A note on Charlotte Brontë

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A NOTE

ON

CHARLOTTE BRONTE

WORKS BY MR. SWINBURNE.

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A NOTE

ON

CHARLOTTE BRONTE

BY

ALGERNON CHARLES SWINBURNE

JTrntbou

CHATTO & WINDUS, PICCADILLY

1877

All rights reserved

LONDON t PRINTED BY

SrOTTISWOODE AND CO., NEW-STREET SQUARE

AND PARLIAMENT STREET

TO

Sft^p f ricnb
THEODORE WATTS

I dedicate this study ; an inadequate acknowledgment
of much personal obligation, and an imperfect expression
of fellow-feeling on the subject here imperfectly and in-
adequately handled.

A. C. S.

A NOTE

ON

CHARLOTTE BRONTE,

The priceless contribution to our know-
ledge of one of the greatest among women,
for which the thanks of all students who
have at heart the honour of English litera-
ture are due to Mr. Wemyss Reid, had on
its first appearance the singular good fortune
to evoke from a weekly paper of much lite-
rary and philosophic pretension one of the
most profound and memorable remarks ever

hj~ b

CHARLOTTE BRONTE.

put forth even in the columns of the con-
temporary Spectator. On the nth of No-
vember, 1876, there appeared in that quarter
a written assurance that its literary critic
did actually ' agree with this biographer ' in
thinking that the works of Charlotte Bronte
' will one day again be regarded as evidences
of exceptional intellectual power/ The pre-
sent writer for once feels himself emboldened
to express in his turn his own agreement
with this critic in the opinion that they not
impossibly may; he will even venture to
avow his humble conviction that they may
with no great show of unreason be expected
to outlive the works of some few at least
among the female immortals of whom the
happy present hour is so more than season-
ably prolific ; to be read with delight and

CHARLOTTE BRONTE.

wonder, and re-read with reverence and ad-
miration, when darkness everlasting has
long since fallen upon all human memory of
their cheap scientific, their vulgar erotic, and
their voluminous domestic schools ; when
even 'Daniel Deronda' has gone the way of
all waxwork, when even Miss Broughton
no longer cometh up as a flower, and even
Mrs. Oliphant is at length cut down like the
grass. It is under the rash and reckless im-
pulse of this unfashionable belief that I would
offer a superfluous word or two of remark
on the twin-born genius of the less mortal
sisters who left with us for ever the legacies
of ' Jane Eyre ' and ' Wuthering Heights/

The one sovereign quality common alike
to the spirit and the work of these two great

B 2

CHARLOTTE BRONTE.

women, whose names make up with Mrs.
Browning's the perfect trinity for England of
highest female fame, is one which even the
prodigal Genius or God who presided at her
birth could not or would not accord to the
passionate and lyric-minded poetess. It is
possibly the very rarest of all powers or
faculties of imagination applied to actual
life and individual character; I can trace it
in no living English authoress one half so
strongly or so clearly marked as in the
work of the illustrious and honoured lady
— honoured scarcely more by admiration
from some quarters than by obloquy from
others — to whom we owe the over-true
story of ' Joshua Davidson,' and the wor-
thiest tribute ever yet paid to the me-
mory of Walter Savage Landor. But in

CHARLOTTE BRONTE.

Charlotte and Emily Bronte this innate
personal quality was manifested, as far as
my knowledge or power of comparison ex-
tends, at a quite incomparable degree of
excellence ; of perfection, I would have writ-
ten, but for the fear of giving too Irish a
turn to the parting phrase of my sentence.
It is a quality as hard to define as impos-
sible to mistake ; even the static and dynamic
terms of definition so freely and scientifically
misused in the latest school of feminine
romance would scarcely help us much to-
wards an adequate apprehension or expression
of it. But its absence or its presence is or
should be anywhere and always recognisable
at a glance, whether dynamic or merely static,
of a skilful or unskilful eye to discern the
systole from the diastole of human com-

CHARLOTTE BRONTE.

panionship — or even of inhuman jargon.
The crudest as the most refined pedantry
of semi-science, tricked out at second hand
in the freshest or the stalest phrases of
archaic schoolmen or neologic lecturers that
may be swept up from the dustiest boards
or picked up under the daintiest platforms
irradiated or obfuscated by new lamps or
old, will avail nothing to guide any possible
seeker on the path towards an exploration
by physical analysis or metaphysical syn-
thesis of the source or the process, the
fountain or the channel or the issue, of
this subtle and infallible force of nature — the
progress from the root into the fruit of this
direct creative instinct. Yet thus far, per-
haps, we may reasonably attempt some in-
dication of the difference which divides pure

CHARLOTTE BRONTE.

genius from mere intellect as by a great
gulf fixed ; the quality of the latter, we
may say, is constructive, the property of the
former is creative. Adam Bede, for instance,
or even Tito Melema, is an example of con-
struction— and the latter is one of the finest
in literature ; Edward Rochester and Paul
Emanuel are creations. And the inevi-
table test or touchstone of this indefinable
difference is the immediate and enduring
impression set at once and engraved for
ever on the simplest or the subtlest mind
of the most careless or the most careful
student. In every work of pure genius
we feel while it is yet before us — and if we
cease for a little to feel when out of sight
of it for awhile, we surely feel afresh each
time our sight of it is renewed — the sense

CHARLOTTE BRONTE.

of something inevitable, some quality incor-
porate and innate, which determines that
it shall be thus and not otherwise ; and we
need not the ' illative sense ' of Dr. New-
man's invention to teach us ' the grammar
of assent ' to the matter proposed to us as
subject or as object for our imaginative
belief. Belief, and not assent, it is that we
give to the highest.

There is no surer test as there can be no
higher evidence than this of that imperative
and primary genius which holds its power in
fee of no other mind, which derives of no
foreign stream through the conduit of no
alien channel. Perhaps we may reasonably
divide all imaginative work into three classes ;
the lowest, which leaves us in a complacent

CHARLOTTE BRONTE.

mood of acquiescence with the graceful or
natural inventions and fancies of an honest
and ingenious workman, and in no mind to
question or dispute the accuracy of his tran-
script from life or the fidelity of his design
to the modesty and the likelihood of nature ;
the second, of high enough quality to engage
our judgment in its service, and make direct
demand on our grave attention for deliberate
assent or dissent ; the third, which in the
exercise of its highest faculties at their best
neither solicits nor seduces nor provokes us
to acquiescence or demur, but compels us
without question to positive acceptance and
belief. Of the first class it would be super-
fluous to cite instances from among writers
of our own day, not undeserving of serious
respect and of genuine gratitude for much

CHARLOTTE BRONTE.

honest work done and honest pleasure con-
ferred on us. Of the second order our lite-
rature has no more apt and brilliant examples
than George Eliot and George Meredith.
Of the third, if in such a matter as this I
may trust my own instinct — that last resource
and ultimate reason of all critics in every
case and on every question — there is no
clearer and more positive instance in the
whole world of letters than that supplied
by the genius of Charlotte Bronte.

