THE BRONTE SISTERS 37 parental love—all these Anne recounts without, so to speak, ever raising her voice, but with a grave exact simplicity, a precision of detail, which have a quietly devastating effect. The Tenant of Wildfell Hall (1848) is painted in bolder colours, but with a less certain hand. Anne wrote it to show the evils of drunkenness as she knew them in Branwell, and whenever she is describing the drunkard Arthur Huntingdon on the morning after a debauch, the close accuracy of her observation carries entire conviction. But the debauch itself is from sheer ignorance less well described, and Helen's diary of her wretched marriage to Huntingdon proves less interesting than Gilbert Markham's account of his love for the mysterious new 'tenant', Helen, who has fled from her husband with her little son. A noticeably good feature of this novel is Anne's painting of the moorland landscapes which surround Wildfell Hall. Though they lack the wild poetry which Emily gives to these adored phenomena, Anne's earth and wind and weather are always closely observed from life, and thus have a welcome freshness and truth. With her perfect spiritual integrity, her quiet scorn for the worldly, her calm, clear, grey sentences, her still intensity, her truthfulness, her fresh angle on domestic life, Anne is in her own right a minor classic. Conclusion Emily, a major poet who is also the author of a superb masterpiece of fiction; Charlotte, a novelist of strong and original genius; Anne, a writer of clear if somewhat pallid talent—it is a remarkable trio to come from one family resident in a remote moorland parish in days when female education had hardly begun. Indeed the Brontes' lives form such a poignant and fascinating human document that it is not surprising so much interest has been concen- trated upon their personalities. But it is our present business to analyse the nature of their work and estimate its place in literature.