mary retorts:-- - - "Ah! madame, le jour le plus malheureux de ma vie serait celui où - je quitterais votre famille avec la douloureuse conviction que mon - nom y serait maudit." - -There were, we see, conflicting views in Brussels social and literary -circles, in the eighteen-forties, as to the degree of intimacy to which -Charlotte Brontë and M. Héger attained. It is when we perceive the -ambiguity of the relations existing between Miss Brontë and the -professor that we recognize the fidelity of Eugène Sue's portrayal of -Currer Bell's Brussels life. Even Charlotte Brontë herself, in -_Villette_, published after M. Sue's story, relates that M. Paul Emanuel -(M. Héger) said to her:--"I call myself your brother. I hardly know what -I am--brother--friend--I cannot tell. I know I think of you--I feel I -wish you well--but I must check myself; you are to be feared. My best -friends point out danger and whisper caution." In Mdlle. Lagrange and -Catherine Bell, Charlotte Brontë figures as represented by those who -said ill of her; as Miss Mary Lawson, the Irish governess, she has -"beauty, youth, and grace," which charms, Jane tells us, she possessed -in Rochester's eyes. Of her, in the phase of Catherine Bell, we have -many insinuations of a detractive character, the keynote to which is -found in the fortune-telling incident, wherein Catherine is foretold she -will be "married and not married"; while in Miss Mary Lawson we have a -portrayal of _un bon ange_[67] of whom Madame de Morville is jealous, -not without reason, though, to use Miss Mary's own words, she had been -"la cause involontaire." - -We must, therefore, set it to the credit of Eugène Sue that he placed -two versions in the balance; and his evidence for ever sweeps away the -illogical and unfair contention of some writers on the Brontës, that -Charlotte Brontë may have cared for M. Héger, but that he, in his turn, -had been only "intellectually" interested in her. M. Sue shows the -attitude of M. Héger was ever unequivocal as regards Charlotte Brontë; -whether in her phase as "Lagrange," as "Catherine Bell," or as "Miss -Mary Lawson"--she was loved by him. We now see Morton of _Jane Eyre_ was -Haworth to Charlotte Brontë, and Thornfield, the home of Mr. Rochester, -the Pensionnat Héger. And the flight from temptation at Thornfield and -seeking refuge with the Rivers family were really representative of her -leaving Brussels and returning home to her father and sisters. Obviously -M. Sue wrote his _feuilleton_ to aid, maliciously or not, in breaking -the dangerous friendship between M. Héger and Miss Brontë. Charlotte -Brontë's works are testimony it was not only Madame Héger's harsh -jealousy that led her to leave Brussels. In Chapter XX. of _The -Professor_, published years after M. Sue's work, but written before it, -she gives us the reason for this determination. By her Method I., -Interchange of the sexes of characters portrayed from life, Professor -Crimsworth, who is alternately Charlotte Brontë and M. Héger, in this -instance is Charlotte Brontë, while Mdlle. Reuter is M. Héger. -Crimsworth [Miss Brontë] says:-- - - I could not conceal ... that it would not do for me to remain.... - Her [his] present demeanour towards me was deficient neither in - dignity nor propriety; but I knew her [his] former feeling was - unchanged. Decorum now repressed, and Policy masked it, but - Opportunity would be too strong for either of these--Temptation - would shiver their restraints. I was no pope, ... in short, if I - stayed, the probability was that, in three months' time, a - practical modern French novel would be in full process of - concoction.... From all this resulted the conclusion that I must - leave, ... and that instantly.... The Spirit of Evil ... sought to - lead me astray.[68] Rough and steep was the path indicated by - divine suggestion; mossy and declining the green way along which - Temptation strewed flowers. - -And thus at last do we understand why Charlotte Brontë asks herself as -Jane Eyre when at home with the Rivers family--with her father, her -sisters, and Tabby at Haworth:-- - - Which is better? To have surrendered to temptation; listened to - passion; made no painful effort--no struggle; but to have sunk - down in the silken snare; fallen asleep on the flowers covering it - ... to have been now living in France, Mr. Rochester's mistress - ... I shall never more know the sweet homage given to beauty, - youth, and grace--for never to any one else shall I seem to - possess these charms.... Whether is it better, I ask, to be a - slave in a fool's paradise at Marseilles--fevered with delusive - bliss one hour--suffocating with the bitterest tears of remorse - and shame the next--or to be a village schoolmistress [The Brontë - school project was under contemplation in 1844], free and honest, - in a breezy mountain nook in the healthy heart of England? Yes, I - feel now that I was right when I adhered to principle and law, and - crushed the insane promptings of a frenzied moment. God directed - me to a correct choice: I thank His providence for the guidance. - -And her fervent gratitude is as sincere when in the same connection she -says in _Villette_ of her confessor--her Fénelon[69]:--"He was kind when -I needed kindness; he did me good. May Heaven bless him!" But we now see -Charlotte Brontë did not suffer alone. Eugène Sue has given us an -insight into the bitterness of M. de Morville's (M. Héger's) life, which -resulted from their unhappy love, and doubtless those words of -Heathcliffe to Catherine in _Wuthering Heights_ were uttered or written -by M. Héger in reproach to Charlotte Brontë:-- - - "_Why_ did you despise me? _Why_ did you betray your own heart, - Cathy?... You loved me--then what _right_ had you to leave me?... - Because misery and degradation and death, and nothing that God or - Satan could inflict would have parted us, _you_, of your own will - did it. I have not broken your heart--_you_ have broken it; and in - breaking it, you have broken mine. So much the worse for me that I - am strong." - -Charlotte Brontë tells us in _Jane Eyre_ she loved to imagine she and -Mr. Rochester had met under happier conditions; and if the meeting of -the runaway lovers Charlotte Brontë repeats so faithfully in _Wuthering -Heights_ and _Jane Eyre_ did not refer to a private meeting subsequent -to the beginning of 1844, between her and M. Héger, or to their meeting -again when she returned to Brussels the second time, then have we -evidence of the fact that she at one time perhaps believed _Wuthering -Heights_ would be never published. Assuredly nothing was sweeter to -Currer Bell's fancy than a dream of the happiness that might have been -hers, and well may she have written in the last sentences of -_Villette_:-- - - Leave sunny imaginations hope. Let it be theirs to conceive the - delight of joy born again fresh out of great terror, the rapture - of rescue from peril, the wondrous reprieve from dread, the - fruition of return. Let them picture union and a happy succeeding - life. - -Charlotte Brontë and M. Constantin Gilles Romain Héger loved each other -as those who are worshippers of two high ideals, when one of these -ideals is love, the other honour. And this was tragedy. To the agonizing -nature of unrequitable affection endured for honour's sake do we owe -Charlotte Brontë's _Wuthering Heights_ and _Jane Eyre_. - - - - -CHAPTER XIV. - -THE RECOIL. - - -I. - -The elements that conduce to reaction and recoil are sometimes fatal to -the best proposed and ablest evolved schemes of man. Priests and -counsellors may gravely devise; knight and maid may devoutly swear; the -pious neophyte and the exalted religionist may make solemn pledge, but -reaction often brings catastrophe. Thus the Christian Church is -rightfully a watchful Body, a militant Force, preaches the weakness of -man and cries "Ora continenter!" And herein lies the value of a -ponderous state procedure. Irritating in its slow gravity and -indifferent to the passionate appeals of emotionalism, such procedure -yet withstands the backward wave which comes as answer to courageous but -costly proposals. - -The unsupported and undisciplined individual, like communities, cannot -always safely stand alone, and finally resolves into an automaton at the -service of unlicensed and unconsidered impulse when the day of reaction -comes. The anthropologist and the pathologist relate how exacting -straitness suddenly has broken down with a lamentable demonstration of -most morbid prurience; and relentless history has chronicled grievous -moral declensions in the lives of men and women whose careers in the -greater part were records of generous and unselfish devotion to a noble -cause or an honourable work. Until the day of reaction is safely fought -through the battle is not won. - -Perhaps it was to prevent all possibility of a final and definite -reconciliation between M. Héger and Miss Brontë that M. Sue, aided by -his friends, ridiculed their attachment in his _feuilleton, Miss Mary_. -Not that Eugène Sue would do this necessarily for Virtue's sake, but the -position of moral reprehender gave him title to the rôle he had assumed. -M. Héger was sorely punished to lose Miss Brontë, as M. Sue has shown, -and as we have seen Charlotte Brontë herself tells us in a letter; and -the intensity of his affection for her is only further accentuated by -the light M. Sue throws upon the subject in a conversation which occurs -between Alphonsine and the jealous mother, concerning Mdlle. Lagrange in -the opening chapters of his _feuilleton_. As I have stated, evidence -compels us to perceive M. Sue often presented by imitation of Charlotte -Brontë's Method I., Interchange of the sexes for obfuscation's sake, M. -Héger in Alphonsine: Madame de Morville (Madame Héger) has just said -Mdlle. Lagrange (Miss Brontë) affected a little to speak of her humble -origin. - - "Elle affecter," replies Alphonsine, "... c'est une erreur. Quand, - par hasard, elle parlait de sa famille, c'est que la conversation - venait là-dessus. D'ailleurs, écoute donc, Mademoiselle Lagrange - eût été fière qu'elle en avait le droit." - - "Proud! what of? not of her face, poor girl." - - "No, that is true." - -Madame de Morville admits that Mdlle. Lagrange was endowed with -patience, learning, and fortitude; and says, "Tu le sais, nous avions -pour elle les plus grands égards." - -"Without doubt ... and myself, I loved her like a sister." - -To which Madame de Morville retorts: - - "A ce point que, pendant les premiers jours qui ont suivi son - départ je t'ai vue souvent pleurer, et que depuis je te trouve - triste." - - "Que veux-tu ... se quitter après plus de trois ans d'intimité, - cela vous laisse du chagrin." - - "This sensibility does credit to your heart, but after all it - seems to me that you and I shall be able by our mutual tenderness - to console each other for the loss d'une étrangère." - - "Une étrangère!" says Alphonsine, naïvely; "dis donc une amie, une - soeur.... Ainsi, toi ... tu es pour moi, n'est-ce pas, aussi - affectueuse que possible; pourtant tu m'imposes toujours; il y a - mille riens, mille folies, mille bêtises si tu veux, que je - n'oserais jamais te dire, et qui nous amusaient et nous faisaient - rire aux larmes avec cette pauvre Mademoiselle Lagrange; et puis - ces causeries sans fin pendant les récréations, nos jeux mêmes, - car elle était très enfant quand elle s'y mettait[70]; all this - made our temps de l'étude pass like a dream, and that of - recreation like a flash." - - "Without doubt," replied Madame de Morville, with a forced smile; - ... "and I, ... je ne jouissais de la société de ces demoiselles - que lors de notre promenade d'avant dîner, ou le soir jusqu'à - l'heure du thé." - -The irreparableness of the loss at first to M. Héger is herein clearly -shown. But whether he would confess himself to Miss Brontë afterwards is -not certain. The tone of Charlotte Brontë's successive writings suggests -he did not, as do many points of evidence and the reference in -_Villette_, Chapter XIX., to that "He was a religious little man, in his -way: the self-denying and self-sacrificing part of the Catholic religion -commanded the homage of his soul." - -Likely enough it is that M. Héger hailed, as do truly noble men, the day -of trial, and elevated by the very agony of great sacrifice the -personality which worshipped a conception of duty consonant with Divine -law. It seems, though, that then the battle was won; his day of reaction -was fought through. At the time of what M. Sue makes M. de Morville call -"ce premier entraînement" was the greatest danger, and abundant -testimony goes to prove he would have gone the length of indiscretion -but that Charlotte Brontë, herself innately honourable and influenced by -her Christian upbringing, checked the mad rush of impetuous passion. -Then the Church of M. Héger intervened. As Charlotte Brontë tells us in -_Villette_, Chapter XXXVI.: "We were under the surveillance of a -sleepless eye: Rome watched jealously her son through that mystic -lattice at which I had knelt once, and to which M. Emanuel drew nigh -month by month--the sliding panel of the confessional." She was much -gratified by M. Héger's fervent admiration, though she had perforce to -remember their circumstances. As M. Sue said of Lagrange so it had been -with Miss Brontë:-- - - The girl had never before known love, save by reading and hearing - of its magical influence. All the natural tenderness which lay in - her heart she had year after year suppressed. - -The references in her poems to a recognition of growing coldness in a -lover--see "Frances," "Preference," etc., if we may read them in the -biographical sense Mr. Mackay suggests, show there had been a day when -she perceived external influences were dictating to M. Héger a line of -moral procedure. Obviously, while she herself had held temptation at -bay she was strong; but once she discovered an ally was lessening the -necessity of her defence her woman's nature awoke. She doubted the -sincerity of the past protestations of passion; she saw in every eye a -sinister spy; she found in the Roman Church nothing but a partisan of -Madame Héger (see Madame Beck and the Roman Church in _Villette_), and -M. Héger became to her a very impersonation of insincerity and -treachery. Of the secret tempest which had begun to rage within herself -she would disclose nothing to M. Héger; and she would know that once the -storm slept the end might be the worst. But Charlotte Brontë was not yet -in the season of the recoil, though alone, wretched, and rapidly losing -faith in God and man. As for M. Héger, he was supported by the knowledge -that the ideal of the good and pious is glorified by sacrifice. That -"Hell holds no fury like a woman scorned" is a platitude, for a woman -scorned in the meaning of the writer is a woman with a shattered life. -In her fullest and native sense she ceases to exist thereafter. However, -as in many cases Nature provides a remedy for her maimed, woman has -given her dissimulation. But to quote Charlotte Brontë's poem, -"Frances":-- - - "Who can for ever crush the heart, - Restrain its throbbing, curb its life? - Dissemble truth with ceaseless art, - With outward calm mask inward strife?" - -It is a dangerous day when woman is her very self and thwarted. Then, -and only then, can she utter the distressing blasphemies Charlotte -Brontë places in the mouth of the speaker in her verses, "Apostasy":-- - - "Talk not of thy Last Sacrament, - Tell not thy beads for me; - Both rite and prayer are vainly spent, - As dews upon the sea. - Speak not one word of Heaven above - Rave not of Hell's alarms; - Give me but back my Walter's love, - Restore me to his arms! - - "Then will the bliss of Heaven be won; - Then will Hell shrink away; - As I have seen night's terrors shun - The conquering steps of day. - 'Tis my religion thus to love, - My creed thus fixed to be; - Not Death shall shake, nor Priestcraft break - My rock-like constancy!" - -And places in the mouth of Catherine of _Wuthering Heights_, Chapter -IX., in the same connection:-- - - "If I were in heaven ... I should be extremely miserable.... I - dreamt once ... I was there, ... heaven did not seem to be my - home; and I broke my heart with weeping to come back to earth; and - the angels were so angry that they flung me out ... on the top of - Wuthering Heights; where I woke sobbing for joy.[71] ... I cannot - express it; but surely you ... have a notion that there is ... an - existence of yours beyond you. What were the use of my creation if - I were entirely contained here? My great miseries in this world - have been Heathcliffe's miseries ... my great thought in living is - himself. If all else perished, and _he_ remained, I should still - continue to be; and if all else remained, and he were annihilated, - the universe would turn to a mighty stranger. I should not seem a - part of it. [See my remarks on Charlotte Brontë's belief in the - elective affinities, page 96-7.] My love for Heathcliffe resembles - the eternal rocks beneath.... I _am_ Heathcliffe,--he's always, - always in my mind--not as a pleasure, any more than I am a - pleasure to myself--but as my own being--so don't talk of our - separation again." - -It is of the barriers which divided the woman of the verses "Apostasy" -from her lover that the priest has reminded her. Thus she says:-- - - "... Did I need that thou shouldst tell - What mighty barriers rise - To part me from that dungeon-cell - Where my loved Walter lies?" - -The whole history of Charlotte Brontë's Brussels life before us, the -fact that an insurmountable barrier--his marriage--separated her from M. -Héger, and the fact that she herself consulted[72] a Roman Catholic -priest whom I designate as her "Fénélon," advising, like the Mentor of -Télémaque,[73] the tempted one to "flee temptation," identify these -"barriers" as a covert reference to the circumstances unhappily existing -which made intimacy between Miss Brontë and M. Héger dangerous. To quote -my words in _The Fortnightly Review_:--"We see why Miss Brontë, herself -a Protestant, went to the confessional at Brussels.... We know this was -no freak, as also that it was impossible for Charlotte to mention the -subject to her sister without attributing it to a freak. More, we -perceive now the nature of her confession, and, the "Flee temptation!" -note of Fénélon's _Les Aventures de Télémaque_ fresh in our minds, we -see why she wrote of her father-confessor in _Villette_, Chapter XV.:-- - - There was something of Fénelon about that benign old priest; and - whatever ... I may think of his Church and creed, ... of himself I - must ever retain a grateful recollection. He was kind when I - needed kindness; he did me good. May heaven bless him! - -I mention that by her composite method of presenting characters, which -Charlotte Brontë admitted to have employed, Dr. John Bretton, while -often in the beginning representing Mr. Smith the publisher, becomes -finally a representation of the Rev. Mr. Nicholls who married Miss -Brontë.