I do not mean that such an instance is
to be found in the treatment of each figure
in each of her great three books. If this
could accurately be said, it could not reason-
ably be denied that she might justly claim
and must naturally assume that seat by the

CHARLOTTE BRONTE. u

side of Shakespeare which certain critics of
the hour are prompt alike to assign alter-
nately to the author of ' Adam Bede ' and to
the author of ' Queen Mary.' Only in the
eyes of such critics as these, or in the glassy
substitutes which serve their singular kind
as proxies for a human squint, will it seem
to imply a want of serious interest and
respect in the former direction, of loyal and
grateful admiration in the latter, if I confess
that to my unaided organs and limited
capacities of sight the one comparison ap-
pears as portentously farcical as the other
in its superhuman or subsimious absurdity ;
that I should find it as hard an article of
religion to digest and assimilate into the
body of a living faith, which bade me be-
lieve in the assumption of the goddess as

12 CHARLOTTE BRONTE.

that which bade me believe in the ascension
of the god to complete the co-eternal and
co-equal personality of English genius at its
highest apogee, in its triune and bisexual
apotheosis. But, without putting in a claim
for the author of ' Jane Eyre ' as qualified
to ascend the height on which a minority of
not overwise admirers would fain enthrone a
demigoddess of more dubious divinity than
hers, I must take leave to reiterate my convic-
tion that no living English or female writer
can rationally be held her equal in what I
cannot but regard as the highest and the
rarest quality which supplies the hardest
and the surest proof of a great and absolute
genius for the painting and the handling
of human characters in mutual relation and
reaction. Even the glorious mistress of all

CHARLOTTE BRONTE. 13

forms and powers of imaginative prose, who
has lately left France afresh in mourning —
even George Sand herself had not this gift
in like measure with those great twin sisters
in genius who were born to the stern and
strong-hearted old Rector of Haworth.

The gift of which I would speak is
that of a power to make us feel in every
nerve, at every step forward which our
imagination is compelled to take under the
guidance of another's, that thus and not
otherwise, but in all things altogether even
as we are told and shown, it was and it
must have been with the human figures set
before us in their action and their suffering ;
that thus and not otherwise they absolutely
must and would have felt and thought and

14 CHARLOTTE BRONTE.

spoken under the proposed conditions. It
is something for a writer to have achieved
if he has made it worth our fancy's while
to consider by the light of imaginative
reason whether the creatures of his own
fancy would in actual fact and life have
done as he has made them do or not ; it
is something, and by comparison it is much.
But no definite terms of comparison will
suffice to express how much more than
this it is to have done what the youngest
of capable readers must feel on first open-
ing ' Jane Eyre ' that the writer of its very
first pages has shown herself competent to
do. In almost all other great works of its
kind, in almost all the sovereign master-
pieces even of Fielding, of Thackeray, of
the royal and imperial master, Sir Walter

CHARLOTTE BRONTE. 15

Scott himself — to whose glorious memory I
need offer no apology for the attribution of
epithets which I cannot but regret to re-
member that even in their vulgar sense
he would not have regarded as other than
terms of honour — even in the best and
greatest works of these our best and
greatest we do not find this one great
good quality so innate, so immanent as in
hers. At most we find the combination of
event with character, the coincidence of
action with disposition, the coherence of
consequences with emotions, to be rationally
credible and acceptable to the natural sense
of a reasonable faith. We rarely or never
feel that, given the characters, the incidents
become inevitable ; that such passion must
needs bring forth none other than such

CHARLOTTE BRONTE.

action, such emotions cannot choose but find
their only issue in such events. And cer-
tainly we do not feel, what it seems to me
the highest triumph of inspired intelligence
and creative instinct to succeed in making
us feel, that the mainspring of all, the cen-
tral relation of the whole, 'the very pulse
of the machine,' has in it this occult inex-
plicable force of nature. But when Cathe-
rine Earnshaw says to Nelly Dean, ' I am
Heathcliff!' and when Jane Eyre answers
Edward Rochester's question, whether she
feels in him the absolute sense of fitness
and correspondence to herself which he
feels to himself in her, with the words
which close and crown the history of their
twin-born spirits — ' To the finest fibre of
my nature, sir' — we feel to the finest fibre

CHARLOTTE BRONTE. 17

of our own that these are no mere words.
On this ground at least it might for once
be not unpardonable to borrow their stand-
ing reference or illustration from that com-
parative school of critics whose habit of
comparison we have treated with something
less than respect, and say, as was said on
another score of Emily Bronte in particular
by Sydney Dobell, in an admirable paper
which we miss with regret and with sur-
prise from among the costly relics of his
genius, so lovingly set in order and so ably

lighted up by the faithful friendship and
1

the loyal intelligence of Professor Nichol
— that either sister in this single point ' has
done no less ' than Shakespeare. As easily
might we imagine a change of the mutual
relations between the characters of Shake-
c

CHARLOTTE BRONTE.

speare as a corresponding revolution or re-
versal of conditions among theirs.

If I turn again for contrast or com-
parison with their works to the work of
George Eliot, it will be attributed by no
one above the spiritual rank and type of
Pope's representative dunces to irreverence
or ingratitude for the large and liberal
beneficence of her genius at its best. But
she alone among our living writers is gene-
rally admitted or assumed as the rightful
occupant, or at least as the legitimate
claimant, of that foremost place in the
front rank of artists in this kind which
none can hold or claim without challenging
such comparison or such contrast. And in
some points it is undeniable that she may

CHARLOTTE BRONTE. 19

claim precedence, not of these alone, but
of all other illustrious women. Such wealth
and depth of thoughtful and fruitful humour,
of vital and various intelligence, no woman
has ever shown — no woman perhaps has
ever shown a tithe of it. In knowledge,
in culture, perhaps in capacity for know-
ledge and for culture, Charlotte Bronte was
no more comparable to George Eliot than
George Eliot is comparable to Charlotte
Bronte in purity of passion, in depth and
ardour of feeling, in spiritual force and fer-
vour of forthright inspiration. It would
be rather a rough and sweeping than a
loose or inaccurate division which should
define the one as a type of genius distin-
guished from intellect, the other of intellect
as opposed to genius. But it would, as I
c 2

20 CHARLOTTE BRONTE.

venture to think, be little or nothing more
or less than accurate to recognise in George
Eliot a type of intelligence vivified and
coloured by a vein of genius, in Charlotte
Bronte a type of genius directed and
moulded by the touch of intelligence. No
better test of this distinction could be de-
sired than a comparison of their respective
shortcomings or failures. These will serve,
by their difference in kind and import, in
quality and in weight, to show the depth
and width of the great gulf between pure
genius and pure intellect, even better than
a comparison of their highest merits and
achievements.

That great genius is liable to great error
the world has ever been willing, if not more

CHARLOTTE BRONTE. 21

than willing, to admit ; that great genius not
equally balanced by great intellect is not one
half as liable to go one half as wrong as in-
tellect unequally counterpoised by genius, is a
truth less popular and less familiar, but neither
less important nor less indisputable. That
Charlotte Bronte, a woman of the first order
of genius, could go very wrong indeed, there
are whole scenes and entire characters in her
work which afford more than ample proof.
But George Eliot, a woman of the first order
of intellect, has once and again shown how
much further and more steadily and more
hopelessly and more irretrievably and more
intolerably wrong it is possible for mere intel-
lect to go than it ever can be possible for
mere genius. Having no taste for the dis-
section of dolls, I shall leave Daniel Deronda

CHARLOTTE BRONTE.

in his natural place above the ragshop door ;
and having no ear for the melodies of a Jew's
harp, I shall leave the Spanish Gipsy to per-
form on that instrument to such audience
as she may collect. It would be unjust and
impertinent to dwell much on Charlotte
Bronte's brief and modest attempts in verse ;
but it would be unmanly and unkindly to
touch at all on George Eliot's ; except indeed
to remark in passing that they are about
equally commendable for the one and for
the other of those negative good qualities
which I have commended in Miss Bronte's.
And from this point of difference, if from no
other point here discernible, those who will
or who can learn anything may learn a lesson
in criticism which may perhaps be worth
laying to heart : that genius, though it can

CHARLOTTE BRONTE. 23

put forth no better claim than intellect may-
assert for itself to share the papal gift of in-
fallibility, is naturally the swifter of the two
to perceive and to retrieve its errors. Where
genius takes one false step in the twilight
and draws back by instinct, intelligence once
misguided will take a thousand without the
slightest diffidence ; will put its best foot fore-
most in the pitchy darkness, step out gallantly
through all brakes and quagmires till stuck
fast up to the middle, and higher yet, in some
blind Serbonian bog of blundering presump-
tion, and thence will not improbably strike up
a psalm of hoarse thanksgiving or shrill
self-gratulation, to be echoed from afar by
the thousand marshy throats of a Maeotian
or Boeotian frog concert, for the grace here
given it to have set a triumphant foot on the

24 CHARLOTTE BRONTE.

solid rock, and planted a steady flagstaff on
the splendid summits of supreme and un-
surpassable success.

But we will follow neither the brief
excursions of tentative and self-distrustful
genius, nor the long aberrations of belated
and self-confident intelligence, across any
line of country never made for them to
traverse and return with any trophies of the
chase. Britomartis or Bradamante, on her
most desperate and forlorn adventure, has
a claim at least on the compassionate for-
bearance of every good knight-errant who
may have ridden on the like or any such
other quest ; and even the felon Sir Breuse
Sans Pitie might be moved by some mo-
mentary throb of chivalrous condolence at

CHARLOTTE BRONTE. 25

the pitiful and unseemly spectacle of an
Amazon thrown sprawling over the crupper
of her spavined and spur-galled Pegasus. It
is on ground proper to either or common
to both that we will compare the pace and
action, the blood and the wind and the staying
power, of either steed entered for this race.
And first we will examine, dropping our
equine metaphor before we have ridden it
to death, what may be the very gravest flaws
or shortcomings perceptible in the work of
Charlotte Bronte. So doing, I believe that
any loyal and capable critic will as surely
find as he will joyfully admit that her failures
never affect the central and radical quality
of that work. The heart of it is always
whole ; its outskirts or extremities alone,
perhaps only its dress and decorations, are

26 CHARLOTTE BRONTE.

in any degree impaired. Take the first work
of her genius in its ripe fullness and fresh-
ness of new fruit ; a twig or two is twisted
or blighted of the noble tree, a bud or so
has been nipped or cankered by adverse
winds or frost ; but root and branch and
bole are all straight and strong and solid
and sound in grain. Whatever in 'Jane
Eyre ' is other than good is also less than
important. The accident which brings a
famished wanderer to the door of unknown
kinsfolk might be a damning flaw in a novel
of mere incident ; but incident is not the
keystone and commonplace is not the touch-
stone of this. The vulgar insolence and
brutish malignity of the well-born guests at
Thornfield Hall are grotesque and incredible
in speakers of their imputed station ; these

CHARLOTTE BRONTE. 27

are the natural properties of that class of
persons which then supplied, as it yet sup-
plies, the writers of such articles as one of
memorable infamy and imbecility on 'Jane
Eyre ' to the artistic and literary depart-
ment of the ' Quarterly Review.' So gross
and grievous a blunder would entail no less
than ruin on a mere novel of manners ; but
accuracy in the distinction and reproduction
of social characteristics is not the test of
capacity for such work as this. That test
is only to be found in the grasp and ma-
nipulation of manly and womanly character.
And, to my mind, the figure of Edward
Rochester in this book remains, and seems
like to remain, one of the only two male
figures of wholly truthful workmanship and
vitally heroic mould ever carved and coloured

28 CHARLOTTE BRONTE.

by a woman's hand. The other it is super-
fluous to mention ; all possible readers will
have uttered before I can transcribe the
name of Paul Emanuel.

And now we must regretfully and re-
spectfully consider of what quality and what
kind may be the faults which deform the best
and ripest work of Charlotte Bronte's chosen
rival. Few or none, I should suppose, of
her most passionate and intelligent admirers
would refuse to accept ' The Mill on the Floss '
as on the whole at once the highest and the
purest and the fullest example of her magnifi-
cent and matchless powers — for matchless
altogether, as I have already insisted, they
undoubtedly are in their own wide and fruit
ful field of work. The first two-thirds of the

CHARLOTTE BRONTE. 29

book suffice to compose perhaps the very
noblest of tragic as well as of humorous prose
idyls in the language; comprising, as they like-
wise do, one of the sweetest as well as saddest
and tenderest as well as subtlest examples of
dramatic analysis — a study in that kind as soft
and true as Rousseau's, as keen and true as
Browning's, as full as either's of the fine and
bitter sweetness of a pungent and fiery fide-
lity. But who can forget the horror of inward
collapse, the sickness of spiritual reaction, the
reluctant incredulous rage of disenchantment
and disgust, with which he first came upon
the thrice unhappy third part ? The two
first volumes have all the intensity and all
the perfection of George Sand's best work,
tempered by all the simple purity and in-
terfused with all the stainless pathos of Mrs.