[74] So in _Jane Eyre_, St. John Rivers while in the main -representing the Rev. Patrick Brontë, becomes associated temporarily -with that priest I have called Charlotte Brontë's Brussels Fénélon. She -tells us in _Villette_ that she broke off the seduction of visiting this -priest and says:--"The probabilities are that had I visited ... at -the ... day appointed, I might just now ... have been counting my beads -in the cell of a ... convent...." Miss Brontë admits he had had great -influence with her, and this fact and the testimony of her poem -"Apostasy" just quoted show this priest and his admonitions were in her -mind when she wrote the final scene between herself and St. John Rivers -in _Jane Eyre_ (Chapter XXXV.). Therein, as in that poem and in -_Wuthering Heights_, "Religion" and "Angels"[75] are set as being less -to her than the vicinage of her lover. Indeed the India and the -missionary life of _Jane Eyre_, and the marriage with St. John (see -Chapter XXXIV.), may be said to have been in Miss Brontë's mind that -life of religious consecration which in _Villette_ she owns to have been -the likely result of her further listening to the advice of the priest, -to whom she had given "the ... outline of my experience," as she terms -it. - -Therefore it is interesting to observe that, as the woman in "Apostasy" -suddenly hears the voice of her lover calling and says:-- - - "He calls--I come--my pulse scarce beats, - My heart fails in my breast. - Again that voice--how far away, - How dreary sounds that tone! - And I, methinks, am gone astray - In trackless wastes and lone. - - "I fain would rest a little while: - Where can I find a stay, - Till dawn upon the hills shall smile, - And show some trodden way?[76] - I come! I come! in haste she said, - 'Twas Walter's voice I heard!" - Then up she sprang--but fell back, dead, - His name her latest word. - -so in the scene in _Jane Eyre_: St. John ejaculates-- - - 'My prayers are heard!' He pressed his hand firmer on my head, as - if he claimed me; he surrounded me with his arm, _almost_ as if he - loved me ["That priest had arms which could influence me; he was - naturally kind, with a sentimental French kindness, to whose - softness I knew myself not wholly impervious. Without respecting - some sorts of affection, there was hardly any sort having a fibre - of root in reality, which I could rely on my force wholly to - withstand."--Charlotte Brontë speaking of her Brussels Fénélon in - _Villette_, Chapter XV.], I say _almost_--I knew the - difference--for I had felt what it was to be loved; but, like him, - I now ... thought only of duty;... I sincerely, ... fervently - longed to do what was right.... 'Show me, show me the path!' I - entreated of Heaven.... My heart beat fast and thick.... I heard a - voice somewhere cry 'Jane! Jane! Jane!' nothing more.... I had - heard it--where or whence, for ever impossible to know! And it was - ... a known, loved, well-remembered voice--that of Edward Fairfax - Rochester.... 'I am coming!' I cried.... 'Wait for me! Oh, I will - come!' I broke from St. John, who would have detained me. It was - _my_ time to assume ascendency. _My_ powers were in play, and in - force. I told him to forbear question or remark.... I mounted to - my chamber ... fell on my knees, and prayed in my way--a different - way to St. John's, but effective in its own fashion.... I rose - from the thanksgiving--took a resolve--and lay down ... eager but - for the daylight. - -Mrs. Gaskell related that Charlotte Brontë in private conversation in -reference to this preternatural crying of a voice, replied with much -gravity and without further enlightenment that such an incident really -did occur in her experience. Whether it occurred in connection with her -Brussels Fénélon and immediately preceded a reconciliation between -herself and M. Héger I know not. As, however, Charlotte Brontë's -expression of gratitude to this priest and the whole fervent story of -thankfulness for the deliverance from dangerous temptation were written -subsequently to her return from Brussels, it is clear there was never a -reconciliation which cost either her or M. Héger honour. I do not urge -this as an advocate; I state it upon the strength of unmistakable -evidence. - -Miss Brontë believed it better to leave Brussels and avoid the -possibilities of the peculiar situation--a situation always fraught with -temptation. Hence her sudden resolve to return to England. - -Arrived at Haworth the full recoil came. She had won through a great -ordeal, and she knew that surrounded by his wife and family,[77] -comforted by piety and the knowledge of his happy issue from involution -in disastrous complications, M. Héger would resume tranquilly his -accustomed course of life. To Charlotte Brontë, who by the showing of -all evidence was initially responsible for a morally gratifying outcome -of their dangerous attachment, this was a galling picture. Knowing -nothing of the ecstatic delights of the pietist in the sacrificial sense -of M. Héger, who was a devoted member of the Society of St. Vincent de -Paul, and, as he is made to describe himself in _Villette_, "a sort of -lay Jesuit," she became just a woman living in the world of her primal -nature and conceiving but that she had lost. Miss Rigby--afterwards Lady -Eastlake--who wrote the remarkable article on _Jane Eyre_ in _The -Quarterly Review_ of 1849, perceived with a flash of real insight and -the instinct of womanhood that Currer Bell's pen had presented ungarbed, -vital relations of some man and woman identical in both _Wuthering -Heights_ and _Jane Eyre_. The circumstances were full difficult for the -reviewer; she was irritated and encompassed. _Wuthering Heights_, which -so soon had followed the appearance of _Jane Eyre_, she suddenly -recognized as the very storm-centre of this literary tornado of -passionate declamation; and she chastised that work in the name of _Jane -Eyre_, for she could not know all the cruel truth, and she feared to -popularize _Wuthering Heights_. Although Miss Rigby wrote:--"It is true -Jane does right, and exerts great moral strength," she added, "but it is -the strength of a mere heathenish mind which is a law unto itself." And -later, turning upon _Wuthering Heights_ she says with a final vehemency, -and most sensationally:-- - - There can be no interest attached to the writer of _Wuthering - Heights_--a novel succeeding _Jane Eyre_ ... and purporting [!] to - be written by Ellis Bell--unless it were for the sake of a more - individual reprobation. For though there is a decided family - likeness between the two [!], yet the aspect of the Jane and - Rochester animals in their native state as Catherine and - Heathcliffe [!], is abominably pagan. - -Miss Rigby thus excused herself a further consideration of _Wuthering -Heights_. In the days of the gratification of discovering the one she -loved in return loved her,[78] this recognition stood between Charlotte -Brontë and "every thought of religion, as an eclipse between man and the -broad sun," so in another sense truly did the contemplation of M. -Héger's self-pacification intervene in the time of reaction. The -doubtings and agonizing emotions of her equivocal season in Brussels -were now precipitated. Her poems "Gilbert," "Frances," and "Preference" -are testimony to her vengeful and retaliative instinct; as are her -portrayals of M. Héger as M. Pelet of _The Professor_ and as Heathcliffe -of _Wuthering Heights_. But as I show in the next chapter, Charlotte -Brontë afterwards regretted her human weakness and her vituperations of -the day of the recoil. She began to set forth the story of her ordeal -more sanely and proportionately in _Jane Eyre_. As one who soberly -rewrites of fact, she recited therein much that she already had given -detachedly; and consistently she presented by aid of the frame-work of -"plot" from Montagu's _Gleanings in Craven_ which already had given her -elemental suggestions for her _Wuthering Heights_, the history of her -life in _Jane Eyre_--a work that stands as testimony to Charlotte -Brontë's love of truth as to her heroic battling in the days of fiercest -temptation. - -A constant yearning to fine a presentation from untruthfulness is the -God-given attribute of the artist, and this was responsible for much -that is called harsh in Charlotte Brontë's character as a writer: she -would not even spare her own physical and nervous imperfections in her -self-portrayals. Emily Brontë would have presented Branwell Brontë as -viewed through _couleur de rose_, yet Charlotte Brontë immortalized him -as Hindley Earnshaw and John Reed--as she saw him: weak, tyrannical, a -moral wreck. So she presented M. Héger. She knew his faults--and they -were many; but she loved him though she hated them. Her sense of truth -and justice, albeit she had lost the rancour of the time of the -reaction, determined her in _Jane Eyre_, it is obvious, to show the -occultation of her life's happiness by the incidents of her Brussels -life. She would show there had been a day when the barriers between -them would have been rashly ignored by him. Thus Rochester is made to -sing in _Jane Eyre_, Chap. XXIV.:-- - - "I dreamed it would be nameless bliss, - As I loved, loved to be; - And to this object did I press - As blind as eagerly. - - But wide as pathless[79] was the space - That lay, our lives, between, - And dangerous as the foamy race - Of ocean-surges green. - - And haunted as a robber-path - Through wilderness or wood; - For Might and Right, and Woe and Wrath, - Between our spirits stood.[80] - - I dangers dared; I hindrance scorned; - I omens did defy: - Whatever menaced, harassed, warned,[81] - I passed impetuous by. - - On sped my rainbow, fast as light; - I flew as in a dream; - For glorious rose upon my sight - That child of Shower and Gleam. - - Still bright on clouds of suffering dim - Shines that soft, solemn joy; - Nor care I now, how dense and grim - Disasters gather nigh; - - I care not in this moment sweet, - Though all I have rushed o'er - Should come on pinion, strong and fleet, - Proclaiming vengeance sore." - -It is clear the impediment of M. Héger's marriage is suggested in these -verses. But undeniable evidence as to Charlotte Brontë's having escaped -by flight what she considered a most dangerous temptation, is the fact -that we find she was influenced to pen these lines, wherein M. Héger -(Rochester) is likened to a wild pursuer of a "shower and gleam" nymph -who sped before him "fast as light" and "glorious rose upon his sight," -by Montagu's reference, in _Gleanings in Craven_, to the story of a -Craven nymph a satyr pursued yet lost by her being changed into a -spring. Says Frederic Montagu:-- - - "In the _Polyolbion_, published in 1612, is the following - passage:-- - - In all my spacious tract let them (so wise) survey - Thy Ribble's rising banks, their worst and let them say; - At Giggleswick, where I a fountain can you show, - That eight times in a day is said to ebb and flow! - Who sometime was a Nymph, and in the mountains high - Of Craven, whose blue heads, for caps put on the sky, - Among the Oreads there, and Sylvans, made abode - (It was ere human foot upon these hills had trod), - Of all the mountain kind, and since she was most fair; - It was a Satyr's chance to see her silver hair - Flow loosely at her back, as up a cliff she clame, - Her beauties noting well, her features and her frame, - And after her he goes; which when she did espy, - Before him like the wind, the nimble Nymph did fly: - They hurry down the rocks, o'er hill and dale they drive, - To take her he doth strain, t' outstrip him she doth strive, - Like one his kind that knew, and greatly feared.... - And to the Topic Gods by praying to escape, - They turned her to a Spring, which as she then did pant, - When, wearied with her course, her breath grew wond'rous scant, - Even as the fearful Nymph, then thick and short did blow, - Now made by them a Spring, so doth she ebb and flow." - -This is not all. We know now the truth regarding Charlotte Brontë's -Brussels life, and seeing she discovered a pertinence in the state of -the Craven Nymph to her own--for it is undeniable Rochester's song was -modelled upon the lines Montagu quotes--it is likely that what I term -the "river" suggestion and the Craven Elf suggestion which resulted in -Charlotte Brontë's portraying herself in the rôle of the stream-named -Craven elf, Janet Aire or Eyre, had to do with Montagu's mention of this -nymph of Craven who escaped a dangerous persecution by becoming a -spring. It seems, indeed, that if she did not at first utilize the -parallel of this narrative in verse with her own experience, she yet in -_Wuthering Heights_ was influenced by it, in the days which I call the -period of the recoil, to represent her hero Heathcliffe as a -ruin-creating, semi-human being. Whether the lines-- - - "It was a Satyr's chance to see her silver hair - Flow loosely at her back as up a cliff she clame," - -had in the connection to do with the "cliffe" in "that ghoul -Heathcliffe's" name a reference to Charlotte Brontë's Preface to -_Wuthering Heights_, and her words on the creation of Heathcliffe, in my -next chapter, may declare. - -It is now impossible not to understand the origin of the Satyr and Nymph -passage and its implication in the chapter of _Jane Eyre_ containing -Rochester's song, when he says to Jane in the very same chapter:-- - - "You shall sojourn at Paris, Rome, and Naples: at Florence, - Venice, and Vienna: all the ground I've wandered over shall be - retrodden by you: wherever I stamped my hoof, your sylph's foot - shall step also." - - - - -CHAPTER XV. - -THE RECOIL. - - -II. - - A ridge of lighted heath, alive, glancing, devouring, would have - been a meet emblem of my mind when I accused; ... the same ridge, - black and blasted after the flames are dead, would have - represented as meetly my subsequent condition when ... reflection - had shown me the madness of my conduct, and the dreariness of my - hated and hating position. Something of vengeance I had tasted.... - As aromatic wine it seemed, on swallowing, warm and racy; its - after-flavour, metallic and corroding, gave me a sensation as if I - had been poisoned.... I would fain exercise some better faculty - than that of fierce speaking--fain find nourishment for some less - fiendish feeling than that of sombre indignation. - -These words, written by Charlotte Brontë in _Jane Eyre_, Chapter IV., in -relation to herself and "Mrs. Reed," give us an insight into her -extraordinary alternations of mood. To inquire deeply into her -determining initially to disavow the authorship of _Wuthering Heights_ -requires a somewhat ruthless baring of the "fiendish" vindictiveness -against M. Héger between the dates of 1844-46, that was a characteristic -of the portrayals of him I have mentioned; but it also reveals her -active turn to a spirit of repentance for past vindictive feeling, the -which she acknowledges to have known. - -It seems that it was in a spirit of reproach Charlotte Brontë wrote the -vengeful scene between Heathcliffe and Catherine in _Wuthering Heights_, -harsh in threat almost as her poem "Gilbert," wherein the man, satisfied -with the affections of his wife and children, has banished the -remembrance of her of whom he boasted--"She loved me more than life," -and who is made to say, before her spirit in the form of a white-clad -spectre comes to him:-- - - "As I am busied now, - I could not turn from such pursuit - To weep a broken vow." - -Thus in _Wuthering Heights_, Chapter XV., when Catherine is embraced by -Heathcliffe, she says bitterly:-- - - "I wish I could hold you till we were both dead! I shouldn't care - what you suffered. I care nothing for your sufferings. Why - shouldn't you suffer? I do! Will you forget me? Will you be happy - when I am in the earth? Will you say ... 