30 CHARLOTTE BRONTE.

Gaskell's ; they carry such affluent weight of
thought and shine with such warm radiance
of humour as invigorates and illuminates the
work of no other famous woman ; they have
the fiery clarity of crystal or of lightning ;
they go near to prove a higher claim and
attest a clearer right on the part of their
author than that of George Sand herself to
the crowning crown of praise conferred on
her by the hand of a woman even greater
and more glorious than either in her sovereign
gift of lyric genius, to the salutation given
as by an angel indeed from heaven, of
' large -brained woman and large-hearted
man.' And the fuller and deeper tone of
colour combined with greater sharpness
and precision of outline may be allowed
to excuse the apparent amount of obliga-

CHARLOTTE BRONTE. 31

tion — though we may hardly see hpw this
can be admitted to explain the remarkable
reticence which reserves all acknowledg-
ment and dissembles all consciousness of
that sufficiently palpable and weighty and
direct obligation — to Mrs. Gaskell's beautiful
story of ' The Moorland Cottage ' ; in which
not the identity of name alone, nor only
their common singleness of heart and sim-
plicity of spirit, must naturally recall the
gentler memory of the less high-thoughted
and high-reaching heroine to the warmest
and the worthiest admirers of the later-born
and loftier-minded Maggie ; though the
hardness and brutality of the baser brother
through whom she suffers be the outcome
in manhood as in childhood of mere greedy
instinct and vulgar egotism, while the full

32 CHARLOTTE BRONTE.

eventual efflorescence of the same gracious
qualities in Tom Tulliver is tracked with
incomparable skill and unquestionable cer-
titude of touch to the far other root of
sharp narrow self-devotion and honest harsh
self-reliance.

1 So far, all honour ; ' as Phraxanor says
of Joseph in the noble poem of Mr. Wells.
But what shall any one say of the upshot ?
If we are really to take it on trust, to con-
front it as a contingent or conceivable
possibility, resting our reluctant faith on
the authority of so great a female writer,
that a woman of Maggie Tulliver's kind
can be. moved to any sense but that of
bitter disgust and sickening disdain by a
thing — I will not write, a man — of Stephen

CHARLOTTE BRONTE. 33

Guest's ; if we are to accept as truth and
fact, however astonishing and revolting, so
shameful an avowal, so vile a revelation
as this ; in that ugly and lamentable case,
our only remark, as our only comfort, must
be that now at least the last word of
realism has surely been spoken, the last
abyss of cynicism has surely been sounded
and laid bare. The three master cynics
of French romance are eclipsed and dis-
tanced and extinguished, passed over and
run down and snuffed out on their own
boards. To the rosy innocence of Laclos, to
the cordial optimism of Stendhal, to the
trustful tenderness of Merimee, no such
degradation of female character seems ever
to have suggested itself as imaginable.
Iago never flung such an imputation on

D

34 CHARLOTTE BRONTE.

all womanhood ; Madame de Merteuil
would never have believed it. For a
higher view and a more cheering aspect of
the sex, we must turn back to these gentler
teachers, these more flattering painters of
our own ; we must take up ' La Double
Meprise ' — or ' Le Rouge et le Noir ' — or
1 Les Liaisons Dangereuses.'

But I for one am not prepared or will-
ing to embrace a belief so much too de-
grading and depressing for the conception
of those pure and childlike souls. My faith
will not digest at once the first two vo-
lumes and the third volume of ' The Mill
on the Floss ' ; my conscience or credulity
has not gorge enough for such a gulp.
Whatever capacity for belief is in me I

CHARLOTTE BRONTE. 35

find here impaled once more as on the
horns of that old divine's dilemma between
the irreconcilable attributes of goodness and
omnipotence in the supposed Creator of
suffering and of sin. If the one quality be
predicable, the other quality cannot be pre-
dicate of the same subject. As between
xMT) and 7roivri, we must choose. Lady
Percy on the lap of Falstaff, bidding him
patch up his old body for heaven ; Miranda
nestling in the arms of Trinculo ; Virgilia
seeking consolation for her husband's exile
in the rival devotion of Brutus and Sici-
nius ; Desdemona finding refuge from her
troubles on the bosom of Roderigo — could
no longer pretend to be the widow of Hot-
spur, the bride of Ferdinand, the wife of
the noblest Roman, the fellow-martyr of the

D 2

36 CHARLOTTE BRONTE.

nobler Moor. No higher tribute can be
claimed and no deeper condemnation can
be incurred by perverse or intermittent
genius than is conveyed or implied in such
comparisons as these. The hideous trans-
formation by which Maggie is debased —
were it but for an hour — into the willing
or yielding companion of Stephen's flight
would probably and deservedly have been
resented as a brutal and vulgar outrage on
the part of a male novelist. But the man
never lived, I do believe, who could have
done such a thing as this : as the man, I
should suppose, does not exist who could
make for the first time the acquaintance of
Mr. Stephen Guest with no incipient sense
of a twitching in his fingers and a tin-
gling in his toes at the notion of any con-

CHARLOTTE BRONTE. yj

tact between Maggie Tulliver and a cur
so far beneath the chance of promotion to
the notice of his horsewhip, or elevation
to the level of his boot.

Here then is the patent flaw, here too
plainly is the flagrant blemish, which defaces
and degrades the very crown and flower of
George Eliot's wonderful and most noble
work ; no rent or splash on the raiment, no
speck or scar on the skin of it, but a cancer
in the very bosom, a gangrene in the very
flesh. It is a radical and mortal plague-spot,
corrosive and incurable ; in the apt and
accurate phrase of Rabelais, 'an enormous
solution of continuity,' The book is not the
same before it and after. No washing or
trimming, no pruning or purging, could eradi-
cate or efface it ; it could only be removable

38 CHARLOTTE BRONTE.

by amputation and remediable by cautery.
It is even a worse offence against ethics, a
more grievous insult to the moral senti-
ment or sense, because more deliberate and
elaborate, than the two actual and unpar-
donable sins of Shakespeare : the menace
of unnatural marriage between Oliver and
Celia, and again between Isabella and her
' old fantastical duke of dark corners.'
Scandalous and injurious as these vile
suggestions are, they are yet but as hasty
blots dropped by an impatient hand, as
crude excrescences which may be pared and
leave no scar, as broken hints of a bad
dream which the waking memory may be
fain and able to forget, to shake off it and
be clean again ; retaining no thought of
Rosalind's cousin but as she first came into

CHARLOTTE BRONTE. 39

the forest of Arden, of Claudio's sister but
as she first was enrolled among the vo-
tarists of St. Clare.