'That's the grave of - Catherine Earnshaw. I loved her long ago, and was wretched to lose - her; but it is past. I've loved many others since: my children are - dearer to me than she was; and at death, I shall not rejoice that - I am going to her; I shall be sorry that I must lose them!' Will - you say so, Heathcliffe?" Well might Catherine deem that heaven - would be a land of exile to her, unless with her mortal body she - cast away her mortal character also. [See my footnote in the - foregoing chapter, on Catherine's dream that the angels flung her - out of heaven.] Her present countenance had a wild - vindictiveness.... - - "Are you possessed with a devil," he pursued savagely, "to talk in - that manner to me when you are dying?" - -And later, as though in answer to the apparent threat of the poem -"Gilbert," wherein, as I have said, the spectre of the woman who has -died broken-hearted through the neglect of her married lover haunts him -and drives him mad, Heathcliffe, in the words of that poem, "Wild as one -whom demons seize," cries:-- - - "Catherine Earnshaw ... you said I killed you--haunt me then! The - murdered _do_ haunt their murderers, I believe. I know that ghosts - _have_ wandered on earth. Be with me always--take any form--drive - me mad!" - -Charlotte Brontë's poems, "Frances,"[82] "Gilbert," and "Preference" -(wherein we have literature in allegory preferred to a lover), show -there had been to her a season of darkest misery when, to quote -_Villette_ concerning herself as Lucy Snowe, "all her life's hope was -torn by the roots out of her riven outraged heart." Whether this was the -time when, in the words of herself as Jane Eyre, "faith was blighted, -confidence destroyed": a time to her when Mr. Rochester (M. Héger) was -not to her "what she had thought him," the reader shall decide. But in -_Villette_ and _Jane Eyre_ she "would not ascribe vice to him; ... would -not say he had betrayed" her. She forgave him all: yet not in words, not -outwardly; only at [her] heart's core. See the phase of M. Pelet in the -_The Professor_. - -Evidence shows it was in her dark season when Charlotte Brontë wrote -_Wuthering Heights_, and that she portrayed M. Héger therein with all -the vindictiveness of a woman with "a riven outraged heart," the wounds -in which yet rankled sorely. Thus may we understand her saying in her -famous preface to _Wuthering Heights_:-- - - Heathcliffe betrays one solitary human feeling, and that is _not_ - his love for Catherine, which is a sentiment fierce and inhuman: a - passion such as might boil and glow in the bad essence of some - evil genius [see my reference to "Robin-a-Ree"; and to the Craven - Satyr, page 142]; a fire that might form the tormented centre--the - ever-suffering soul of a magnate of the infernal world: and by its - quenchless and ceaseless ravage effect the execution of the decree - which dooms him to carry Hell with him ... we should say he was a - man's shape animated by demon life.... Whether it is right or - advisable to create a being like Heathcliffe I do not know; I - scarcely think it is. - -Even in _Villette_ there were recurrences of the spasmodic spirit of -vindictiveness responsible for Charlotte Brontë's harsh portrayal of M. -Héger as Heathcliffe, though "at her heart's core she then forgave him." -In _Villette_, Chapter XX., she refers to M. Paul (M. Héger) -antithetically, and all the more significantly, in a comparison of him -with Dr. John Bretton, of whom she says:-- - - Who could help liking him? _He_ betrayed no weakness which - harassed all your feelings with considerations as to how its - faltering must be propped; from _him_ broke no irritability which - startled calm and quenched mirth; _his_ lips let fall no caustic - that burned to the bone; _his_ eye shot no morose shafts that went - cold, and rusty, and venomed through your heart. - -_Wuthering Heights_, however, containing too humiliating a story of -Charlotte Brontë's heart-thrall, her misery and her wild vindictiveness, -and also for the reasons stated in the beginning of this chapter--her -saving remorse--she seems early to have determined to repudiate her -authorship of it; indeed, so largely is she now found to have used the -work in _Jane Eyre_, we might say she once had contemplated destroying -the manuscript. The subsequent arrangement made in the name of Ellis -Bell that the work by the same author should go to Mr. Newby, the -publisher of _Wuthering Heights_, gave finality to this tragedy of -authorship which, but for the discoveries in this, _The Key to the -Brontë Works_, would have remained for ever unrevealed, and a reproach -to literature--a thing of untruth thickly hidden. - -Had Charlotte Brontë destroyed _Wuthering Heights_ before its -publication she would have saved this sensational disclosure. But she -hesitated to destroy the manuscript at once, and as an alternative to -identifying herself with its authorship, she sent forth her work under a -_nom de guerre_, part of which had been employed by her sister Emily. We -well know the difficulties that resulted; the judgment of scholars and -thinkers was impugned and their sane pronouncements were pilloried. To -cover Charlotte Brontë's regretful error were to connive against law and -literature. _Wuthering Heights_ being published, the work was the -world's property; it stood for public purposes, to submit to all -criticism and research, and it came neither in Charlotte Brontë's -province nor in that of any person to prevent its being subjected to the -final inquiry with which the cold light of truth exposes all things. - -Doubtless Charlotte Brontë perceived this, and regretting the facileness -of her pen and the vituperativeness of her mood of that past and hateful -night, she set herself, in her subsequent works, to make clear she had -overdrawn the bitterness of the relations which one time had existed -between herself and M. Héger. Perhaps she could not expect her -retractions would be understood of all men, but it pleased her inmost -soul, and having a final sense of justice, and a softening of her heart -for her vehement passionateness, she continued in all her works -subsequent to her _Wuthering Heights_ to reconstruct this her early -version. Thus Charlotte Brontë as Caroline Helstone of _Shirley_ is -Catherine Earnshaw of _Wuthering Heights_, with the distinction I -mention. Moore is admitted, as I have said, to have been drawn from M. -Héger[83]:-- - - _Wuthering Heights._ _Shirley._ - - Chapter XII. Chapter XXIV. - - Catherine's illness, and her Caroline's illness, and her - doubting the absent lover, doubting the absent lover, - Heath(cliffe). Mrs. Dean in Moor(e). Mrs Pryor in - attendance. attendance. - - -------- -------- - - "And I dying!" exclaimed "Am I ill?" asked Caroline of - Catherine to Mrs. Dean. "I on Mrs. Pryor, and looked at - the brink of the grave! My God! herself in the glass; ... she - does he know how I'm altered?" felt ... her brain in strange - continued she, staring at her activity.... Now followed a hot, - reflection in a mirror.... How parched, restless night ... one - dreary to meet death surrounded terrible dream seized her like a - by their cold faces.... Edgar [? tiger ... a fever of mental - Mr. Brontë] standing solemnly by excitement, and a languor of - to see it over; then offering long conflict and habitual - prayers of thanks to God for sadness had fanned the flame ... - restoring peace to his house, and left a well-lit fire behind - and going back to his _books_. it.... - Tossing about, she increased her - feverish bewilderment of "Oh!" exclaimed Caroline, "God - madness, ... then, raising grant me a little comfort before - herself, desired that ... [Mrs. I die!... But he [Moor(e)] will - Dean] would open the window. come when I am senseless, cold, - and stiff. What can my departed - And farther on, in delirium, as soul feel then? Can it see or - though her lover were present:-- know what happens to the clay? - Can spirits through any medium - "Heath(cliffe) ... they may bury communicate with living flesh? - me twelve feet deep, and throw Can the dead at all re-visit - the church down over me, and I those they leave? Can they come - won't rest till you are with in the elements? Will wind, - me!" ["Heath(cliffe), I only water, fire, lend me a path to - wish us never to be parted, and Moor(e)? Is it for nothing the - should a word of mine distress wind ... passes the casement - you hereafter, think I feel the sobbing?... Does nothing haunt - same distress underground," says it?" - Catherine, in a further chapter] - "I never will." She paused and When Catherine dies Heathcliffe - resumed ... [Heath(cliffe's)] says:--"Catherine ... you said I - considering--"He'd rather I'd killed you--haunt me then!" And - come to him! Find a way haunt him she does. In the words - then![84] not through that of Caroline Helstone of - kirkyard. You are slow! Be _Shirley_ she "revisits him she - content, you always followed has left." She "goes in the - me!" elements," "the wind lends her a - path[84] to her lover," and it - Mrs. Dean perceived it vain "to is not "for nothing the wind - argue against her insanity." passes the casement of - _Wuthering Heights_ - sobbing"--she "haunts it" as the - wailing phantom that cries as a - child [Method II., altering the - age of character portrayed], - "Let me in--let me in!" outside - "the lattice." And Heathcliffe, - wrenching open "the lattice," - sobs, "Come in!... Cathy, do - come.... Catherine at last!" The - spectre gives no sign of being; - but the snow and wind whirled - ... through ... blowing out the - light. - - Chapter XIII. - - Mrs. Dean continues:-- Convalescent, Caroline - whispers:-- - In those two months [Catherine] - encountered and conquered the "... I am better now.... I feel - worst shock of what was where I am: this is Mrs. Pryor - denominated as brain fever. The near me.... I was dreaming.... - first time she left the chamber Does the churchyard look - ... on her pillow [was] a peaceful?... Can you see many - handful of golden crocuses; her long weeds and nettles among the - eye, long stranger to any gleam graves, or do they look turfy or - of pleasure, caught them in flowery?" - waking. - "I see closed daisy-heads, - "These are the earliest flowers gleaming like pearls on some - at the Heights!... Is there not mounds," replied Mrs. Pryor.[85] - a south wind, and is not the - snow gone?" - -It is in _Shirley_ that Charlotte Brontë gives, inadvertently -or purposely, the origin of the title of _Wuthering Heights_, -and we see therewith why she came afterwards to choose for her -autobiographical-self in _Villette_, the name of Lucy Snowe. We perceive -she had been singularly impressed by an old Scottish ballad, entitled, -"Puir Mary Lee," and it is important and interesting to note that Dr. -Joseph Wright's _English Dialect Dictionary_ refers readers to this very -same poem in connection with the origin of the northern word -"wuthering," in the form of the verb "whudder," or "wuther." And so, in -a letter to Mr. W. S. Williams, of November 6th, 1852, Miss Brontë wrote -of Lucy Snowe[86]:-- - - As to the name of the heroine, I can hardly express what subtlety - of thought made me decide upon giving her a cold name; but at - first I called her 'Lucy Snowe' (spelt with an 'e'), which 'Snowe' - I afterwards changed to 'Frost.' Subsequently I rather regretted - the change, and wished it 'Snowe' again. If not too late, I should - like the alteration to be made now throughout the MS. A _cold_ - name she must have; partly, perhaps on the _lucus a non lucendo_ - principle--partly on that of the 'fitness of things,' for she has - about her an external coldness. - -Thus we understand Charlotte Brontë was anxious that her -autobiographical-self in _Villette_ should be called Snowe. While, in -mentioning the matter to her publishers, she endeavoured to show a -superficial and commonplace reason for her singular choice, the truth -underlies her words wherein she says she "can hardly express what -subtlety of thought" made her decide upon "a cold name." - -The subtlety of thought that dictated the choice of the "cold name" -Snowe had, we shall see, a connection with the old Scottish ballad, -"Puir Mary Lee," which evidence shows was responsible at the dark season -to which I have referred for Charlotte Brontë's choice of the title of -_Wuthering Heights_--for her identifying her own bitterness with that of -"Puir Mary Lee." - -It is in _Shirley_, Chapter VII., that Charlotte Brontë writes:-- - - Nature ... is an excellent friend, sealing the lips, interdicting - utterance, commanding a placid dissimulation; a dissimulation - often wearing an easy and gay mien at first, settling down to - sorrow and paleness in time, then passing away, and leaving a - convenient stoicism, not the less fortifying because half-bitter. - [As Lucy Snowe, Charlotte Brontë writes in _Villette_ in perfect - sympathy with this: "If I feel, may I never express? I groaned - under her (Reason's) bitter sternness ... she could not rest - unless I were altogether crushed, cowed, broken-in, and - broken-down. According to her, I was born only to work for a piece - of bread, to await the pains of death, and steadily through all - life to despond. Reason might be right."] Who has read the ballad - of 'Puir Mary Lee'?--that old Scotch ballad, written I know not in - what generation nor by what hand. Mary had been ill-used--probably - in being made to believe that truth which is falsehood; she is not - complaining, but she is sitting alone in the snow-storm, and you - hear her thoughts ... those of a deeply feeling, strongly - resentful peasant girl. Anguish has driven her from the ingle-nook - of home, to the white-shrouded and icy hills: crouched under the - 'cauld drift,' she recalls every image of horror, ... she hates - these, but 'waur' she hates 'Robin-a-Ree!' - - "Oh! ance I lived happily by yon bonny burn-- - The warld was in love wi' me; - But now I maun sit 'neath the cauld drift and mourn, - And curse black Robin-a-Ree! - - "Then whudder awa' thou bitter biting blast, - And sough through the scrunty tree, - And smoor me up in the snaw fu' fast - And ne'er let the sun me see! - - "Oh, never melt awa' thou wreath o' snaw, - That's sae kind in graving me; - But hide me frae the scorn and guffaw - O' villains like Robin-a-Ree!" - -Thus internal evidence proves that the name of _Wuthering Heights_ for -the abode of the "deeply feeling, strongly resentful peasant girl," -Catherine Earnshaw, was primarily chosen by Charlotte Brontë because of -its special appeal to her own mood at a given period, in relation to the -ballad of "Puir Mary Lee," and proves that the choice of the name of -Snowe for her "cold and altered" autobiographical self in _Villette_ was -dictated by its connection therewith. - -In this light glance at Charlotte Brontë's poem "Mementos," and at the -following verses from her "Frances":-- - - "And when thy opening eyes shall see - Mementos, on the chamber wall, - Of one who has forgotten thee, - Shed not the tear of acrid gall. - - * * * * * - - "Vain as the passing gale, my crying; - Though lightning-struck,[87] I must live on; - I know, at heart, there is no dying - Of love and ruined hope alone. - - * * * * * - - "The very wildness of my sorrow - Tells me I yet have innate force; - My track of life has been too narrow, - Effort shall trace a broader course." - -There is an apparent relationship of this last verse with the remarks in -Chapter XXV. of _The Professor_, on Hunsden's "Lucia," of whom he -says:--"I should ... have liked to marry her, and that I _have_ not done -so is a proof that I _could_ not." Lucia's (Miss Brontë's) "faculty" was -literature: the physiognomy was obviously an obfuscation. It is -significant that Charlotte Brontë again took "Lucia," for the Christian -name of Lucia or Lucy Snowe. See my references to Hunsden as a phase of -M. Héger. - -Perceiving, therefore, that Charlotte Brontë had likened herself to the -heroine of "Puir Mary Lee," in so far as to be influenced by it to give -the title of _Wuthering Heights_ to one of her works, and to take the -name of Snowe later for her autobiographical self, we understand why she -wrote in _Jane Eyre_, Chapter XXVI.:-- - - Jane Eyre, who had been an ardent, expectant woman, ... was a - cold, solitary girl again: her life was pale; her prospects were - desolate. A Christmas frost [see my reference to the name of Lucy - Frost] had come at midsummer; a white December storm had whirled - over June; ice glazed the ripe apples, drifts crushed the blowing - roses; on hayfield and cornfield lay a frozen shroud [see "the - snow-storm, the white-shrouded and frosty hills," the "cauld - drift," the "whuddering blast," etc., of "Puir Mary Lee" in - _Shirley_], lanes which last night blushed full of flowers to-day - were pathless with untrodden snow; and the woods, ... now spread - waste, wild, and white as pine forests in wintry Norway. My hopes - were all dead--struck with a subtle doom.... I looked at my love: - that feeling which was my master's--which he had created; it - shivered in my heart like a suffering child in a cold cradle; - sickness and anguish had seized it; it could not seek Mr. - Rochester's arms--it could not derive warmth from his breast. Oh, - never more could it turn to him; for faith was - blighted--confidence destroyed! Mr. Rochester was not to me what - he had been.... I would not say he had betrayed me: but the - attribute of stainless truth was gone from his idea [see - "Robin-a-Ree"], and from his presence I must go; _that_ I - perceived well.... That bitter hour cannot be described: in truth, - 'the waters came into my soul; I sank in deep mire; I felt no - standing; I came into deep waters; the floods overflowed me.' - -The inclusion in _Shirley_ of the ballad of "Puir Mary Lee" and the -remarks anent it were apparently digressive, but they are followed by -the "subtle" disclaimer:-- - - But what has been said in the last page or two is not germane to - Caroline Helstone's feelings, or to the state of things between - her and Robert Moore. Robert had done her no wrong; he had told - her no lie; it was she that was to blame, if any one was; what - bitterness her mind distilled should and would be poured on her - own head. - -Indeed, there is evidence of a reconciliation between M. Héger and -Charlotte Brontë, this being most marked in _Jane Eyre_ and _Shirley_. -In connection with the reasons responsible for Charlotte Brontë's choice -of the title of _Wuthering Heights_, it is interesting to note some -"subtlety of thought" dictated Charlotte's telling us in _Shirley_, -Chapter XXXIII., of Caroline and her lover that:-- - - The air was now dark with snow; an Iceland blast was driving it - wildly. This pair neither heard the long "wuthering" rush, nor saw - the white burden it drifted; each seemed conscious but of one - thing--the presence of the other. - -After the close of 1850, Charlotte Brontë resolved into the mood which -was an earlier characteristic; and the choice of the name of Snowe for -herself and the extraordinary tenacity with which she held to the name, -having it re-inscribed in _Villette_ by the printers though she had -herself changed it, show she had returned somewhat to that state in -regard to her affection for M. Héger responsible for the passionateness -of her _Wuthering Heights_. And as following the completion of -_Villette_ she decided to marry a man she did not really love, I would -say her mood was honestly in sympathy with that in which she wrote -_Wuthering Heights_ through bitter, adverse circumstances and the -warping of destiny, and did not result from Sydney Dobell's advice to -her when, having read _Shirley_ and _Jane Eyre_, and despite her -disclaimer in a preface, thinking she was the author of _Wuthering -Heights_, he advised her to resume the frame of mind in which she had -penned her _Wuthering Heights_.