Far otherwise it is with the poor noble
heroine so strangely disgraced and dis-
crowned of natural honour by the strong
and cruel hand which created her ; and which
could not redeem or raise her again, even
by the fittest and noblest of all deaths con-
ceivable, from the mire of ignominy into
which it had been pleased to cast her down
or bid her slip at the beck and call of a
counter-jumping Antinous, a Lauzun of the
counting-house, as vulgar as Vivien and as
mean as the fellow who could gloat on the
prospective degradation and anticipated un-
happiness of a woman he forsooth had loved,

40 CHARLOTTE BRONTE.

under the wholly impossible condition of
an utterly unimaginable hypothesis that the
unfortunate young lady, who had at least
the good fortune to escape the miserable
ignominy of union with such a kinsman,
might have declined* on a range of lower
feelings and a narrower heart than his ; a
supposition, as most men would think, be-
yond the power of omnipotence itself to
realise. Surely our world would seem in
danger of forgetting, under the guidance
and example of its most brilliant literary
chiefs, that there are characters and emo-
tions which may not lie beyond the limits
of degraded nature, but do assuredly grovel
beneath the notice of undegenerate art ; and
that of such, most unquestionably, — if any
such there be — are the characters and emo-

CHARLOTTE BRONTE. 41

tions of such reptile amorists as debase by
the indecent exposure of their dastardly and
rancorous egotism the moral value of such
otherwise admirable masterpieces as ' Locks-
ley Hall ' and ■ The Mill on the Floss.' An
eminent historian, notable alike as a reviler
of Frenchmen and a champion of Bulgarians,
has written a paper to show that the law
of honour as understood by our forefathers
is an obsolete and artificial invention of
depraved or barbarous times ; an opinion
which may help to explain, if not to justify,
his national antipathies and sympathies ; and
some at least among our living elders in
the field of imaginative letters would seem
to have adopted, with more than historic
ardour, a creed which nullifies the foolish
traditions and explodes the simple doctrines

42 CHARLOTTE BRONTE.

of superstitious chivalry. Yet I for one,
though not like to feel personally aggrieved
or even ungratified by the most extravagant
of English compliments addressed to France,
should be sorry to suppose that it was even
yet a taste exclusively reserved for men
with French blood in their veins or French
sympathies in their hearts, to prefer the old-
world principle of mere chivalrous loyalty,
of passion self-sacrificed and self-forgetting
woman-worship, of knightly folly and faith
shown even in the service of a lawless love
— or lawless but for the law of honour, that
worn-out spiritual mainspring and worthless
moral motive of ' art with poisonous honey
stolen from France' — to all the home-made
treacle of the Laureate's morality. Poi-
sonous as to certain tastes may be the

CHARLOTTE BRONTE. 43

natural passions condoned or consecrated
by chivalry, and preposterous in certain
eyes as are the conventional principles es-
tablished or confirmed by its law, I am not
reluctant, on behalf of the nation and its
creed, to admit that it would be no less
difficult to derive from a French origin or
refer to a French example the taint of such
a distemper as is implied by this distaste,
than to inoculate with its infection the spirit
of a Frenchman or a gentleman.

No outrage of this kind on womanly loyalty
and manly instinct was among the possible
errors of Charlotte Bronte's heroic soul. To
errors of some gravity that great spirit was
indeed liable on more lines than one ; her
critical judgment, for instance, on Mr. Tenny-

44 CHARLOTTE BRONTE.

son's ' In Memoriam' was almost as grotesque
in its ineptitude as that of M. Taine's very
self ; and under the gigantic shadow of Bal-
zac's many-featured and colossal empire she
would seem, like many if not most English-
women, to have come in as it were on the

*
wrong side. The critical faculty in a woman

of genius, if not well trained and cultivated
with much labour of spiritual husbandry,
seems naturally more prone to such flaws and
lapses than the learned judgment of an in-
telligence duly warmed by the suns and
watered by the streams of wide and fertilising
study can ever claim the slightest excuse
or plead the slightest apology for having
shown itself at any time to be. Nor can
we say that Miss Bronte's more proper and
natural faculty of creative imagination was

CHARLOTTE BRONTE. 45

exempt from its own special chances of
error, its own peculiar liabilities to wrong.
But from any such error and from any such
collapse as those on which we have re-
marked in others — from all such disloyalty
to clear moral law, from all such debase-
ment or degradation of high personal in-
stinct— from all malevolence, from all brutality,
from all selfish and vindictive cowardice —
from any taint of vile or vulgar or ignoble
sympathies, no human spirit was ever more
triumphantly delivered — was ever more glo-
riously free.

Another not insignificant point of diffe-
rence, though less notable than this, we
find in the broad sharp contrast offered by
the singular perfection of George Eliot's

46 CHARLOTTE BRONTE.

earliest imaginative work, with its gracious
union of ease and strength, its fullness and
purity of outline, its clearness and accuracy
of touch, its wise and tender equity, its
radiant and temperate humour, its harmony
and sincerity of tone, to the doubtful, heavy-
gaited, floundering tread of Charlotte Bronte's
immature and tentative genius, at its first
start on the road to so triumphal a goal as
lay ahead of it. No reader of average ca-
pacity could so far have failed to appreciate
the delicate and subtle strength of hand
put forth in the ' Scenes of Clerical Life '
as to feel any wonder mingling with his
sense of admiration when the same fine and
potent hand had gathered its latter laurels
in a wider field of work ; but even the wise
and cordial judgment which had discerned

CHARLOTTE BRONTE. 47

the note of power and sincerity perceptible
in the crude coarse outlines of ' The Pro-
fessor' may well have been startled and
shaken out of all judicial balance and cri-
tical reserve at sight of the sudden sunrise
which followed so fast on that diffident
uncertain dawn. One of the two only
women among their contemporaries, who for
absolute inspiration of positive genius may
without absurdity of anticlimax be named
beside Charlotte Bronte and her sister, has
told how sudden and how perfect was the
conversion wrought by a first reading of
the manuscript of \ Indiana ' on the grim
and truculent amity of her first literary
tutor and censor, the Rhadamanthine author
of ■ Fragoletta ' ; who certainly, to judge by
his own examples of construction, had some

48 CHARLOTTE BRONTE.

right to pronounce with authority how a
novel ought not to be written. But the
transfiguration of spirit and power revealed
by the marvellous advent of the English
masterpiece has in it a more splendid sign
of miracle than the fiery daybreak of George
Sand's.