[88] - -Dobell's supposition that she wrote the book had no connection -whatsoever with my discovering Charlotte Brontë was the author of -_Wuthering Heights_; neither had the fact that Miss Rigby--Lady -Eastlake--in _The Quarterly Review_, spoke of _Wuthering Heights_ as -"purporting to be written by Ellis Bell" but having "a decided family -likeness to _Jane Eyre_," and with still more point, identified -"Catherine and Heathcliffe of _Wuthering Heights_ as Jane and Rochester -of _Jane Eyre_ in their native state." For I early found I must credit -only the internal evidence of the Brontë works as my interpretative -guide. Having written "The Key to _Jane Eyre_" nothing could prevent my -discovery of that novel's kinship with _Wuthering Heights_; and so far -back as August 29, 1902, I penned in a private letter enclosed with the -proof sheets of my article to Mr. Harold Hodge, the editor of _The -Saturday Review_, a confession that I was finding a strong kinship -between the two novels. I owe to my persistent consciousness of this -close kinship the fact that I finally discovered the amazing secrets of -_Wuthering Heights_, and was enabled to state publicly in my -_Fortnightly Review_ article of March 1907, Charlotte Brontë and none -other wrote _Wuthering Heights_. It was then I turned with interest to -the remarks of Sydney Dobell, the author of _Balder_, and "a notable -figure in the history of English thought" as he has been named, whose -review of Charlotte Brontë's works had resulted in her being acclaimed a -leading author and a genius. It was in _The Palladium_ of September 1850 -Sydney Dobell said:-- - - That any hand but that which shaped _Jane Eyre_ and _Shirley_ cut - out the rougher earlier statues [in _Wuthering Heights_] we should - require more than the evidence of our senses to believe; ... the - author of _Jane Eyre_ need fear nothing in acknowledging these ... - immature creations.[89]... When Currer Bell writes her next novel, - let her remember ... the frame of mind in which she sat down to - write her first [_Wuthering Heights_]. She will never sin so much - against consistent drawing as to draw another Heathcliffe.... In - _Jane Eyre_ we find ... only further evidence of the same - producing qualities to which _Wuthering Heights_ bears testimony. - -Charlotte Brontë warmly thanked him and protested. With eager honesty he -again and again begged her to visit him and discuss the authorship of -_Wuthering Heights_. Could Sidney Dobell but have been told the secret -tragedy of Currer Bell's life and the bitterness of her cup, how he -would have shrunk from inflicting her with an intrusive personal -inquiry. And in all innocence he had asked her to revive the frame of -mind in which, to use the words in _Jane Eyre_, her heart had been -"weeping blood"! - -_Wuthering Heights_ was wrought near the furnace of Charlotte Brontë's -fiery ordeal, and gives at its intensest that which glows through her -other works, finally to flash up and smoulder out in _Villette_. By -reason of its clear portrayal of woman when she is very woman _Wuthering -Heights_ towers above all common literary artistry, one of the finest -novels in the world, an abiding monument to the vital genius of -Charlotte Brontë. After her return from Brussels her life was a long -human conflict, with vain regrets, vindictive recriminations, and luring -memories opposing heroic commandings in the name of right and virtue. -All honour to her that she fought to win! - -Had Charlotte Brontë and M. Héger been characterless individuals of the -common type who, knowing nothing of self-sacrifice and nobleness of -life, yield to the call of immediate and unlicensed impulse, we could -never have had these most vital representations, these most poignant -revelations of the Martyrdom of Virtue--the works of our immortal Currer -Bell. Her vehicle of confession--her dialect, was what men have termed -fiction. But her heart was satisfied that truth has its ultimate appeal; -and in the way of those sententious writers of old who garbed in an -attractive vesture veritable and momentous records which would be -preserved because they entertained, she gave the history of her life in -a series of dramas we call the Brontë novels. For sixty years these have -been read only as the creations of a brain that spun interesting -fiction! Now, by aid of _The Key to the Brontë Works_, it is revealed -they are more than this, and we discover the real greatness of Currer -Bell and the high rank of her genius. Like that which creates the -noblest and most enduring of the world's literature, the genius of -Charlotte Brontë truthfully preserves the past, while it will intimately -appeal to and have a salient lesson and an inspiring message for any one -so ever who shall read, be it here and now, or in the time to come. - - - - -CHAPTER XVI. - -THE BRONTË POEMS. - - -Charlotte Brontë loved her sisters Emily and Anne, but in her -introduction to the poetical selections from their literary remains she -says little concerning their verse, preferring to give of each sister a -kind of short biographical memoir. In dealing with Emily she dwelt -poetically upon the features of the Yorkshire moors, and thus extended -to Emily's verses that atmosphere and charm which she (Charlotte) had -fixed in _Wuthering Heights_ and _Jane Eyre_; and in writing upon Anne -she complained her verse gave evidence of a too melancholy religious -feeling. The eldest surviving child in the Brontë family, after the -deaths of Maria and Elizabeth, it was Charlotte Brontë who would first -set the ideal of literary composition before the Brontë children. To her -initial impulse, therefore, owe we the literary compositions that came -from the pens of Emily, Anne, and Branwell. Evidence of this truth is -the fact that Emily, Anne, and Branwell, in their writing, never got -"right away," as the hunting phrase has it. - -There are many definitions of genius: may I define it as a message? -Charlotte Brontë had a message. Emily had none. _Wuthering Heights_ and -all the other works of Charlotte Brontë, prose and verse, had a vital -message. Ellis Bell had no message. In a sort of idle, ruminative -contemplation Emily Brontë constructed verse unburdened with -purpose--verse that became involved at the moment it should have soared. - -I believe we have the secret of what I may call Emily's "involved -moments" in Charlotte Brontë's description of her as Shirley Keeldar in -_Shirley_, Chapter XXII., wherein we are told Emily saw visions, as it -were, "faster than Thought can effect his combinations." We feel -something of the clouded chaos of her moment of writing in her more -impassioned or laboured verses; their illogic and incoherence fix it -distressfully. Charlotte, to resume her reference to Emily in _Shirley_ -above quoted, further tells us that "so long as she is calm, indolence, -indulgence, humour, and tenderness possess" her eye; "incense her, ... -it instantly quickens to flame." And with her verse, so long as it was -unburdened, indolent, it ran smoothly and pleasantly along with the -simplicity of the _insouciant_; but confronted with magnitude the -imagination flamed, reason and logic were involved, and there was an end -of art. In her excited combativeness she hit out rashly. Thus in her -last verses, considered her masterpiece, she says the "thousand creeds" -which move men's hearts were "vain" to "waken doubt" in her creed, blind -to the fact that truth and worship finally converge to one point, -howsoever diverse their starting-places. The very unbeliever is a -witness to man's innate seeking for truth and right: he is a -non-believer in this or that because he conceives truth to be remote -from it. He seeks truth albeit he is a wide wanderer. - -In "The Old Stoic" we have a "stoic" in Emily's rôle of bold challenger -of chimera. "Courage to endure" and "a chainless soul" are what this old -stoic would ask for! The poet was ignorant of or indifferent to the fact -that a true stoic, according to the rule of Epictetus, seeks to be not -other than he is, and is content wheresoever he be, whatsoever his lot. -The words of this poem are those of a bold neophyte, and they are -interesting chiefly because we see advanced in them the hypothesis of -punishment common to Emily's chimera-creating imagination. To repeat: so -long as her mood was calm her verse ran pleasantly and smoothly along. -But the saying tells us, "The good seaman is known in bad weather"; and -so with the poet. Life is not a placid lake: the lethal lightnings play, -and faith and happiness are threatened continually and on the whole -horizon. - -Charlotte Brontë, with memory of her own life-storm which has left us -her _Wuthering Heights_, _Jane Eyre_, and her other great prose works, -wrote her introduction to Emily's poems in the spirit of one who looked -upon her pieces as the reflections of an uneventful life in the inner -sense of vital soul-conflict. - -Anne Brontë's gentle poems, like Emily's, will appeal particularly to -such readers as have sympathetic temperaments; they will not call to the -human heart like the clarion notes of Charlotte Brontë's poem "Passion," -but mayhap their low whisperings may waken sadly pleasant memories. -With Currer Bell's poems I deal in various chapters, wherein we perceive -their relationship to _Wuthering Heights_ and her other books which -resulted from the harsh rigours of her tempest-bestormed night. - -And shall we not say a word for Branwell Brontë? He too wrote verse.[90] -He was not a genius in the sense of my definition, but his verse is such -as might appear in a member of a family a generation or a degree of kin -removed from the genius of the house. Him we must remember -compassionately as one physically weak, an unhappy victim of -circumstances against which he had not the moral force to fight. Nor -shall we forget that the Rev. Patrick Brontë, the father, wrote and -published verse. His productions were printed in pamphlet form, and have -been collected and republished.[91] As literature they are unimportant, -but to the curious they may have a sort of interest. - - - - -APPENDIX. - -MINOR IDENTIFICATIONS OF PERSONS AND PLACES IN THE BRONTË WORKS. - - -"WUTHERING HEIGHTS." - -There is not satisfactory evidence to enable the identification of the -originals of Wuthering Heights the abode, and Thrushcross Grange. -Similar homesteads are found anywhere near the Yorkshire moors. -Architectural peculiarities and appointments are ever accretive -properties with the novelist of imagination and latitude. This -observation should be kept in mind also in regard to Charlotte Brontë's -other works. See my remarks on page 57. - - -"JANE EYRE." - -The interior of Thornfield Hall, as I mention on page 35, has been -identified with that of "Norton Conyers," near Ripon; externally it has -been associated with "The Rydings," near Birstall. Ferndean Manor has -been identified with Wycollar Hall, near Colne. A Brontë biographer says -this place was set on fire by a mad woman,[92] but the story finds no -mention in _The Annals of Colne_, 1878, or in _Lancashire Legends_, -1873, though "Wyecoller Hall" is dealt with at length in each work. - - -"SHIRLEY." - -Gomersall and Birstall, near Batley, Yorkshire, contribute to the -background of this story. "Field Head" has been identified with -Oakwell Hall, an Elizabethan mansion. Evidence shows that intimately the -Rectory in _Shirley_ was in the main Haworth Parsonage to Charlotte -Brontë. In _The Dictionary of National Biography_ Leslie Stephen -says:--"Brontë, ... a strong Churchman and a man of imperious and -passionate character, ... is partly represented by Mr. Helstone in -_Shirley_, though a [Rev.] Mr. Roberson ... supplied ... characteristic -traits." And Mr. Francis Leyland, who drew much of his information from -Nancy Garrs, a Brontë servant, says that the fourth chapter of -_Shirley_, wherein Charlotte speaks of the grossly untrue reports of -Mr. Helstone's dry-eyed mourning, etc., for his wife, is a defence -really of Mr. Brontë. Helstone was a composite character, as also was -Mrs. Pryor, to whom, without doubt, Miss Wooler contributed, though -Charlotte Brontë once had a grave difference with her. Miss Nussey, who -pathetically and wrongly believed herself Caroline Helstone, proclaimed -Miss Wooler, her schoolmistress, as the prototype of Mrs. Pryor. -Evidence declares, however, that in many regards this character was also -drawn from Tabitha Aykroyd. And we see that Charlotte Brontë, years -before, in her _Wuthering Heights_, had given an ecclesiastical -name--that of Dean--to her portrayal of the one woman who alone ever -took up the part of mother for her--Tabitha Aykroyd. Nevertheless Mrs. -Pryor was in the main a composite character, largely at the service of -"story" requirements. Sometimes she is Tabitha, sometimes Miss Wooler; -elsewhile she is neither. Mr. Macarthey is said to represent the Rev. -Arthur Bell Nicholls, who became Charlotte Brontë's husband. - -The references in _Shirley_, Chapters XII. and XXVII., to Robin Hood's -connection with Nunnwood and to the ruins of a nunnery, identify Nunnely -in the circumstances, with Hartshead, near Brighouse and Dewsbury; -Nunnely Church with Hartshead Church (Mr. Brontë was once vicar here), -and the Priory with Kirklees Hall or Priory--Kirklees Park, as we may -see by turning to Dr. Whitaker's _Loidis and Elmete_, pages 306-9 -(1816), wherein we find mention of Robin Hood and an old Cistercian -nunnery in connection with Kirklees, appropriately now the residence of -Sir George J. Armytage, Bart., one of the founders of the Harleian -Society. Whinbury has been identified with Dewsbury; but I do not know -that it has been remarked the name Dewsbury may have suggested to -Charlotte Brontë the dewberry, bramble, or blackberry, thus leading her -to adopt "whinberry" and, finally, Whinbury. The attack on Hollow's Mill -is said to have been founded on an attempt in 1812, when an assault was -made on the factory of Mr. Cartwright near Dewsbury. - - -"THE PROFESSOR" AND "VILLETTE." - -_The Professor_, Charlotte Brontë offered to Messrs. Aylott & Jones in -April 1846, was not published till after her death. It is related to -_Villette_ in something of the way, though not so verbally and -intimately, that _Wuthering Heights_ is to _Jane Eyre_. The early -chapters deal vaguely with a West Riding of Yorkshire town, but the -scene quickly changes to Brussels. The Héger _pension_ is recognized as -the original of the schools in both novels, but in _Villette_ the place -Villette occasionally becomes London as Charlotte Brontë knew it on her -visits. Mr. George Smith, the Brontë publisher, and his mother, are -portrayed as the Brettons. Mr. Smith showed Charlotte Brontë the sights -of London: the theatres, picture galleries, churches, etc.; and we have -reflected in _Villette_ incidents associated with her seeing these -places.[93] The reader will find a phase of Currer Bell in Paulina--Miss -de Bassompierre, and a sympathetic phase of Mr. Brontë in her father, -for after the deaths of Emily, Anne, and Branwell, Charlotte and her -father were brought closer to each other. And like Mr. "Home" de -Bassompierre, he had "no more daughters and no son."[94] Towards the -close of _Villette_ we may find a phase of the Rev. Mr. Nicholls, -Charlotte Brontë's husband, in Dr. John Bretton, my previous remarks -upon whom observe. It was shortly after the completion of _Villette_ Mr. -Nicholls proposed successfully, but it would seem by the concluding -chapters Miss Brontë expected this. The picture of the disappointment of -the old father that his popular daughter would marry a plain character -in life suggests to us the disappointment of the Rev. Patrick Brontë in -regard to his daughter's marrying a curate. See Chapter XXXVII. Paulina, -of course, is the feminine of Paul; and the original of M. Paul of this -work we now well know. See footnote on page 120. - -The chronological sequences in Charlotte Brontë's novels are seldom -carefully ordered: this should be remembered in reference to her record -of events in her own life. - - -"AGNES GREY" AND "THE TENANT OF WILDFELL HALL." - -_Agnes Grey_ contains simple and natural portrayals of governess life in -the eighteen-forties; and the following _Wildfell Hall_, we may -conjecture, is built from evolved incidents founded on hearsay and -experience. Whether Miss Brontë had assisted Anne or not, it is certain -_Wildfell Hall_ has something in common with Currer Bell's novels. The -books connected with the name of Acton Bell, however, are not important -as literature in the higher sense of the word; and though a member of -Messrs. Smith & Elder remarked to Miss Brontë upon a similarity in the -leading male characters of _Wildfell Hall_ to Rochester, interest in it -is merely dependent upon its association with the greater Brontë works, -and the book does not call for sedulous inquiry. - - - - -THE HÉGER PORTRAIT OF CHARLOTTE BRONTË IN THE NATIONAL PORTRAIT GALLERY. - - -The Trustees of the National Portrait Gallery, London, purchased in July -1906, a hitherto unheard of portrait of Charlotte Brontë, painted in -water-colours in 1850, and stated to be by M. Héger. A reproduction of -the portrait was given in _The Cornhill Magazine_ for October 1906, Mr. -Reginald J. Smith, K.C., of Messrs. Smith, Elder & Co., the Brontë -publishers, having to do with its discovery. - -In the early autumn of 1906, Mr. Lionel Cust, M.V.O., Surveyor of the -King's Pictures and Works of Art, then Director of the National Portrait -Gallery, was busily corresponding with me in regard to this portrait of -Charlotte Brontë, the authenticity of which became sensationally -attacked. At once I pointed out the importance and significance of the -portrait's being signed "Paul Héger," instead of "Constantin Héger"; and -other matters. In March 1907, I appended a footnote[95] to my article, -"The Lifting of the Brontë Veil," in _The Fortnightly Review_, and on -May 16th, 1907, the literary editor of _The Tribune_, Mr. E. G. Hawke, -having placed space at my disposal, I wrote as follows:-- - - CHARLOTTE BRONTË. - THE HÉGER PORTRAIT. - - To the Editor of _The Tribune_. - - SIR,--As the water-colour drawing by M. Héger is now a valuable - property of the nation, and gives a more intimately faithful and - characteristic likeness of Charlotte Brontë than the Richmond - portrait of "Currer Bell," now also hung in the National Portrait - Gallery, kindly permit me publicly to present some of the many - interesting facts connected with it. The portrait is signed "Paul - Héger, 1850" (the accent is correct), and it represents Miss Brontë - with curls, and reading _Shirley_, on one leaf of which is a heart - transfixed with an arrow. The dress that she wears is light green, - and on the back of the drawing is inscribed: - - The Wearin' of the Green; First since Emily's death; that being - the first occasion on which Miss Brontë wore colours after - the death of her sister. - - And below: - - This drawing is by P. Hegér (accent thus), done from life in 1850. - The pose was suggested first by a sketch done by her brother - Branwell many years previous. - - The Trustees of the National Portrait Gallery acquired the portrait - from a lady whose family obtained it nigh on forty years ago from - Mr. Thomas Baylis, a personal friend of Lord Lytton. Mr. Baylis - stated that he himself had acquired the portrait from the Héger - family at Brussels. The children of the Mme. Héger who refused to - see Mrs. Gaskell because of her dislike to Miss Brontë, aver that - M. Héger never drew or painted. The statement, however, is directly - opposed by indisputable evidence: - - (1.) The portrait is authentic, and was drawn from life in 1850, and - the inscriptions that it bears it is proved could have been - inspired by none other than Charlotte Brontë herself or - M. Héger. - - (2.) The statement of Mr. Thomas Baylis, a well-connected gentleman. - - (3.) Eugène Sue, in his 1851 volume of _Miss Mary ou - l'Institutrice_, gives, with a clouding of mystery, - a lover--Gérard de Morville--drawing a portrait of Miss - Mary "d'après nature;" and M. Sue's _feuilleton_, as - I showed in _The Fortnightly Review_ for March, identifies - Miss Mary and the de Morvilles as phases of Charlotte - Brontë and the Hégers.[96] - - (4.) Miss Brontë, in _Shirley_, herself presents M. Héger--Louis - Gérard Moore--as an artist, and refers to past drawing - episodes.[97] - - The authenticity of the inscriptions is not involved in the - question as to whether Charlotte Brontë would use careless - spelling, for, if she had written them, couching them in the third - person, it is clear that she had not desired to be known as the - writer. Upon the other hand, it is discovered to be utterly - impossible for any one but Charlotte Brontë or M. Héger to have - inspired the inscriptions, whosoever wrote them. - - SIGNIFICANT PIECES OF EVIDENCE. - - I find that M. Héger was Paul to none but Charlotte Brontë in 1850, - and that before the publication, two years ago, of _Charlotte - Brontë and Her Sisters_, by Mr. Clement Shorter, who, for reasons - which he should explain, calls M. Constantin Gilles Romain Héger - "M. Paul Héger," [Throughout that writer's correspondence in _The - Times_, etc., and in _Charlotte Brontë and Her Sisters_: beneath - the portrait of M. Héger, facing page 198, and bearing the - inscription:--M. Paul Héger: The Hero of _Villette_ and _The - Professor_; and on page 161 of that work] no reference in print had - been made to M. Héger but as Constantin. The Hégers state that M. - Héger was not called Paul, and that Dr. Paul Héger, his son, was - the first member of the family named Paul. - - A native of Haworth[98] who lived from 1830 till after the death - of Charlotte Brontë in 1855, "within twenty yards of the Haworth - Parsonage," her home, has pronounced the Héger portrait of Miss - Brontë to be a correct likeness and "just like her." He says that - it reminds him of her as he knew her and as she was in her younger - days, and he pointed out to me particularly that he had seen her - with her hair as in the Héger likeness, "scores of times before she - went away"--this giving the clue to the reference in the - inscription to a pose in a portrait by Branwell "many years - previous" to 1850; and I have seen a reproduction of a sketch by - Branwell wherein the Brontë sisters have curls. Moreover, I find - that Miss Brontë really liked curls and disliked the other styles, - though she conformed to the fashion. - - I also find that the paper on which the Héger portrait of Miss - Brontë was drawn was that used in 1850 by the house where she was a - guest in London in the early June of 1850, at the very time to - within a day when, as there is indisputable evidence--despite - assertions that she "never under any circumstances during the later - period of her life wore a green dress"--Charlotte Brontë was - wearing a light green dress. That was "the first occasion on which - Miss Brontë wore colours," as the inscription tells us, and fact - substantiates, after she had concluded the remarkably long mourning - period for her sisters, which began with "the death of Emily" and - did not end till twelve months after the death of Anne, who died on - May 28th, 1849. - - (Signed) J. MALHAM-DEMBLEBY. - Scarr Hill, Eccleshill, Bradford, May 16th, 1907. - -The publication of this letter ended the controversy.[99] Since it was -published Mrs. Gaskell's daughters, who well knew Miss Brontë, have -declared themselves fully satisfied as to the authenticity of the Héger -portrait of Charlotte Brontë and the faithfulness of the likeness. The -testimony of Lady Ritchie, Thackeray's daughter, also supports this -portrait. See my further references to my correspondence with her -ladyship herewith. As regards the green dress, apart from the -indisputable external evidence I referred to in the printed letter, I -believe Charlotte Brontë speaks of it in _Villette_, though therein it -is for obfuscation's sake (necessary indeed, since _Villette_ was -published only a short time after her London visit) made "pink" and -"flounceless." In Chapter XXVIII. we find M. Paul saying--and it is -interesting thus to have connected with the green dress a character -whose prototype was M. Héger--that: - - "Pink or scarlet, yellow or crimson, _pea-green_ or sky-blue, [the - dress] was all one."[100] - -As I stated to Lady Ritchie in 1907, I believe that in Chapter XX. of -_Villette_ we undoubtedly have a real glimpse of incidents connected -with the wearing of the green dress; and it should be remembered that -Mrs. Bretton and Dr. John Graham Bretton in this chapter represent Mrs. -Smith, and her son Mr. George Smith, the publisher, whose guest -Charlotte Brontë was in 1850, when she first wore the green dress:-- - - One morning, Mrs. Bretton ... desired me to ... show her my - dresses; which I did, without a word. - - "That will do," said she.... "You must have a new one." - - ... She returned presently with a dressmaker. She had me measured. - "I mean," said she, "to follow my own taste, and to have my own - way in this little matter." - - Two days after came home--a pink [green] dress! "That is not for - me," I said hurriedly, feeling that I would ... as soon clothe - myself in the costume of a Chinese lady of rank. - - ... "You will wear it this ... evening." - - I thought I should not; I thought no human force should avail to - put me into it.... I knew it not. It knew not me. I had not proved - it. - -But wear it she did; and when Graham [Mr. George Smith] stood in the -doorway looking at her, she tells us her uneasy aspiration was:-- - - "I _do_ hope he will not think I have been decking myself out to - draw attention." - -Clearly Charlotte Brontë wished posterity to learn how it came about she -was garbed in "light fabric and bright tint," because the green dress -was a page in her life's history. In a green dress she sat down to dine, -as Mr. Thackeray's daughter, Lady Ritchie has written me she well -remembers, when Charlotte Brontë dined at Thackeray's house on June 12, -1850--not the event of the distinguished party, when Carlyle, Miss -Perry, Mrs. Procter, and others were present, though Lady Ritchie had -once confounded the two in writing upon the subject[101]. Mr. -Thackeray's daughter was a young girl at the time to which she referred, -but she has made clear to me she saw Miss Brontë three times; that the -chief occasion was when Charlotte Brontë wore the light green dress. -This, to quote her ladyship's words to me, was "not Mrs. Brookfield's -party, when neither my sister and I nor our governess dined--though we -came down in the evening. The second occasion was just casually at my -father's lecture-room, when she did not speak to me, and the third, -finally, at the Brookfield evening party, which seems to have been such -a solemn affair[102]." - -These facts fix the wearing of the light green dress by Miss Brontë as -June 12, 1850. Lady Ritchie tells me that "It was at an early family -dinner by daylight with Charlotte Brontë, my father, Mr. George Smith, -my sister and our governess, that I remember sitting next Miss Brontë at -dinner and gazing at her _sleeve_ and mittens. Her dress was of some -texture like one I had had myself, which I suppose impressed it upon me, -and it had a little moss or coral pattern in green on a white ground. I -only remember the sleeve, the straight look, and the smooth Victorian -bandeaux of hair. I am sure she was _differently_ dressed at the -Brookfield evening party." - -On June 12, 1850, Charlotte Brontë wrote to her friend, Miss Nussey, -from the Smiths' in London, saying:-- - - Thackeray made a call.... If all be well, I am to dine at his - house this evening.[103] - -And this was when Miss Brontë sat in a light green dress at the -Thackeray dinner-table. - -The Richmond portrait of Charlotte Brontë being now also in the National -Portrait Gallery, I may remark that Mrs. Gaskell herself says of this -portrait:--"Those best acquainted with the original were least satisfied -with the resemblance.... Mr. Brontë thought ... it looked good and -lifelike." Charlotte Brontë herself said her father thought the portrait -looked older than she. In view of the new interest now attaching to -Tabitha Aykroyd and Charlotte, it is instructive to find the latter -telling us Tabitha "maintains that it is not like," and also, that -Tabitha thought it "too old looking." Then she apologized for the old -servant in a sentence that pathetically recalls Mrs. Dean and Bessie of -"Catherine's" and "Jane's" childhood--"Doubtless she confuses her -recollections of me as I was in childhood, with present -impressions."[104] We discover, therefore, that in the main there was -really dissatisfaction at the "old looking" presentation, and we see -Charlotte Brontë from the beginning must have wished she had had her -hair arrangement in that portrait as was common to her at home and in -her younger days. Hence do we get a further insight into the origin of -the different pose in the more characteristic and intimately faithful -Héger portrait of Charlotte Brontë. - - - - -INDEX. - -INTRODUCTION TO THE SPECIAL KEY INDEX. - - -I stated in a letter to _The Academy_, August 1st, 1908, that "were it -possible by application of a cipher code to discover the words 'Emily -Brontë' in every sentence of _Wuthering Heights_, I could not even then -say any one wrote the book but Charlotte Brontë." If people write before -they think, then importance can be attached to clerical testimony and -external associations to the disadvantage of internal and literal -evidence. But inspiration, thought, and fact denote in questions of -authorship, and therefore that is author of a work whose thoughts and -words are expressed and inmost life revealed therein. _Wuthering -Heights_, we now see, is Charlotte Brontë, and it matters not what -amanuensis dealt with the relation--what sequence of complications -resulted from her first day of handing over the work to her sister, and -of conspiring to conceal her authorship. - -Had not my own two sisters died, I might have been tempted to make them -novelists: out of my bottom drawer I could have provided them with a -novel each and one for a "follow-on," and yet have left myself some -maturer works in hand. But _my_ sisters would have had to copy out the -manuscripts for the printers from my first drafts, and in every way -possible to merit and to establish association with the books as -authors. And how indignant we would have been--nay, alarmed, had there -been a "Newby arrangement," at some daring critic, like Lady Eastlake -and Sydney Dobell, imputing they were the work of one mind! Would we not -have appealed to clerical testimony? With a more practised hand -Charlotte Brontë in her days of fame corrected and edited _Wuthering -Heights_. Emily was dead. Well might Charlotte say the labour left her -"prostrate and entombed." What memories had it recalled!--what a -history! It is obvious to all who consider carefully the letter -Charlotte Brontë penned Wordsworth, to which I refer in the footnote on -page 17 of _The Key to the Brontë Works_, that she wrote her books -rapidly; and a review of the fact that the Brontë school project was -renounced in favour of literary projects suggests Currer Bell in 1845-46 -revealed to her sisters the advantages of having a bottom drawer. Let -any reader use what I have termed the Key Index to the works of -Charlotte Brontë, and it will be perceived quite easily that _Wuthering -Heights_ is irrefutably at one with Currer Bell and all her other -books--that the works of Charlotte Brontë are all related to each other, -to Charlotte Brontë, and to the facts and people of her life as seen and -known by herself. The reader of a given Brontë work will glance down the -list in the Key Index under the heading of the particular book in hand -to find these very important and intensely interesting connections, now -first shown to exist:-- - - - - -THE KEY INDEX - -TO THE LIFE AND WORKS OF CHARLOTTE BRONTË. - - -WUTHERING HEIGHTS. - - Its relation to Charlotte Brontë's life, vii.-xi.[105], 16-19, 32-3, - 37-53, 55-7, 69, 78-9, 83, 85-103, 106, 108-112, 114-8, 120-1, - 126-9, 130-155, 156-8, 160-1, 168 - - In relation to Branwell Brontë, x., 18, 37-40, 52-3, 78-9, 93-5, 139 - - ---- Tabby Aykroyd, x., 38, 40-1, 43-53, 77, 94-5, 147-8, 160, 168 - - ---- M. Héger, viii., xi., 16, 17, 34, 56, 87, 89, 91-3, 96-103, 106, - 111, 120-1, 128-9, 134-154, 157 - - ---- Madame Héger, 106-7, 117 - - ---- Taylor of Hunsworth, 83-9 - - ---- Rev. Patrick Brontë, 49, 147; - the younger Cathy's father, 161 - - ---- Maria Brontë, 37 - - ---- Emily Brontë, viii., 17, 18, 40, 138, 146, 153, 156, 169 - - ---- M. Sue, ix., 103-4, 106-112, 114, 121, 128, 132-142 - - ---- Charlotte Brontë's _Poems_, 56, 97, 128, 132-7, 139, 140-5, - 150-1, 157-8 - - ---- Montagu, x., 17, 20-35, 55, 57-68, 71, 141-5 - - ---- _Jane Eyre_, vii., viii., x., 18, 20, 22-56, 58-68, 71-2, 79, 83, - 85-103, 106, 108-112, 114-119, 121, 128-9, 134-146, 151-4, 157, - 168 - - ---- _Shirley_, ix., 18-9, 41, 43, 55-6, 83, 85-9, 136, 146-153, 160-1 - - ---- _The Professor_, ix., x., 53-6, 78-9, 84-9, 121, 127-9, 138-9, - 145, 151 - - ---- _Villette_, ix., 92, 96-7, 103, 111, 121, 128-9, 136-8, 143-5, - 148-154, 161 - - ---- Charlotte Brontë's Method I., viii.-x., 23-4, 25-31, 38, 40, 47, - 97-103 - - ---- ---- Method II., viii., 25-31, 38-9, 48-51, 53, 55 - - -JANE EYRE. - - Its relation to Charlotte Brontë's life, vii., viii., x.,[105] 15, 18, - 21-2, 30, 37-56, 69-119, 121-154, 157, 168 - - In relation to Branwell Brontë, x., xi., 18, 37-40, 52-3, 78-9, 93-5, - 106, 139 - - ---- Tabby Aykroyd, x., 40, 43-53, 77-8, 94-5, 105, 128, 168 - - ---- M. Héger, x., 14, 82-9, 92-3, 96-107, 111, 120, 126-9, 136-146, - 148-154 - - ---- Madame Héger, 106-7, 112, 117 - - ---- Taylor of Hunsworth, 83-9 - - ---- Rev. Patrick Brontë, xi., 70-2, 74-7, 81-2, 128, 136 - - ---- Maria Brontë, xi., 24, 70-1, 80-1, 106, 108-110 - - ---- Anne Brontë, xi., 70-4, 77-8, 81-2; - Elizabeth Brontë, xi., 72, 81, 106-7 - - ---- Emily Brontë, xi., 70-4, 78, 81 - - ---- Aunt Branwell, xi., 70-3, 77-81 - - ---- Cousin Eliza Branwell, xi., 69, 70-2, 79-81 - - ---- M. Sue, ix., x., 82-3, 103-121, 126-9, 135 - - ---- Charlotte Brontë's _Poems_, 97, 128, 135-8, 140-5, 150-1, 157-8 - - ---- Montagu, x., 20-36, 60-8, 71-2, 140-5 - - ---- _Wuthering Heights_, same as opposite - - ---- _Shirley_, 81, 83-9, 136, 147-153 - - ---- _The Professor_, 79, 83-9, 111, 127-9, 139-142, 145, 151 - - ---- _Villette_, 42, 86, 89, 92, 103, 118-9, 126, 128-9, 132-154 - - ---- Charlotte Brontë's Method I., x., 23-4, 25-31, 97-103, 105 - - ---- ---- Method II., 25-31, 45, 48-51, 72, 74 - - -SHIRLEY. - - Its relation to Charlotte Brontë's life, vii., ix., 41, 43, 69, 75, - 81, 83-4, 87-9, 120, 136, 146-153, 156-7, 159, 160, 163 - - In relation to Tabby Aykroyd, 43, 160 - - ---- M. Héger, ix., 69, 81, 83-4, 120, 136, 146-153, 163 - - ---- Taylor of Hunsworth, 83-9; - Martha and Mary, 83-4 - - ---- Rev. Patrick Brontë, 41, 75, 159-161; - Mrs. Brontë, 41, 159-161; - Emily Brontë, 69, 81, 156-7 - - ---- Rev. A. B. Nicholls, 160; - M. Sue, 163; - Miss Wooler, 160 - - ---- Charlotte Brontë's _Poems_, 136 - - ---- _Wuthering Heights._ See Key Index for that work - - ---- _Jane Eyre._ " " " - - ---- _The Professor_, 83-9, 150-3 - - ---- _Villette_, 41, 86, 89, 136-142, 146-154, 160-1 - - -THE PROFESSOR. - - Its relation to Charlotte Brontë's life, vii., ix., 16, 18, 53-5, 63, - 71, 79, 83-9, 111, 120-9, 138-9, 145, 150-2, 160 - - In relation to M. Héger, ix., 16, 63, 83-9, 111, 120-9, 138-9, 145, - 150-2, 160, 164 - - ---- Madame Héger, 16, 111, 122-8, 131-3 - - ---- Taylor of Hunsworth, 83-9 - - ---- M. Sue, ix., 63, 84, 104, 107, 111, 120-9 - - ---- Branwell Brontë, 79 - - ---- Montagu, 63, 71 - - ---- Charlotte Brontë's _Poems_, 63, 71, 128, 139, 151, 158 - - ---- _Wuthering Heights_, _Jane Eyre_, and _Shirley_. See Key Index - for those works - - ---- _Villette_, ix., 86, 107, 111, 126-9, 139, 144-5, 149-151, 160 - - ---- Charlotte Brontë's Method I., ix., 121, 127-8, 131 - - -VILLETTE. - - Its relation to Charlotte Brontë's life, vii., ix., 41, 47, 86, 89, - 92, 97, 103, 107, 111, 118, 126, 128-9, 132-7, 140, 144-5, - 148-154, 160-1, 166-7 - - In relation to M. Héger, ix., 70, 86, 89, 92, 97, 103, 111, 118, 126, - 128-9, 132-40, 145, 150-4, 166 - - ---- Madame Héger, 106, 118, 133 - - ---- Taylor of Hunsworth, 89 - - ---- M. Sue, ix., 103-4, 111, 118, 120-9, 130-5 - - ---- Lady Ritchie, xi., 165-8 - - ---- Mr. George Smith, 69, 160-1, 166-8; Mrs. Smith, 161, 166-8 - - ---- Thackeray, 70, 165-8 - - ---- Rev. Patrick Brontë, 77, 136, 161 - - ---- Rev. A. B. Nicholls, 69, 86, 161 - - ---- Charlotte Brontë's _Poems_, 128, 132-7, 140-5, 149-152 - - ---- _Wuthering Heights_, _Jane Eyre_, _Shirley_, and _The Professor_. - See Key Index for those works - -END OF THE KEY INDEX TO CHARLOTTE BRONTË'S WORKS. - - -WUTHERING HEIGHTS. - - Brontë, Charlotte, her life:--37-53, 93-103, 138-9, 153, 169; - _Frances_ and Catherine, 133-4; - throughout the work of, 18, 40; - drawn by her from Montagu, 22-36, 57-68, 141-2; - _Tale of a Foundling_, 33; - _Alembert_, 65; - as the younger Catherine, viii., 46, 161; - as the two Cathys, 16, 17, 34, 106-118, 161; - Authoritative evidence of her Methods I. and II.:--viii., 25-6, - 98-103, and of Key Index to the Brontë Works, 169, 170; - gives it Emily, 17, 18, 169; - offers it publishers, 17; - story of a sad Night, 17; - why she disavowed authorship of, 143-6; - unable to admit authorship of, 18, 146, 153, 169; - preface to, 142, 145; - rainy day in her childhood, 37-42; - fit of frenzy, 48-51; - spectral writing, 42; - phantom hag, 42; - her childhood reading, 41; - Rev. Jabez Bunting, 41; - her cold, wailing child apparition, 28-30, 52-6; - cloven tree, 96-7; - and Heathcliffe's hypochondria, 16, 55-6, 87-8, 144; - Isabella's rival, 106, 117-8; - as Catherine of Malham, 23, 57-68; - her mood in writing, 150-3; - fears publisher, 18-9, 153, 169 - - Brontë, Emily, - unimportance of her corrected copy of, and implication, 17, 169, - 170; - purporting to be by, 18, 138, 153, 169; - _Wuthering Heights_, no internal evidence of, viii., 169, 170 - - Brontë, Branwell, and authorship of, 40; - as Hindley, 18, 37-40, 52-3, 69; - carving knife incident, 39 - - Brontë, Rev. Patrick, as Mr. Linton, 49, 147, 161 - - Aykroyd, Tabitha, as Mrs. Dean, 43-51, 59, 69, 72, 78, 81, 160, 168; - her old songs, 46-7; - her fairy tales, 44-5; - as Joseph, 38, 40, 47-8 - - Héger, M., in, 16, 17, 34. Also, see Key Index for foregoing names - - Earnshaw, Catherine, and Heathcliffe, as Jane and Rochester, 93-103, - 139 - - Heathcliffe, as Rochester, 89-92, 138-9, 153; - as "that ghoul," 140-6; - and Taylor, 83-9; - return of the runaway, 93, 97-103; - expression of eyes, 90-1; - the foundling, 22; - origin of name, 22, 142 - - Hareton, origin of name, 22-3, 60, 64, 66; - and M. Héger, viii.