There is yet a third point of contrast
which could not be passed over without such
gross and grievous injustice to the very
loveliest quality of George Eliot's work as
might deservedly expose me to the disgrace-
ful danger of a niche in the temple of ill-fame
by the side of those reserved for the repre-
sentative successors of Messrs. Gifford and
Croker. No man or woman, as far as I
can recollect, outside the order of poets, has
ever written of children with such adorable

CHARLOTTE BRONTE. 49

fidelity of affection as the spiritual mother
of Totty, of Eppie, and of Lillo. The fiery-
hearted Vestal of Haworth had no room re-
served in the palace of her passionate and
high-minded imagination as a nursery for
inmates of such divine and delicious quality.
There is a certain charm of attraction as well
as compassion wrought upon us by the tragic
childhood of Jane Eyre ; and no study can
exceed for exquisite veracity and pathos the
subtle and faultless portrait of the child
Paulina in the opening chapters of ' Villette ' ;
but the attraction of these is not wholly or
mainly the charm of infancy, as felt either in
actual fleshly life or in simple reflection from
the flawless mirror of loving and adoring
genius ; it comes rather from the latent sug-
gestion or refraction of the woman yet to be,

E

50 CHARLOTTE BRONTE.

struck sharply back or dimly shaded out from
the deep glass held up to us of a passionate
and visionary childhood. We begin at once
to consider how the children in Charlotte
Bronte's books will gtow up ; it is too evident
that they are not there for their own childish
sake — a fatal and infallible note of inferiority
from the baby-worshippers point of view.
What thickest-headed quarterly section or
subdivision cf a human dullard ever vexed his
pitifully scant quarter of an average allow-
ance of brains with the question how Totty
would grow up, and whether or not into a
modified likeness of her mother ? She is
Totty for ever and ever, a doubly immortal
little child, set in the lap of our love for the
kisses and the laughter of all time, to the last
generation of possible human readers. But

CHARLOTTE BRONTE. .51

of Paulina we cannot choose but take thought
with Lucy Snowe how such ' a very unique
child ' will grow up, and what brighter or
darker chances may then bring out in full her
terrible incalculable capacity of suffering and
of love. And, hard though it may be to de-
termine as with legal precision what strange
shape and colour may not be taken by human
affections under the pressure of circumstance
or the strain of suffering, it is yet so difficult
to believe, for instance, in the dread and re-
pulsion felt by a forsaken wife and tortured
mother for the very beauty and dainty sweet-
ness of her only new-born child, as recalling
the cruel sleek charm of the human tiger
who had begotten it, that we are wellnigh
moved to think one of the most powerfully
and exquisitely written chapters in ' Shirley '

E 2

52 CHARLOTTE BRONTE.

a chapter which could hardly have been
written at all by a woman, or for that matter
by a man, of however kindly and noble a
nature, in whom the instinct or nerve or
organ of love for children was even of average
natural strength and sensibility. Milton might
have conceived such a thing, but certainly
not Shakespeare ; or Corneille, but assuredly
not Hugo. Motherhood to Charlotte Bronte
must have been a more vague and dim ab-
straction than his camel to the mythical sage
of Germany or his seaport to the nautical
king of Bohemia. In George Eliot it is the
most vivid and vital impulse which lends to
her large intelligence the utmost it ever has of
the spiritual breath and living blood of genius;
and never had any such a gift more plainly and
immediately as from the very heart of heaven.

CHARLOTTE BRONTE. 53

Most of her men may have been overpraised
by her blatant and loose-tongued outriders
or pursuivants in the world of letters ; and
some also of her women may have been
praised at least up to the mark of their
deserts ; not one of her little children even
can be. They are good enough to play with
the little people of the greatest among poets,
from Astyanax down to Mamillius, and on-
wards again even to that poor ' Petit Paul '
but now baptized as in the tears — ' tears such
as angels weep' — of our mighty and most
loving Master. None among the many and
truly great qualities of their illustrious mother
seems to me so precious as this one ; so wholly
worthy of the more tender tribute paid by
men's loving thanks to something other if not
lovelier, and sweeter if less rare, than genius.

54 CHARLOTTE BRONTE.

But saving for her 'plentiful lack' of
inborn baby- worship I cannot think of any
great good quality most proper to the most
noble among women which was not eminent
in the genius as in the nature of Charlotte
Bronte. Take for example neither of her
great two masterpieces, but the most un-
equal and least fortunate of her three great
books. Weakest on that very side where the
others are strongest, ' Shirley ' is doubtless a
notable example of failure in the central and
crucial point of masculine character. Robert
Moore is rather dubious than damnable as a
study from the male ; but for his brother the
most fervent of special pleaders can hardly
find much to say on that score. No quainter
example of a woman of genius in breeches —
and very badly fashioned and badly fitting

CHARLOTTE BRONTE. 55

breeches too — was ever exhibited by George
Sand's very self, in the days when she refused
or accorded the gift of a memorial button off
her own to the soft petition of the suppliant
Heine. Assuredly ' Louis Moore ' would
never have passed muster with the very sto-
lidest of all Swiss as the one unmistakable
young man in a masquerading party of ques-
tionably mingled sexes — as I suppose we are
bound to take her word for it that the author of
1 Lettres d'un Voyageur ' did actually succeed
in passing. Glorious words are given him to
utter, but they come as from under a mask
without eyesight or feature or native organ
of speech. Miss Bronte has written nothing
finer, nothing of more vivid and exquisite elo-
quence, than the best passages of his diary ;
than the sweet and sublime rhapsody on a

56 CHARLOTTE BRONTE.

windy moonlit vigil, where the words have in
them the very breath and magic and riotous
radiance, the utter rapture and passion and
splendour of the high sonorous night. No
other woman that I know of, not George Sand
herself, could have written a prose sentence of
such exalted and perfect poetry as this : —
' The moon reigns glorious, glad of the gale ;
as glad as if she gave herself to its fierce
caress with love.' Nothing can beat that ; no
one can match it : it is the first and last abso-
lute and sufficient and triumphant word ever
to be said on the subject. It paints wind like
David Cox, and light like Turner. To find
anything like it in verse we must go to the
highest springs of all ; to Pindar or to Shelley
or to Hugo. And these, in the famous phrase
of Brummeirs valet — these are her failures.

CHARLOTTE BRONTE. 57

But what shall be said of her successes ?
Let us again take a single instance in wit-
ness of what one woman, and one only in all
time, has done for proof of what the greatest
of her kind can do in the loftiest- way of
moral insight and dramatic imagination.
Cervantes alone among all men has done the
like ; for Sterne has not ; for Thackeray has
not. There is no first sense of weakness
or faultiness or moral grotesque on his
part, of pity or question or amusement but
half compatible with reverence and tender
respect on our own, to overcome in the case
of Uncle Toby ; if from the first we have to
smile at him, we never from the first have to
wince or start as at something incongruous
with the qualities which evoke our general
and affectionate regard. And in the case of

58 CHARLOTTE BRONTE.

Colonel Newcome our sense of his intellec-
tual infirmity and imperfection is never quite
overcome or transfigured by our sense of his
moral and chivalrous excellence ; if indeed
it will ever quite allow us to shake or drive
off the lurking or recurring impression that
in the authors mind the very idea of good-
ness was inseparably inwoven and inwound
with the thought of some qualifying defor-
mity or characteristic debility, of something
in the very essence of its composition inferior
and infirm ; some weakness or malformation
of mind, some sprawling or splay-footed
imbecility corresponding to the physical dis-
figurement of Major Dobbin. One reason
or explanation not visibly inapt or inade-
quate to account for this ungracious im-
pression and the inevitable discomfort or

CHARLOTTE BRONTE. 59

disrelish left by it on the reader's taste may
perhaps be found to lie in the curiously
undisguised and exuberant admiration with
which his creator dilates and expatiates on
the charm and perfection of the good
Colonel's unquestionable goodness ; display-
ing as it were with insistent ostentation a
frankness of sympathy and irrepressible effu-
sion of demonstrative esteem for magnanimity
and virtue, which in time of afterthought
may or may not make us like all the better
and respect all the more the personality and
manhood of the workman, but which in
either case must needs to some extent impair
rather than enhance the actual and present
impression of his work.

For the creator of Don Quixote we need
make no such allowance ; we need make no

60 CHARLOTTE BRONTE.

such reservation on her behalf whose crown-
ing title to men's honour is that she was the
creator of Paul Emanuel. Had she none
other than this only, yet this alone would
place her among the highest of human rulers
in ' the brightest heaven of invention ' —

XdfiTrpovg Ivvcmttclq efXTrpiirovra^ aWept.

Most children, I suppose, who are at
once given to dreaming and capable of devo-
tion, must know the mood of loyal fancy and
tender ardour so perfectly expressed in the
wish of Mrs. Gaskell's little Maggie that she
could have waited as a servant on Don
Quixote ; and the feeling is akin to this with
which at a later age any one of kindred
nature, on their first intimate acquaintance,
and in a great degree ever after, is certain to
regard M. Paul. Supreme as is the spiritual

CHARLOTTE BRONTE. 61

triumph of Cervantes in the person of his
perfect knight over all insult and mockery of
brutal chance and ruffianly realities, all cud-
gels and all cheats and all contumely, it is
hardly a more marvellous or a completer
example of imaginative and moral mastery
than the triumph of Charlotte Bronte in the
quaint person of her grim little Professor
over his own eccentric infirmities of habit
and temper, more hazardous to our sense of
respect than any outward risk or infliction of
alien violence or mockery from duchesses or
muleteers ; a triumph so naturally drawn out
and delicately displayed in the swift steady
gradations of change and development, now
ludicrous and now attractive, and wellnigh
adorable at last, through which the figure of
M. Paul seems to pass as under summer

62 CHARLOTTE BRONTE.

lights and shadows, till it gradually opens
upon us in human fullness of self-unconscious
charm and almost sacred beauty — yet
always with the sense of some latent infu-
sion, some tender native admixture of a
quality at once loveable and laughable ; with
something indeed of that quaint sweet kind
of earnest affection and half-smiling venera-
tion which all men fit to read him feel to
their ' heart's root ■ for the person even more
than for the writings of Charles Lamb.
That our smile should in no wise impair for
one instant our reverence, that our reverence
should in no wise make us abashed or
ashamed for one moment at the recollection
of our smile — this is the final test and triumph
of a genius to which we find no likeness out-
side the very highest rank of creators in the

CHARLOTTE BRONTE. 63

sphere of spiritual invention or of moral
imagination.

All who have ever read it will remember

the exquisite saying of Chateaubriand so

exquisitely rendered by Mr. Arnold : — ' The

true tears are those which are called forth by

the beauty of poetry ; there must be as much

admiration in them as sorrow.' The true

tears are also those of a yet rarer kind, which

are called up at least, if not called forth, by

the beauty of goodness ; and in such unshed

tears as these are the thoughts as it were

baptised, which attend upon our memory of

some few among the imperishable shadows

of men created by man's genius ; phantoms

more actual and vital than the creators they

outlive, as mankind outlives the gods of its

64 CHARLOTTE BRONTE.

own creation. There is or should be for all
men such consecration in a great man's tears
as cannot but glorify the source and embalm
the subject of their flow. We may even, and
not unreasonably, suspect and fear that it
must be through some defect or default in
ourselves if we cannot feel as they do the
force or charm of that which touches others,
and these our betters as often as our equals,
so nearly ; if we cannot, for example, — as I
may regretfully confess that I never could —
feel adequately or in full the bitter sweetness
that so many thousands — and most notably
among them all a better man by far and a far
worthier judge than I — have tasted in those
pages of Dickens which hold the story of
Little Nell ; a story in which all the elabo-
rate accumulation of pathetic incident and

CHARLOTTE BRONTE. 65

interest, so tenderly and studiously built up,
has never, to speak truth, given me one
passing thrill — in the exquisitely fit and
faithful phrase of a great living poet, one
'sweet possessive pang' — of the tender
delight and pity requickened wellnigh to
tears at every fresh reperusal or chance
recollection of that one simpler page in
1 Bleak House ' which describes the baby
household tended by the little sister who
leaves her lesser charges locked up while she
goes out charing ; a page which I can
imagine that many a man unused to the
melting mood would not undertake to read
out aloud without a break. But this in-
ability to feel with those who have been
most deeply moved by the earlier design of
the same great master — sovereign over all

F

66 CHARLOTTE BRONTE.

competitors of his country and his day in the
conterminous provinces of laughter and of
tears — this incompetence or obduracy of
temper is anything but a source of self-com-
placent satisfaction when I remember that
foremost among these was the illustrious
man of lion-hearted genius who but thirteen
years since was still our greatest country-
man surviving from an age of godlike
giants and gods as yet but half divine; the
Roman who best knew Greece, the English-
man who best loved England ; the friend of
Pericles and of Chatham, the associate of
Sophocles and of Shakespeare ; the heroic
poet who retained at the age of Nestor what-
ever qualities were noblest in the nature of
Achilles — all the lightnings of his mortal
wrath, and all the tenderness of his immortal
tears.