-x., 120-1 - - Joseph, original of, 23; - as Poole of _Jane Eyre_ and Montagu's uncouth servant, 23-8, 30-1 - - Lockwood as Montagu, 23-32, 57-60, 66; - his boy guide, 60, 66 - - Newby, Mr. Thomas, publisher of, 19, 146, 153, 169 - - Malham as Gimmerton, and Gimmerden; - Malhamdale as the valley of Gimmerton, 22-3, 57-68, 71; - Glens, 58, 66, 68; - Peniston Crags, 22-3, 59, 60, 65-6; - Fairy Cave, 22-3, 59-66; - Chapel, 22, 66-8, and Briar Chapel of _Shirley_, 41; - Kirk in the lonely valley, 22, 64, 66-8; - Fair, 22, 66-7; - mists, 68; - stream, 22, 68; - sough, 66-68; - Heights, 22, 66-7; - Catherine, of, 23, 71 - - Montagu and, 20; - Airton, 22-3; - Airton, Robert, 60, 64, 71; - Mrs., 60; - lonely house of mystery and uncouth servant, 17, 23-32; - cuckoo story or foundling "plot," 22-3, 33-4, 87; - a night's repose and the candle-bearing bedside apparition, 21-32, - 30-2 - - Brunty foundling controversy, 13; - the key chapter, 40; - origin of title, 56-7, 148-152; - Wuthering Heights and Thrushcross Grange, the abodes--originals not - known, 159; - Lady Eastlake and Dobell, 138-9, 153-4 - - Published later than _Jane Eyre_, 118, 138, 169 - - -JANE EYRE. - - Brontë, Charlotte, - her life, 37-53, 69-103, 106-119, 123-155, 168, 169-170; - her second work based on Montagu, 23-36, 60-6, 68-72, 140-2; - Rivers family, 23, 69-82; - Burns, Helen, 23-4, 69-71, 80, - and Charles I., 64, - as Agnes Jones (death of), 106-110, - and M. Sue, 108-110. - "Rivers," origin of suggestion, 23, 71-2, 141-2, - Diana and Mary, 70-8, 81-2, - St. John as Mr. Brontë, 70-8, 81-2, - as Charlotte's Brussels priest, 77, 132, 136-7, - not Rev. Mr. Nussey, 77; - Hannah, and Bessie (Tabitha Aykroyd), 40, 43-53, 69-73, 78, 81, - fairy tales and old songs, 44-7; - Reed, name (and Keeldar), 23, 81; - aunt, 38, 70-1; - John (and Hindley), 37-40, 52-3, 71, 79, 113; - Eliza and Georgiana, 69, 79-82; - Severn Julia, 23, 81, 107; - Lowood school, 18, 21-2; - fever, etc., at, 106-110, 117; - Miss Temple of, 81, 110-1; - Brocklehurst, 21, 81, 115; - Morton (Haworth), Moor House, 70-82, 105; - Charlotte as Jane Eyre and Catherine Earnshaw (also see Key Index), - 37-42, 93-103, 150-2; - rainy day in her childhood, 37-42; - fit of frenzy, 48-51; - spectral writing, 42; - phantom hag, 42; - cold, wailing child apparition, 28-30, 52-6, 151; - cloven tree, 96-7; - the Sidgwicks, 78; - Gateshead Hall, 37-9, 45; - her Thornfield, 72, 127-8; - as Jane Eyre and Lucia Snowe, 148-152; - as Jane Eyre, and Crimsworth of _The Professor_, ix.-x., 127-8; - as Janet Aire or Jane Eyre of Malham, 22-3, 60-6, 70-2, 142; - "Jane," a secondary adaptation, 71; - Fairy Janet, Queen of the Malhamdale Elves, 23, 60-4; - no views on lunacy, 34-6; - Rochester's song, 140-2; - the miraculous voice, 136-7; - nymph and satyr, 141-2; - missionary life and priest, 136-7; - the runaway, 93, 97-103, 129; - hen-killing figure in _Wuthering Heights_ and, ix.-x; - "Rydings," "Norton Conyers," and "Thornfield," 35, 159; - Wycollar Hall, 159 - - ---- Rochester (see Key Index for M. Héger and the Taylors), x., 14, - 145, and _Wildfell Hall_, 161; - _Jane Eyre_ the surpassing of all Brontë biographies, 82; - "Key to _Jane Eyre_" The, xi., 20, 68, 153 - - Malham or Gimmerton, background of _Jane Eyre_, 22-3, 58-68; - source of river Aire or Ayre, 23, 60-71; - Jane of, 22-3, 60-6, 70-2; - see Fairy Janet Aire or Eyre of Malham - - Montagu, and opening of _Jane Eyre_, 21-2; - lonely house of mystery, and uncouth servant (Grace Poole and - Joseph), 17, 23-32 - --Jane Eyre's and Lockwood's two dreams in, 28-30 - --a night's repose and candle-bearing apparition in, 21, 23-32; - origin of plot of insane lady, and of the white veil - scene (Shelley), 24, 34-6; - insane lady a secondary suggestion; suggests names, Aire or Eyre, - Burns, Rivers, Reed, Keeldar, Broughton, Eshton, Georgiana, - Helen, Ingram, Lowood, Lynn, Mason, Millcote, Poole, recalling - perhaps a Rev. Mr. Pool, and Currer Bell, 21, 23-4 - - -SHIRLEY. - - Brontë, Charlotte, - as Shirley Keeldar, 81, 120; - as Caroline Helstone (and Catherine Earnshaw), 41, 146-8, 152; - her home the Rectory, 159; - childhood reading, 41-2; - Keeldar, name, 23; - Shirley as Emily Brontë, 69, 156-7. - Helstone, Mr., 86; - original of, 75, 159-161; - name, 41; - and Rev. H. Roberson, 86, 159-160. - Héger, M., and the Moores, 89, 146-8; - Louis, 163; - Robert, 152. - Cartwright, Mr., 89, 160. - Mr. Macarthey, 160. - Mrs. Pryor, 147-8; - a composite character, 160; - and Mrs. Dean and Tabby, 43; - Miss Wooler, 160. - Yorke (Taylor), Hiram, 83-4; - Matthew, 83; - Rose, 83-4; - Jessie, death of, 84 - - Birstall, Batley, 159; - "Briarmains," 83; - "Field Head," 159; - The Red House, Gomersall, 83, 159; - Oakwell House, 159. - Hartshead, Brighouse, 160; - Nunnwood, Nunnerly and church, Robin Hood, Kirklees Park, - Priory, 160; - Hollows Mill, 160; - Whinbury (Dewsbury), 160. - Published in 1849 - - -THE PROFESSOR. - - Brontë, Charlotte, as Henri Frances Evans, 71, 122; - as Crimsworth, ix., 127-8; - Fairy Janet, 63, 71; - wailing child apparition, 53-5; - Lucia, 86, 151 - - Héger, M., as Crimsworth, 63, 127, 138; - Hunsden, 83-9, 151; - origin of name, 84; - Pelet, 16, 84, 139, 145 - - Héger, Madame, as Mdlle. Reuter, 111, 122 - - Offered to publishers, 17; - published, 160 - - -VILLETTE. - - Brontë, Charlotte, as Lucy Snowe, 86, 131, 144, 120, 148-152; - origin of name, 22, 56, 149, 151; - childhood reading, 41; - and Father Confessor, 77, 132, 136-7; - as Paulina, 47, 120, - and Cathy Linton, 161; - Paulina and Mr. Home--Charlotte and Rev. Patrick Brontë, 161; - final words in, 129 - - Bretton, Dr. John, Paulina's lover, 69, 161; - as Mr. George Smith and Rev. A. B. Nicholls, 69, 86, 145, 160-1. - Mrs. Bretton, 166 - - Héger, M., as Paul Emanuel, 42, 96-7, 126, 131, 145; - his harshness, 85-6; - and Thackeray, 70 - - Héger, Madame, as Madame Beck, 118, 133 - - Ritchie, Lady, and green dress, xi., 165-8 - - Villette as London and Brussels, 160-1 - - Published, 19; - inception, 166 - - _Agnes Grey_ and _Wildfell Hall_, 17, 161. - - - - -GENERAL INDEX. - - - Aire, or Ayre, Malham, source of the, 23, 60-1, 71 - - Armytage, Bart., Sir Geo. J., 160 - - Aykroyd, Tabby. See Brontë servants - - - Branwell, Maria, of Penzance, marries Patrick Brontë, 75; - death of, 14, 159-161 - - ---- Aunt (Elizabeth), and the Hégers, 113-4; - Branwell Brontë her favourite, 37, 78-9; - in mourning for, 72-3 - - ---- Cousin Eliza, 68, 80 - - Brontë, Annie or Anne (Acton Bell), - as understudy to Charlotte, 17, 169; - _Gondal Chronicles_, 17; - _Agnes Grey_ and _Wildfell Hall_, 17, 161; - appearance and life, 70-4, 77-8, 81-2; - Poems, 156-8; - death of, 161-5 - - ---- Charlotte, birthplace, 14; - birthday, 14, 106; - appearance, 118, 131, 165, 168. - Childhood: - a rainy day, 18, 37-42, 78; - curtain incident, 38; - Branwell as "tyrant" makes her head ache, 18, 37-42; - "volume-hurling," 38-9, 78; - Methodist literature, 40-2; - writings and Mrs. Gaskell, 14; - Tabby, 38, 40-1, 43-51, 168 - --her homily, 40 - --old songs and fairy tales (Charlotte's love of Scottish - ballads), 47, 149, 150; - the locked chamber, 48-51; - passionateness, 45-6, 48-51, 116. - Elfish imagination, 23; - schools, 14, 16, 18, 21-2, 81, 104, 106-117 - --Clergy Daughters' School, 18, 21-2, 81, 106-117, - Roe Head, 14, 16, 83, - Héger _pension_, 16, 18, 72, 104; - drawings, 82; - her life from childhood to womanhood, 93-103; - no psychical reciprocity with friends, 14; - Wordsworth and her facility in writing novels, 17, 169; - at Brussels (the Hégers), - teacher and pupil, viii.-x., 63, 82, 120-2, 131, 138, - dejection at, 120-1, 124; - M. Héger, viii.-xi., 14-17, 93, 96-107, 111-2, 120-154, 162-8, - and her literary secrets, 104, 162; - Madame Héger, 16, 104-7, 111-2, 117-9, 122-7, 133, - forbids corresponding, 16; - Charlotte as Mdlle., 105, - as M. Sue's Mdlle. Lagrange and Miss Mary, ix., 82, 103-132, 163; - _Imitation of Christ_, ix., 121-2; - her priest, 77, 132-8; - departure from Brussels, 16, 127; - flight from temptation, 105, 141-2, 122-9, 151-2; - the fiery ordeal, 154; - parting with the Hégers, 122-132; - origin of her works, vii., 15, 20-36, 138; - Montagu, see Key Index for _Wuthering Heights_ and _Jane Eyre_; - _Alembert_, 64-5; - Currer Bell, 17, 21-2; - perpetuates drama of her life, vii., 15, 16, 154; - Branwell, 18, - and his aunt, 79; - at Haworth Parsonage, 69-82; - school project given up, 16, 169. - Poems publishing, 17: - "Apostasy" and "Regret," 96-7, 133-7; - "Frances," 132, 134, 144, 150-1; - "Gilbert," 139, 143-4; - "The Letter," 105; - "Mementos," 150; - "Apostasy," 133-7; - "Preference," 132; - "Passion," 157. - Her hypochondria, 16, 87-8; - "Puir Mary Lee," 45, 149, 150; - the storm, 16, 17, 130-154, 157-8; - vindictiveness against M. Héger, 16, 17, 143-6, 152; - Ghoul and Satyr notion, 140-6; - Héger and her heroes (see also the Taylors, 83-9), 83-92; - heaven undesired by lover, 97, 133-4, 139; - elective affinities, cloven tree, and "twin-soul," 96-7, 147-8; - supernatural "way" to "twin-soul" lover (and the haunted wind), - 55-6, 136-7, 140, 147-8; - eerie signal against lattice, 28-30, 53-6, 147-8; - dual portraiture, 69, 70, 77, 83-9, 120, 159, 160, 161; - ice-cold wailing child apparition, 28-30, 52-6, 151; - her two dreams preface to "bedside apparition," 28-30; - name selection method, 22, 68; - chronological sequences in her works, 161; - character of her correspondence, 14, 15; - Héger portrait of, in National Portrait Gallery, xi., 162-8; - Richmond Portrait in N.P.G., 168; - _Wuthering Heights_ complications (conspires to accredit and sustain - Emily as author), 17, 146, 169; - her fear of Mr. Newby, 19, 153, 169; - limitations of Mrs. Gaskell's _Life_, 15 - --disappointment of, 104; - last survivor of the young Brontës, 19, 161; - Introduction to her sisters' poems, 156-7; - Miss Austen, 15; - Rev. A. B. Nicholls, marriage with, 19, 96-7, 161 - --Catherine Winkworth on, 96; - _Wildfell Hall_, 17, 161; - at Thackeray's and the Smiths', xi., 166-8; - dedicates _Jane Eyre_ to Thackeray, xi.; - Greenwood Dyson and, 164. - Last days: - father and daughter, 161; - her resting-place, 19; - her Message and high rank of her genius, 16, 155. - Also see the Key Index to her works - - ---- Elizabeth, 18, 71-2, 106-7 - - ---- Emily (Ellis Bell), as understudy to Charlotte, 17, 169; - conspires with her to sustain rôle of author of _Wuthering Heights_, - 17, 138, 146, 169; - no internal evidence of her in _Wuthering Heights_, viii.; - her life contrasted with Charlotte's, 17, 18, 156-7; - relations with Branwell, 18, 39, 40, 139; - appearance and life, 17, 72-4, 78, 81-2, 156-7; - Poems, "Old Stoic," "Last Lines," 157; - her literary limitations, 17, 156-7; - death of, 161-5. - See Key Index of _Shirley_ - - ---- Maria (Helen Burns), 18, 41, 71. - See Key Index; also M. Sue - - ---- Patrick Branwell, appearance, 79; - artist, 18, 165-6; - his verse, 158; - enjoys the hearth, 37-8; - a sign of trouble for, 52-3; - evil days, 39, 78-9, 158; - and Aunt Branwell, 78-9; - and M. Sue, 106, 110. - As Hindley and John Reed, x., 18, 37-8, 52-3, 69, 78-9, 139. - See also Key Index for _Wuthering Heights_, _Jane Eyre_, and - _The Professor_ - - ---- Rev. Patrick, parents, Hugh Brunty and Alice M'Clory, 13; - at Ballynaskeagh and Drumballyroney, 13; - at Cambridge, 13, 74-5; - Wethersfield, 75, and Mary Burder; - Dewsbury, 75; - Vicar of Hartshead, 160; - marries Maria Branwell, 18, 75, 159-161; - Vicar of Thornton, 14; - of Haworth, 13; - appearance and life, 13, 70-7, 82, 147, 159-161, 167-8; - verse, 13, 158; - and Mrs. Gaskell's Life, 15. - Also see Key Index - - ---- Poems, 156-8; - Aylott and Jones, 17, 105, 160 - - ---- servants: - Aykroyd Tabitha, x.; - as Nelly Dean and Bessie, 43-53, 168; - does not understand Charlotte Brontë, 43, 45-6; - and old songs, 45-7; - also, 72, 77-8, 147-8, 160, 168; - her homily, 40; - her gift of narrative and fairy tales, 44-5; - death of, 19, 96-7. - Also see Key Index for _Wuthering Heights_, _Jane Eyre_, and - _Shirley_. - Brown, Martha, 47, 96, 161; - Brown, Tabitha (Mrs. Ratcliffe), and Charlotte Brontë's married - life, 96; - Garrs, Nancy, and sister, 47, 159 - - Brookfield, Mrs., 167-8 - - - Carlisle, William, 167 - - Carus-Wilson, Rev. Mr., 115 - - Casterton Hall, 23; - Clergy Daughters' School, 18, 81, 106, 108-111, 114-117 - - Cornwall, Barry, 34 - - Courtney, William Leonard, xi., 104 - - Cust, Lionel, 162 - - - Devonshire, Duke of, 20 - - Dewsbury, 14, 83, 160; - Hartshead, 81, 160 - - Dobell, Sydney, 153-4, 169 - - Dyson, Greenwood, and Charlotte Brontë, 164 - - - Elf, of Craven, The, 60, 141-2 - - Evans, Miss (Miss Temple), 110, 114 - - - Fairy Cave, The, and Fairy Janet: see Malham - - - Gaskell, Mrs., and M. Héger, 15, 96, 104; - Madame Héger, 163; - West Indian girl mystery, 108 - - ---- Misses, 165 - - - Hathersage, 70-1, 77 - - Haworth, 68, 70, 138, 164; - Church, 13, 19, 164; - Parsonage, 69, 72-82, 159, 161, 164 - - Héger, M., as Charlotte Brontë's pupil, viii.-x., 120, 122; - original of her chief heroes, 14, 16-17, 83-6, 89-93, 96-7, etc.; - not secretive, 111, 162; - and Roman Catholic Church, 16, 132, 138; - a great and religious personality, 121, 124, 126-9, 132-3, 137-8, - 154, 166; - Charlotte Brontë's harsh portrayals of, 143-6; - facial metamorphoses, 85; - the bitterness of his life, 128-9, 130-2; - "Paul," 162-6; - as M. de Morville, 82, 104-6, 120-9, 132, 163. - See Key Index for M. Héger - - ---- Madame, 16; - her jealousy, 104, 112, 117-8, 122-3, 121-2; - appearance of, 106; - as Madame de Morville, 106-133. - See Key Index for Madame Héger - - Hawke, E. G., 163 - - Hodge, Harold, xi., 153 - - Holloway, Laura C., 77 - - Holmes, Professor Charles J., 165 - - Holroyd, Kt., Sir Charles, vii. - - - Kendal, 106; - Kendall Institution, 114-7 - - Kirkby Malham Church, 64, 66-8 - - - Lagrange's Manuscript "Catherine Bell," 104-119 - - Lambert family, 64 - - Lucan's "Pharsalia," 14 - - Lytton, Lord, 163 - - - M'Clory, Alice, 13 - - Malham, original of Gimmerton of _Wuthering Heights_: - home of Catherine Earnshaw, and of Janet Aire of _Jane Eyre_, 22-3, - 57-68, 71; - source of the Aire or Ayre, 71. - See Key Index of _Wuthering Heights_ and _Jane Eyre_ for Malham in - Montagu - - Malham, or Malam, origin of family, 67 - - Malham and _Kalderworth_, 67 - - Malhamdale, enchanted land, 60, 71 - - Montagu or Mountagu, Admiral, and Charles II., 20, 64; - De Ruyter, 20 - - Montagu, Basil, 20-1 - - Montagu, Frederic, his _Gleanings in Craven_ provides the Malham - background, and the plots of _Wuthering Heights_ and _Jane - Eyre_, and Charlotte Brontë's _nom de guerre_, Currer Bell, - 20-36, 57-68, 141-2, 145. See Montagu in the Key Index for - those works - - Montagu, John, fourth Earl of Sandwich, 20 - - Morville de, M., Alphonsine, and Gérard, see M. Héger; - Madame, see Madame Héger - - - National Portrait Gallery, - and Héger Portrait of Charlotte Brontë, xi., 162-8; - Thomas Baylis, 163; - and Richmond portrait, 168 - - Newby, Thomas, 19, 153, 169 - - Nicholls, Rev. A. B., see Charlotte Brontë; - also Key Index for _Villette_ - - Nussey, Ellen or Nelly, 14, 45, 71, 77, 160, 168; - Rev. Henry, 77 - - - Procter, Mrs., and Miss Perry, 167 - - - Rigby, Miss (Lady Eastlake), 138-9, 153, 169 - - Ripon, K.G., Marquis of, xii. - - Ritchie, Lady, xi., 165-8 - - - Shorter, Clement K., viii., 22, 77, 83, 147, 162, 164 - - Smith, George, xi., 86, 160-1, 166-8; - Mrs. Smith, 166-7. - See Key Index for _Villette_; - Reginald John, K.C., 162; - Smith Elder & Co., 161-2, 168 - - Sue, Eugène, ix., 16, 103-129. - See Key Index to the Brontë works. - - - Taylor family of Hunsworth, 83-9 (see Key Index); - Mary and Martha, 83-4 - - Thackeray, W. M., xi., 34, 167-8. - See Key Index, _Villette_ - - - Welch, Catherine Galbraith, xi. - - West Indian Girl, mystery of, 106-8, 112 - - Winkworth, Catherine, 96 - - Wise, Thomas J., 64 - - Wooler, Margaret, 18, 160 - - - Yates, W. W., 75 - - - - -WORKS. - - - _Key to the Brontë Works_, John Malham-Dembleby:-- - Its place and importance, vii.-xii., 15, 17-19, 25, 58, 64, 80-2, - 104, 108, 146, 154. - Importance of its Key Index, 169-171 - - _Life of Charlotte Brontë_, Mrs. Gaskell, 15, 22, 43-4, 52, 72, 83, - 118, 123, 149, 161, 168; - cause of its sombreness, 82; - disappointment, and limitations, of, 15, 104; - and Branwell Brontë, 121. - Haworth Edition, 14, 17, 85, 121 - - _Life of Charlotte Brontë_, Augustine Birrell, 75 - - _Brontës: Life and Letters_, Clement K. Shorter, 14, 73, 80, 87 - - _Charlotte Brontë and Her Circle_, Clement K. Shorter, 17, 135 - - _Charlotte Brontë and Her Sisters_, Clement K. Shorter, viii., 22, 77, - 147, 159, 164 - - _Brontë Country_, Dr. Erskine Stuart, 35 - - _Life of Emily Brontë_, Miss Mary Robinson, 39; - character of work, 57 - - _Brontë Family_, Francis Leyland, 39-40, 158 - - _Brontës, Fact and Fiction_, Rev. Angus Mackay, 13, 41, 132, 144 - - _Brontë Homeland_, J. Ramsden, 13 - - _Brontës in Ireland_, Dr. William Wright, 13 - - _Charlotte Brontë: Monograph_, Sir T. Wemyss Reid, 14 - - _Father of the Brontës_, W. W. Yates, 75 - - _Rev. Patrick Brontë's Collected Works_, Horsfall Turner, 13, 158 - - _Thornton and the Brontës_, William Scruton, 161 - - _Chapters from Some Memories_, Lady Ritchie, 167 - - _Craven Highlands_, Harry Speight, 60 - - _Dictionary of National Biography_, Leslie Stephen, 21, 159 - - _English Dialect Dictionary_, Dr. Joseph Wright, 68, 149 - - _Gleanings in Craven_, Frederic Montagu, 20-36, 57-68; 141-2, 145; - Leeds and Skipton, 20; - dedicated to Duke of Devonshire, printed by A. Pickard, published by - Simpkin, Marshall & Co., 20. Also see under _Wuthering Heights_ - and _Jane Eyre_, for Malham and Montagu, and Key Index to those - works - - _Kalderworth, or Lawyer Vavasor's Secret_, John Malham-Dembleby, - Malham background of, 67; - when written, and origin of title, 67; - published by Joseph Cooke, Sir Edward Russell, Kt., and A. G. - Jeans, 67 - - _Memorials of Two Sisters: Susanna and Catherine Winkworth_, 96 - - _Miss Mary ou L'Institutrice_, Eugène Sue, 82, 84, 105-6, 120, 126-7, - 130, 163. See Key Index for M. Sue - - _Mrs. Brookfield and Her Circle_, 167 - - _Sydney Dobell's Life and Letters_, 153-4 - - _Woman's Work in English Fiction_, Clara H. Whitmore, A.M., viii. - - - - -MAGAZINES, ETC. - - - _Academy_, 169 - - _Cornhill Magazine_, 162 - - _Dundee Advertiser_, xi. - - _Fortnightly Review_, xi., 39, 70, 104, 125, 162-3 - - _Liverpool Post_, 67 - - _London and Paris Courier_, G. W. MacArthur Reynolds and M. Sue, 105 - - _London Journal_; _Weekly Times_, 105 - - _New York Times Saturday Review_, xi. - - _Outlook_, xi. - - _Palladium_, 153-4, 169 - - _Quarterly Review_, 138-9, 153, 169 - - _Saturday Review_, xi., xii., 20, 68, 153 - - _Sheffield Independent_, 67 - - _Spectator_, xi., 125 - - _Times_, 162, 164 - - _Tribune_, 162-5 - - - - -SUBSCRIBERS TO THE FIRST EDITION. - -_The address is as a rule that from which the book was subscribed. A -star is placed when the special leather-bound edition has been ordered._ - - - *His Grace the Lord Archbishop of York, Rt. Hon. and Most Rev. - Cosmo Gordon Lang, D.D., Primate of England and Metropolitan, - Bishopthorpe, York. - - *Rt. Hon. 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Truslove & Hanson, Ltd. 153 Oxford Street, W. - Manchester: Messrs. J. E. Cornish, Ltd. - Oxford: Mr. B. H. Blackwell. - - -PRINTED BY THE WALTER SCOTT PUBLISHING CO., LTD., FELLING-ON-TYNE. - - - - -FOOTNOTES: - - -[1] Clement Shorter in _Charlotte Brontë and her Sisters_, p. 236; 1905. - -[2] Clara H. Whitmore, A.M., in _Woman's Work in English Fiction_; 1910. - -[3] _The Saturday Review_, September 6, 1902. A correspondence followed. - -[4] _The Fortnightly Review_, March 1907. - -[5] _The Brontës in Ireland_, by Dr. William Wright, 1893, and _The -Brontë Homeland_, by J. Ramsden, 1897, though they conflict, deal -interestingly with Patrick Brunty's, or Brontë's, relations. -"Patrick ... after being a linen weaver secured the post of teacher in -the Glascar School, Ballynaskeagh, then that of teacher at -Drumballyroney." Eventually he got a scholarship and entered St. John's -College, Cambridge, where he graduated and took Holy Orders. His father -was a Hugh Brunty, who married a Roman Catholic, Alice McClory, or -M'Clory. She is said to have become a Protestant, as was her husband. Of -this marriage there were ten children, the eldest being Charlotte -Brontë's father, who early took to "larnin'," to quote the Irish -hearsay. _The Brontës in Ireland_ has been challenged as presenting many -statements impossible of verification. The assertion that an Irish -Brunty foundling story suggested the foundling of _Wuthering Heights_ -raised a harsh and voluminous controversy. The Rev. Angus Mackay, in his -little brochure _The Brontës--Fact and Fiction_, 1897, controverted Dr. -Wright, as did others elsewhere. The matter is summed up succinctly by -Mr. Horsfall Turner, the Yorkshire genealogist, in _The Rev. Patrick -Brontë's Collected Works_, 1898, where, speaking of the Irish Brontës -and the foundling story, he says:--"The only one who could transmit this -story was Hugh Brunty, and not one of his descendants ever heard of it -before Dr. Wright's book was issued, not even the vaguest tradition." - -[6] The "wild, weird writings" of her childhood, which awed homely Mrs. -Gaskell, were merely badly, or I may say, childishly, assimilated -fragments from English adaptations found in Dryden, Rowe, etc., of Lucan -(Pharsalia, lib. 1, 73), and of other ancient writers. - -[7] Her correspondence is given in Sir Wemyss Reid's _Monograph on -Charlotte Brontë_, in Mrs. Gaskell's _Life of Charlotte Brontë_, Haworth -Edition, and in Mr. Clement Shorter's _The Brontës: Life and Letters_, -1908. - -[8] _Charlotte Brontë and Her Circle_, by Clement Shorter. - -[9] Charlotte Brontë, upon the other hand, was a most fluent writer of -prose. She sent Wordsworth a story in 1840, and spoke of her facility in -writing novels. (Mrs. Gaskell's _Life of Charlotte Brontë_, pages -189-190, Haworth Edition.) It is said Emily corrected misprints, etc., -in her printed volume of _Wuthering Heights_; but whether or not she did -this at Charlotte Brontë's instigation is of little interest and no -importance in view of the literal evidence in _The Key to the Brontë -Works_. It may be Emily turned Charlotte's amanuensis; and it would not -be difficult to show Anne Brontë also had been Charlotte's understudy. -See my remarks on _Wildfell Hall_ in Appendix. - -[10] See my remarks, page 39. - -[11] When King Charles II. was crowned, Montagu carried the sceptre. A -historian states that the Admiral--who, I may say, had been a great -friend of Richard Cromwell--perished in the sea-fight with De Ruyter, -because he would not leave his ship by a piece of obstinate courage, -provoked by a reflection that he took care more of himself than of the -king's honour. - -[12] For Basil Montagu see _Dictionary of National Biography_. - -[13] On the other side of the same page Montagu concluded the narration -of his "A Night's Repose," with which I deal later. - -[14] Clement Shorter's _Charlotte Brontë and Her Sisters_, p. 164. - -[15] See my observations on the name of Lucy Snowe. - -[16] The name of "Helen Burns," that saintly sister of Charlotte Brontë, -may have been suggested by the St. Helen's Well which Montagu states was -near Miss Currer's home, Eshton Hall. - -[17] _The Brontë Country_, by Dr. Erskine Stuart. - -[18] A recognizable idiosyncrasy of Charlotte Brontë's genius is the -vivid minuteness with which she paints and records apparently -unimportant details and happenings connected with her early childhood. -(See footnote on page 41.) - -[19] See footnote page 47. - -[20] _Emily Brontë_, Miss Mary Robinson; 1883. - -[21] Angus Mackay, in _The Brontës: Fact and Fiction_ (1897), identifies -Miss Brontë with Caroline Helstone. Charlotte Brontë's mother was a -native of Penzance, near Helston. - -[22] Catherine's diary was written on the margin of a printed sermon by -the Rev. Jabes Branderham. Lockwood's "dream" in the connection was -evidently a travesty on a sermon of the famous Rev. Jabes Bunting, a -Wesleyan Methodist, and the zealousness of his hearers, concerning which -preacher stories were possibly gathered by Charlotte Brontë from old -Tabitha, who doubtless did occasional service as the old -dialect-speaking Joseph. The Rev. Jabes Bunting was on the Halifax -Circuit in the eighteen-twenties, and his sermons were printed in -pamphlet form. Note the extract I have given from _Villette_ on Lucy -Snowe's having read as a child certain Wesleyan Methodist tracts. - -[23] "Lee" may have been suggested by the name of the heroine of "Puir -Mary Lee," a Scottish ballad, which I find influenced Charlotte Brontë -greatly when she began to write _Wuthering Heights_. - -[24] Called Nelly or Ellen Dean, perhaps because of Charlotte Brontë's -affection for her friend Nelly or Ellen Nussey. - -[25] Of course Tabitha Aykroyd was twenty years younger when Charlotte -was a child. Thus the early references to the more active Ellen Dean and -Bessie in the main imply Tabby in the eighteen-twenties; those to her as -the sedate and glum Mrs. Dean and Hannah, as Tabby in the -eighteen-forties. We see Tabby quite in the caricature of Joseph in -Charlotte's half-humorous references to her in the diary-like -descriptions of the Brontë kitchen fireside life of her childhood in -1829, etc.--of which the rainy day incident in the childhood of little -Catherine and Jane is so reminiscent--quoted by Mrs. Gaskell in the -Brontë _Life_:-- - - "June the 21st, 1829. - - "One night, about the time when the cold sleet of November [is] - succeeded by the snowstorms and the high, piercing night winds - of winter, we were all sitting round the warm, blazing kitchen - fire, having just concluded a quarrel with Tabby concerning - the propriety of lighting a candle, from which she came off - victorious, no candle having been produced. A long pause - succeeded, which was at last broken by Branwell saying, in a lazy - manner, 'I don't know what to do.' This was echoed by Emily and - Anne. - - "Tabby: 'Wha ya may go t' bed.' - - "Charlotte: 'Why are you so glum to-night, Tabby?'" - -As time progressed Charlotte Brontë viewed more sentimentally the -associations of her early childhood. Whenever Tabby was "Joseph" of -_Wuthering Heights_ Charlotte humorously caricatured her. - -[26] See footnote on page 37. - -[27] A remarkably recognizable idiosyncrasy of this child-phantom of -Charlotte Brontë's brain is the part the little hands of the child play. -In Charlotte Brontë's child-phantom of _Wuthering Heights_, Chapter -III., the hand of the child takes a principal part, as in her above two -versions. - -[28] See note on "the hand" of Charlotte Brontë's child-phantom, page -53. - -[29] See the chapters on "The Recoil" for the origin of the title of -_Wuthering Heights_, and of the name Lucy Snowe; also my remarks on -Charlotte Brontë's poem "Apostasy." - -[30] "The breeze was sweet with scent of heath and rush, ... the hills -shut us quite in; for the glen towards its head wound to their very -core."--_Jane Eyre_, Chapter XXXIV. - -[31] I have known for many years the wife and children of this Robert -Airton. His father was, I believe, parish clerk for Coniston. Mrs. -Airton once told me that when she first met her husband he was playing a -violin in the entrance of a cave, under a crag in Malhamdale. - -[32] It will be observed that in Chapter XXIII. of _The Professor_ -Charlotte Brontë practically calls Frances the heroine, "Jane." Of -course she is the elf Janet (see Chapter XXV. of _The Professor_), and -this sprite was also Jane Eyre--Charlotte Brontë herself. Read the -verses in Chapter XXIII. in the light of my writing on "Eugène Sue and -Charlotte Brontë's Brussels Life" and "The Recoil." - -[33] Mr. Thomas J. Wise has published and edited a valuable edition of -this story, 1896. - -[34] "I like Charles the First," says Helen Burns in _Jane Eyre_, -Chapter VI.; "I respect him--I pity him, poor murdered king! Yes, his -enemies were the worst: they shed blood they had no right to shed. How -dared they kill him!" Montagu of course would know that his own ancestor -brought over Charles the Second on the Restoration. Hence his warmth. We -now understand the origin of the detached fragment in _Jane Eyre_. - -[35] It is a remarkable coincidence that Malham was the background of my -first novel, a work of the substantial number of 160,000 words, which I -wrote in my teens. It was published serially in _The Sheffield -Independent_ by Mr. Joseph Cooke, beginning in May 1896 and running till -September, under the title of _Kalderworth_, a name I had compounded -from the Yorkshire river Calder. Afterwards the serial rights were also -purchased by Sir Edward Russell and Mr. A. G. Jeans, of _The Liverpool -Post_, wherein the story ran serially as _Lawyer Vavasor's Secret_. I -did not choose Malham by reason of its being, as it is, the place from -which our family of Malham, or Malam, sprung: I had cycled over to the -remote village with my father. I was unaware that October 15 was an -especial day at Malham, nevertheless I began my story--_Kalderworth_:-- - - "On the evening of the 15th of October, in the latter end of the - Eighteen Hundred and Eighties, as the sun sank greyly behind the - distant skyline of those wild hills that stretch from Malham and - away into the North of Yorkshire, a solitary horseman pushed his - way over a hard moorland road to a little deserted hamlet, where - only one soul lived, and that a hag whose fame had spread as a - dabbler in the black art and the mischievous doctrines." - -I did not know of Montagu's book at the time; and of all the Brontë -novels I had only read _Jane Eyre_. I remember once reflecting--while -_Kalderworth_ was being published--that Charlotte Brontë must have -called her character Jane Eyre after the river Aire, just as I had -called my loosely composite village up in Malhamdale Kalderworth, from -the river Calder; and I thought Currer Bell, in her choice of the name -"Jane Eyre," had been actuated poetically by the fact of the adjacency -of the Yorkshire river Aire, or Ayre, and had changed the "A" in Aire, -just as I the "C" in Calder. Nor was it till years later that I knew -Charlotte Brontë had written in _Shirley_, Chapter XIX., of "Calder or -Aire thundering in flood." - -[36] That Gimmerton in _Wuthering Heights_ means "the village of sheep" -was admitted years ago. The etymology is very obvious. We now have the -circumstances in which Charlotte Brontë chose the name. - -[37] See my footnote, page 58. - -[38] Thus she put her cousin Eliza Branwell under the same roof as -herself and Branwell Brontë in _Jane Eyre_. - -[39] The Poems prepared for publication in the autumn of 1845 bear -evidence of the influence of Montagu's work. It was at this time -Montagu's work provided Charlotte Brontë's _nom de guerre_ of Currer -Bell. See my foot-note on Frances of _The Professor_ as the Fairy Jane, -page 63. - -[40] A copy of this will is printed in _The Brontës: Life and Letters_. - -[41] Mr. Augustine Birrell in his _Life of Charlotte Brontë_ (1887), -gives a very interesting insight into a love episode of Mr. Brontë, -during his first curacy, at Wethersfield, near Braintree, Essex. Mr. -Brontë found a home with a Miss Mildred Davy, with whose niece, a -"comely damsel of eighteen--a Miss Mary Mildred Davy Burder--with brown -curls and blue eyes" he fell in love. A plotting guardian uncle, -however, removed Miss Burder and wrongly intercepted all Mr. Brontë's -letters. Subsequently Mr. Brontë married Miss Maria Branwell, of -Penzance, visiting in Yorkshire, whom he married at St. Oswald's Church, -Guiseley, near Leeds. After the death of his wife, Mr. Brontë offered to -marry Miss Burder, but was refused. She became the wife of the Rev. -Peter Sibree, of Wethersfield. Mr. W. W. Yates' book, _The Father of the -Brontës_, 1897, shows us Mr. Brontë as a curate at Dewsbury. Mr. Yates, -who is the originator of the Brontë Society and Museum, rightly -associated Mr. Brontë with Mr. Helstone of _Shirley_, supporting his -contention by evidence. - -[42] For story and other purposes Miss Brontë makes St. John Rivers ask -Jane's hand in marriage; and of course as the original of Moor House has -been supposed to be at Hathersage in Derbyshire, and it was there the -Rev. Henry Nussey lived--Miss Nussey's brother--who had offered to marry -Charlotte Brontë, Mrs. Gaskell's Brontë's _Life_ and a following -(including even a recent catalogue of the Brontë Museum, wherein -reference is made to Mr. Nussey's portrait!) have given it forth that -Mr. Nussey was the original of St. John Rivers--notwithstanding that Mr. -Nussey was a married man when Charlotte was visiting at Hathersage. That -Mr. Nussey and St. John Rivers are wholly dissimilar is contended at -length in _Charlotte Brontë and Her Sisters_, pp. 166-170. - -[43] _The Brontës: Life and Letters._ - -[44] In the love relations of Shirley Keeldar, however, we must expect -to find phases of circumstances associated with Charlotte Brontë -herself. Thus Shirley Keeldar is at times Currer Bell. - -[45] Mr. Rochester's remarks in _Jane Eyre_, Chapter XII., on Jane's -drawings would seem to show that though M. Héger, the original of this -character, was interested in Charlotte Brontë's gift as an artist (and -we know she sent M. Héger a drawing of hers as late as August 1845), he -spoke of them in disparagement--a fact that alone argues he was her -superior in art, and understood drawing. Indeed, after seeing the -various water-colour and other drawings of Charlotte Brontë, some thirty -of which, including "a pencil drawing of Louis Philippe of France, drawn -by C. Brontë during her stay in Brussels," are numbered with the Brontë -relics, I may say we can take it as really the expression of M. Héger -concerning her sketches when Mr. Rochester observes of Jane's efforts in -drawing:--"You have secured the shadow of your thought, but no more -probably. You had not enough of the artist's skill and science to give -it being," for this is the truth concerning Charlotte Brontë's efforts -of the kind. Nevertheless, I find evidence of a Brussels tradition in -the eighteen-fifties that she was clever as a painter, M. Sue giving -ability to his Miss Mary in this direction. It is more emphasized in his -_feuilleton_ than volume portrayal of this "Institutrice," both of which -works we shall see presented phases of Miss Brontë as she was known. -Hence we read, "Eh bien! monsieur, trouvez-vous _qu'elle sait un peu -dessiner_, MA _Miss Mary_?" The italics, etc., are M. Sue's. - -[46] _Charlotte Brontë and Her Sisters_, page 181. - -[47] The James Taylor in the firm of her publishers, who corresponded -with Miss Brontë, was not related to this Hunsworth family. - -[48] See Matthew Yorke, Hiram Yorke's son, a character who has several -traits in common with Heathcliffe of _Wuthering Heights_.--_Shirley_, -Chap. IX. - -[49] Mrs. Gaskell's _Life of Charlotte Brontë_, Haworth edition, p. 230. - -[50] Note that in both _Wuthering Heights_ and _Jane Eyre_ it is assumed -this character made silent reference to "the Deuce"; though he never -uttered the name, his words seemed to "express" the sentiment. - -[51] _The Brontës: Life and Letters_, p. 340, vol. i. - -[52] The Moores of _Shirley_ were mainly drawn from M. Héger, and though -a Mr. Cartwright, supposed to have had foreign blood in his veins, is -conjectured to have contributed to their creation because his mill was -attacked with rioters, I find that the Yorkshire, or rather, "Taylor" -element, as conceived by Charlotte Brontë, also entered into their -composition. - -[53] It is sad indeed to find Charlotte Brontë confessed, shortly before -her marriage to the Rev Mr. Nicholls, that there was no such sympathy -between herself and her prospective husband. See letters of Miss -Catherine Winkworth in _Memorials of Two Sisters: Susanna and Catherine -Winkworth_ (1908). Miss Winkworth and Miss Brontë discussed the matter -personally. Miss Catherine Winkworth wrote of Mr. Nicholls and Charlotte -Brontë:--"I am sure she will be really good to him. But I guess the true -love was Paul Emanuel [of _Villette_] after all ... but I don't know, -and don't think that Lily [Mrs. Gaskell] knows." I should say that Mrs. -Ratcliffe of Haworth--Tabitha Brown: her sister, Martha Brown, was one -of the Brontë servants--at whose house Tabitha Aykroyd breathed her -last, stated to me on February 21st, 1907, that as to Charlotte Brontë's -"wedded life, they lived happily together." Often do we discover -references to the elective affinities in regard to M. Héger and -Charlotte Brontë in Currer Bell's works. Thus we did not need that -Rochester should say in the last chapter but one of _Jane Eyre_:--"I am -not better than the old lightning-struck chestnut," for we had -understood by the touching apostrophe in _Jane Eyre_, Chapter XXV., that -he and Jane were implied. The words were:--"The cloven halves were not -broken from each other, for the firm base and strong roots kept them -unsundered below; ... they might be said to form one tree--a ruin, but -an entire ruin. 'You did right to hold fast to each other,' I said, as -if the monster splinters were living things; ... 'the time of pleasure -and love is over with you; but ... each of you has a comrade to -sympathize with.'" And Rochester tells Jane:--"You are my sympathy--my -better self; ... a fervent ... passion ... wraps; my existence about -you--and kindling in ... powerful flame, fuses you and me in one." M. -Héger as M. Paul in _Villette_ strikes the same note we hear in -_Wuthering Heights_ and _Jane Eyre_:--"We are alike--there is affinity -between us.... Tremble! for where that is the case with mortals, the -threads of their destinies are difficult to entangle." - -[54] See Charlotte Brontë's poems "Regret" and "Apostasy." - -[55] I discovered these most remarkable parallelisms by my knowledge and -application of Charlotte Brontë's Method I., a fact that finally -declares her the author of both _Wuthering Heights_ and _Jane Eyre_. - -[56] Mr. G. W. MacArthur Reynolds, the editor of _The London Journal_ -issued from _The Weekly Times_ Office, which ran M. Sue's _feuilleton_, -was well-known in French literary circles in the eighteen-forties. He -founded in Paris _The London and Paris Courier_, and was likely enough a -friend of M. Sue. It may be, indeed, there was some sort of -understanding between him and Eugène Sue to set before the world an -interpretation of _Jane Eyre_, with the extraordinary information come -privily to M. Sue. Some time after its publication, Mr. Reynolds stated -that "the main incidents in 'Mary Lawson' were founded on actual -realities." This we shall find. It is a remarkable fact in the -circumstances that _The London Journal_ for August 1, 1846--a year -before _Jane Eyre_ was published, printed on one page the opening -instalment of M. Sue's _Martin the Foundling_, and Charlotte Brontë's -poem "The Letter," with a footnote--"From a volume entitled _Poems by -Cuvier (sic), Ellis and Acton Bell_; London, Aylott & Jones." The reader -may perhaps recognize the original of Mr. Rochester in the person to -whom the letter is being written. - -[57] See my footnote, page 120. - -[58] It may be relative to this fact that "Lagrange's Manuscript" is not -printed in the extant French edition of _Miss Mary_. - -[59] Great stress is laid in this _feuilleton_ by M. Sue upon the fact -that the trouble of this teacher is her dissolute brother. See my -footnote on p. 24. - -[60] See my footnote, p. 37. - -[61] Mrs. Gaskell dwelt much on Charlotte Brontë's plainness in her -_Life_, published seven years after the above. - -[62] _Wuthering Heights_ with _Agnes Grey_ had been accepted by Mr. -Newby, its publisher, before Messrs. Smith, Elder & Co. saw the -manuscript of _Jane Eyre_, but _Jane Eyre_ was published first. - -[63] This artifice of presenting more than one phase of a character in -the same work is equivalent to that practised by the portrait-painter -who uses mirror effects to reveal some feature of his subject not in the -ordinary line of vision. It was as difficult for M. Sue to present a -complete portrait of the successful, fêted Miss Brontë in poor Lagrange -as it was for Charlotte Brontë to present a complete portrait of herself -in the unhappy Lucy Snowe of _Villette_. So M. Sue also used the phase -of Miss Mary, and Charlotte Brontë that of Paulina--just as she gave us -M. Héger as Crimsworth and occasionally as M. Pelet of _The Professor_, -and just as she gave us herself in _Shirley_ as Caroline Helstone and -again (in regard only to her relations with M. Héger) as Shirley -Keeldar. Methods which were responsible for her first portraying herself -as the elder Catherine of _Wuthering Heights_ and then as the younger -Catherine, in which work M. Héger was portrayed by her often as -Heathcliffe and finally as Hareton Earnshaw. With Charlotte Brontë, -however, her secondary adaptations as portrayals, perhaps on account of -their improvization, frequently give evidence of being unprepared. Thus -the childhood of Paulina of _Villette_ is scarcely Charlotte Brontë's; -and Hareton Earnshaw of _Wuthering Heights_, save for the lover and -pupil phase, was never M. Héger. - -[64] Mrs. Gaskell's _Life of Charlotte Brontë_, Haworth Edition, p. 55. -See my reference to Catherine teaching Hareton of _Wuthering Heights_, -in the Preface. - -[65] Instead of "Swiss" pastor's daughter, read Irish. - -[66] Mrs. Gaskell's _Life of Charlotte Brontë_. - -[67] As Rochester calls Jane his beneficent spirit, it is interesting to -read that M. de Morville says to his wife:--"Je crois aux bons génies, -aux bons anges." - -"Aux bons anges?" - -"Miss Mary, par exemple." - -"Eh bien, Louise?" - -"N'est-ce pas un bon génie, un bon ange, une bonne magicienne, enfin? Ne -m'a-t-elle pas jeté un _sort_?" - -[68] See my reference to Charlotte's Preface to _Wuthering Heights_ in -the second chapter of "The Recoil." - -[69] See my references to Charlotte Brontë's poem "Apostasy"; and to St. -John Rivers as a phase of Charlotte's Brussels _Fénelon_. - -[70] See M. Paul and Lucy Snowe (M. Héger and Charlotte Brontë) in the -close of Chapter XXI. of _Villette_. - -[71] Mrs. Humphry Ward in her "Introductions" to the Haworth Edition of -the Brontë novels instanced this passage as showing Emily Brontë's -extravagant love for the moors, inferring she preferred the heath to -heaven. But Mrs. Ward in these same "Introductions" even argued that -_Wuthering Heights_ and _Jane Eyre_ were dissimilar in characterization -and style. Catherine's reference herewith in _Wuthering Heights_, to a -"subliminal" existence in a lover and to the notion that the absence or -loss of such a love (and hence, limiting of the bounds of existence,) -would make the universe a blank, having no sympathy or relation--a -stranger, is at one with Charlotte Brontë's further words in her poem, -"Frances":-- - - "Unloved--I love; unwept--I weep; - . . . . . . . . . . . . - Vain is this anguish--fixed and deep; - . . . . . . . . . . . . - - "For me the universe is dumb, - Stone-deaf, and blank, and wholly blind; - Life I must bound, existence sum - In the strait limits of one mind; - - "That mind my own. Oh! narrow cell; - Dark--imageless--a living tomb!" - -[72] _Charlotte Brontë and Her Circle._ - -[73] Mentor's advice to Telemachus when tempted and miserable on the -island of Calypso is that given by the spirit of Jane Eyre's -mother--"Flee temptation!" "Virtue," argues Mentor, "now calls you back -to your country ... and forbids you to give up your heart to an unworthy -passion.... Fly, fly, ... for love is conquered only by flight ... in -retreat without deliberation, and ... looking back." "Neither Calypso -nor Eucharis cared to fascinate Mentor" (_Shirley_, Chapter XXVII.). -Evidently M. Sue knew Charlotte Brontë had read this book at Brussels, -for he makes play upon it in "Lagrange's Manuscript," wherein -"Télémaque" is substituted for "Rasselas" in the equivalent scene in -_Jane Eyre_. - -[74] See chapter on the Yorkshire element in Charlotte Brontë's heroes. - -[75] "Religion called----Angels beckoned!----" - -[76] See my reference to Catherine of _Wuthering Heights_ and Caroline -of _Shirley_, and their crying aloud when ill and delirious for "a way" -to the absent lover, pp. 147-8. - -[77] See the reproach of the dying Catherine to Heathcliffe I quote in -the next chapter. See also Crimsworth's words in the beginning of -Chapter XIX. of _The Professor_. - -[78] See close of Chapter XXIV. of _Jane Eyre_. - -[79] See my footnote on "the trodden way" on p. 136. - -[80] See my reference to "the barriers" in "Apostasy." - -[81] "I called myself your brother," says M. Paul to Lucy Snowe, the -originals of whom were M. Héger and Charlotte Brontë. "... I know I -think of you--I feel I wish you well--but I must check myself; you are -to be feared. My best friends point out danger and whisper -caution."--_Villette_, Chap. xxxvi. - -[82] Mr. Angus Mackay, in _The Brontës: Fact and Fiction_, identifies -Charlotte Brontë as the original of "Frances" of Charlotte's poem. - -[83] _Charlotte Brontë and Her Sisters_, pp. 181-3. - -[84] See pages 136 and 140. - -[85] See my remarks on Mrs. Pryor in Appendix on _Shirley_. - -[86] Mrs. Gaskell's _Life of Charlotte Brontë_. - -[87] See footnote on page 97. - -[88] _Sydney Dobell: Life and Letters_; 1878. - -[89] Of course Mr. Dobell did not know that by the terms of arrangement -with Mr. Newby, the publisher of _Wuthering Heights_, it was virtually -impossible for Charlotte Brontë, after the success of _Jane Eyre_, to -admit her authorship of _Wuthering Heights_ publicly. See my remarks -hereon in Chapter I. - -[90] For this see Leyland's _The Brontë Family_. - -[91] See footnote, page 13. - -[92] _Charlotte Brontë and her Sisters_, page 162. - -[93] Mrs. Gaskell's _Life of Charlotte Brontë_. - -[94] The fact that towards the end great affection sprang up between the -Rev. Patrick Brontë and his only surviving daughter cannot be too -strongly emphasized. A most touching narration of him and the dying -Currer Bell, related by Martha Brown, the Brontë servant, and herself -the eye-witness, is given by Mr. William Scruton, in _Thornton and The -Brontës_, page 133 (1898):--"When Charlotte heard her father coming -upstairs to her, she would strain every nerve to give him a pleasing -reception. On his entering the room she would greet him with, 'See, -papa, I am looking a little better.'" Mr. Home was "papa" to Paulina. -Compare the lightsome Paulina with the younger Catherine of _Wuthering -Heights_; and Mrs. Home's death, _Villette_, chap, xxiv., with Mrs. -Helstone's _Shirley_, chap. iv. - -[95] The letters in _The Times_ in the close of 1906, and in the early -part of 1907, attacking the authenticity of the Héger portrait, were -written by Mr. Shorter. My footnote in _The Fortnightly_ ran:--"In -attacking the water-colour portrait of Charlotte Brontë purchased by the -Trustees of the National Portrait Gallery, the discovery of which, -signed 'Paul Héger, 1850,' was inimical to Mr. Clement Shorter's -contention that Charlotte Brontë had but distantly interested M. Héger, -Mr. Shorter said, 'M. Héger certainly did not know even in 1850 that -Miss Brontë, his old pupil, and Currer Bell were identical,' and with -another asserted M. Héger and Charlotte Brontë never met after 1844. We -shall see here, however, that M. Héger knew all Miss Brontë's literary -secrets in 1850, and that they must have met after 1844, for M. Héger -could have acquired these secrets only in most intimate conversation -with Currer Bell herself: to none other would she have revealed them." - -[96] In this connection it is of interest to read the remarks of one of -the jealous de Morville women on this portrait of the Irish -governess:--"Patience! ... qui vivra verra. Je garde ce portrait de -mademoiselle miss Mary, ça me fera souvent penser à elle--ça m'empêchera -de l'oublier. Je vais la clouer à quatre épingles sur le papier de ma -chambre".... She threatens to stick pins in it.... "Oui, oui, la belle -Anglais!" she afterwards exclaims; "ce n'est pas seulement ton portrait -que je perce à coups d'épingle, c'est toi-même!" Which would suggest -that a portrait of Charlotte Brontë could have remained at the Héger -establishment but at risk of being destroyed. I may observe these -mysterious references occur only in the 1851 volume; not in the 1850 -_feuilleton_. - -[97] See my footnote on p. 82. - -[98] Mr. Greenwood Dyson, born in 1830 in the Fold opposite the White -Lion Hotel, in the house now a blacksmith's shop. "I was married in -1850," he stated to me, "and was living about twenty yards from Haworth -Church when Charlotte Brontë gave a black silk dress to my wife." The -Rev. Patrick Brontë signed a testimonial saying he well knew Mr. Dyson -as being reliable and trustworthy, as also did the Rev. A. B. Nicholls, -Miss Brontë's husband. I have examined the document. An interesting -glimpse of Charlotte Brontë I have not seen in any work is one of Mr. -Dyson's reminiscences. He tells me that "there was a draw-well situated -in the kitchen of the Rectory from which we boys used to draw water for -domestic purposes." He added that often he drew water for Charlotte -Brontë or others of the Brontë household before drawing for himself. "In -one of the upper windows," he once wrote me, "a board had been placed -instead of one of the panes of glass, in the centre of which was bored a -hole in which Miss Brontë inserted a telescope to take observations." -Perceiving in conversation with him the genuine pleasure the sight of -the Héger portrait of Charlotte Brontë gave Mr. Dyson, I later forwarded -him a large photograph, taken direct from the original Héger drawing of -Charlotte Brontë in the National Portrait Gallery. I print his reply to -me written on March 2, 1907:-- - - "DEAR SIR,--I received the likeness of Charlotte Brontë (which you - were kind enough to send me) this morning, for which I should like - to express my appreciation. It really is a very nice portrait. I - think it is very much like her. With sincerest thanks, I remain, - very truly yours, - J. MALHAM-DEMBLEBY, Esq. (Signed) G. DYSON." - -[99] Through the courtesy of Professor Charles J. Holmes, the present -Director of the National Portrait Gallery, I am able to print herewith -the N.P.G. references to this portrait. - - NATIONAL PORTRAIT GALLERY TABLET ON PICTURE:-- - - CHARLOTTE BRONTË - (Mrs. Arthur Bell Nicholls). - 1816-1855. - Novelist. Author of _Jane Eyre_ and other works. - Painted in 1850 by "Paul Héger." - Purchased, July 1906. - (1444) - - NATIONAL PORTRAIT GALLERY CATALOGUE:-- - - Painted in water-colours in 1850, and stated to be by "Paul" - (or Constantin) Héger, after an earlier portrait by her brother - Branwell Brontë. - - NATIONAL PORTRAIT GALLERY ILLUSTRATED CATALOGUE:-- - - Water-colour drawing stated to be by "Paul" (or Constantin) - Héger, after Branwell Brontë. - (1444) - -I may add that the inverted commas used in regard to M. Héger's name are -employed because "Paul" was not his common name. He was an active member -of the Society of S. Vincent de Paul, and Charlotte Brontë portrayed him -as M. Paul in her novel, _Villette_, commenced not later than the close -of 1850 or the beginning of 1851. - -[100] Italics mine. - -[101] In _Chapters from Some Memories_, by Anne Thackeray Ritchie. - -[102] By "Mrs. Brookfield's party" Lady Ritchie means the later -distinguished party. In _Mrs. Brookfield and her Circle_, page 305, vol -ii. (1905), a first dinner given by Mr. Thackeray for Charlotte Brontë -in November 1849, is spoken of by Mrs. Brookfield as not having been a -success; and the second great party at which some clever women were -present, to meet Miss Brontë in 1851, is mentioned with the fact of the -non-success of the 1849 party, on pages 355-6. All this now leaves clear -the occasion of the 1850 private family dinner at Mr. Thackeray's house, -when Charlotte Brontë sat next Lady Ritchie in a light green dress. - -[103] Mrs. Gaskell's _Life of Charlotte Brontë_. - -[104] _Ibid._ - -[105] The Roman numerals refer to the Preface. - - - - - -End of the Project Gutenberg EBook of The Key to the Brontë Works, by -John Malham-Dembleby - -*** END OF THIS PROJECT GUTENBERG EBOOK THE KEY TO THE BRONTË WORKS *** - -***** This file should be named 40655-8.txt or 40655-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/6/5/40655/ - -Produced by StevenGibbs and the Online Distributed -Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Key to the Brontë Works - The Key to Charlotte Brontë's 'Wuthering Heights,' 'Jane - Eyre,' and her other works. - -Author: John Malham-Dembleby - -Release Date: September 3, 2012 [EBook #40655] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE KEY TO THE BRONTË WORKS *** - - - - -Produced by StevenGibbs and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40655 ***</div> <p class="center ft200">THE KEY TO THE<br /> BRONTË WORKS.</p> @@ -10279,382 +10240,6 @@ dress.</p></div> <div class="footnote"><p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> The Roman numerals refer to the Preface.</p></div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Key to the Brontë Works, by -John Malham-Dembleby - -*** END OF THIS PROJECT GUTENBERG EBOOK THE KEY TO THE BRONTË WORKS *** - -***** This file should be named 40655-h.htm or 40655-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/6/5/40655/ - -Produced by StevenGibbs and the Online Distributed -Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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