CHARLOTTE BRONTE. 67

It is certainly no subject for a boast — per-
haps it properly should rather be matter for a
blush — that Landor's little favourite among
all the deathless children begotten by the
genius of Dickens should never have had
power to work such transformation on my
eyes as many a line of his own in verse or
prose has wrought so many a time upon
them : for if ever that sovereign power of
perfection was made manifest in human
words, such words assuredly were his,
whether English or Latin, who wrote that
epitaph on the martyred patriots of Spain, as
far exceeding in its majesty of beauty the
famous inscription for the Spartan three
hundred as the law of the love of liberty
exceeds all human laws of mere obedience ;
who gave back Iphigenia to Agamemnon for

F 2

68 CHARLOTTE BRONTE.

ever, and Vipsania for an hour to Tiberius.
Before the breath of such a spirit as speaks
in his transcendent words, the spirit of a loyal-
minded man is bowed down as it were at a
touch and melted into burning tears, to be
again raised up by it and filled and kindled
and expanded into something — or he dreams
so — of a likeness for the moment to itself.

Some portion of a faculty such as this,
some touch of the same godlike and wonder-
working might of imperious moral quality,
some flush of the same divine and plenary
inspiration, there was likewise in the noble
genius and heroic instinct of Charlotte
Bronte. Some part of the power denied to
many a writer of more keen and rare intel-
ligence than even hers we feel ' to the finest
fibre of our nature ' at the slight strong touch

CHARLOTTE BRONTE. 69

of her magnetic hand. The phrase of
' passionate perfection,' devised by Mr.
Tennyson to describe the rarest type of
highest human character, is admirably appli-
cable to her special style at its best. The
figure of the young missionary St. John
Rivers is by no means to be rated as one of
her great unsurpassable successes in spiritual
portraiture ; the central mainspring of his
hard fanatic heroism is never quite adequately
touched ; her own apparent lack of sympathy
with this white marble clergyman (counter-
part, as it were, of the ' black marble ' Brockle-
hurst, who chills and darkens the dreary
dawn of the story) seems here and there as
though it scarcely could be held down by
force of artistic conscience from passing into
actual and avowed aversion ; but the im-

70 CHARLOTTE BRONTE.

perishable passion and perfection of the
words describing the moorland scene of
which his eyes at parting take their long
last look must have drawn the tears to
many another man's that his own were not
soft enough to shed.

This instinct (if I may so call it) for
the tragic use of landscape was wellnigh
even more potent and conspicuous in Emily
than in Charlotte. Little need was there
for the survivor to tell us in such earnest
and tender words of memorial record how
' my sister Emily loved the moors ' : that
love exhales, as a fresh wild odour from
a bleak shrewd soil, from every storm-swept
page of ' Wuthering Heights.' All the heart
of the league-long billows of rolling and
breathing and brightening heather is blown

CHARLOTTE BRONTE.

with the breath of it on our faces as we read ;
all the wind and all the sound and all the
fragrance and freedom and gloom and glory
of the high north moorland — ' in winter
nothing more dreary, in summer nothing
more divine.' Even in Charlotte Bronte's
highest work I find no touches of such ex-
quisite strength and triumphant simplicity as
here. There is nothing known to me in any
book of quite equal or similar effect to that
conveyed by one or two of these. Take for
instance that marvellous note of landscape
struck as it seems unconsciously by the
heaven-born instinct of a supreme artist in
composition and colour, in tones and shades
and minor notes of tragic and magic sweet-
ness, which serves as overture to the last
fierce rapturous passage of raging love and

72 CHARLOTTE BRONTE.

mad recrimination between Heathcliff and
the dying Catherine ; the mention of the
church-bell that in winter could just be heard
ringing right across the naked little glen,
but in summer the sound was lost, muffled
by the murmur of blowing foliage and
branches full of birds. The one thing I
know or can remember as in some sort com-
parable in its effect to this passage is of
course that notice of the temple-haunting
martlet and its loved mansionry which serves
as prelude to the entrance of Lady Macbeth
from under the buttresses where its pendant
bed and procreant cradle bore witness to the
delicate air in which incarnate murder also
was now to breed and haunt. Even more
wonderful perhaps in serene perfection of
subdued and sovereign power is the last

CHARLOTTE BRONTE'. 73

brief paragraph of that stormy and fiery tale.
There was a dark unconscious instinct as of
primitive nature-worship in the passionate
great genius of Emily Bronte, which found
no corresponding quality in her sister's. It
is into the lips of her representative Shirley
Keeldar that Charlotte puts the fervent
\ pagan ' hymn of visionary praise to her
mother nature — Hertha, Demeter, 'ladeesse
des dieux,' which follows on her fearless
indignant repudiation of Milton and his Eve.
Nor had Charlotte's less old-world and
Titanic soul any touch of the self-dependent
solitary contempt for all outward objects of
faith and hope, for all aspiration after a
changed heart or a contrite spirit or a con-
verted mind, which speaks in the plain-song
note of Emily's clear stern verse with such

74 CHARLOTTE BRONTE.

grandeur of antichristian fortitude and self-
controlling self-reliance, that the ' halting
slave ' of Epaphroditus might have owned for
his spiritual sister the English girl whose
only prayer for herself, ' in life and death' — a
self-sufficing prayer, self-answered, and ful-
filled even in the utterance — was for ' a
chainless soul, with courage to endure.' Not
often probably has such a petition gone up
from within the walls of a country parsonage

as this : —

And if I pray, the only prayer

That moves my lips for me,
Is — Leave the heart that now I bear,

And give me liberty !

That word which is above every word might
surely have been found written on that
heart. Her love of earth for earth's sake,
her tender loyalty and passionate reverence

CHARLOTTE BRONTE. 75

for the All-mother, bring to mind the words
of her sister's friend, and the first eloquent
champion of her own genius : —

I praise thee, mother earth ! oh earth, my mother !
Oh earth, sweet mother ! gentle mother earth !
Whence thou receivest what thou givest I
Ask not as a child asketh not his mother,
Oh earth, my mother !

No other poet's imagination could have con-
ceived that agony of the girl who dreams
she is in heaven, and weeps so bitterly for
the loss of earth that the angels cast her out
in anger, and she finds herself fallen on the
moss and heather of the mid moor-head,
and wakes herself with sobbing for joy. It
is possible that to take full delight in Emily
Bronte's book one must have something
by natural inheritance of her instinct and
something by earliest association of her

76 CHARLOTTE BRONTE.

love for the same special points of earth —
the same lights and sounds and colours
and odours and sights and shapes of the
same fierce free landscape of tenantless and
fruitless and fenceless moor ; but however
that may be, it was assuredly with no less
justice of insight and accuracy of judgment
than humility of self-knowledge and fide-
lity of love that Charlotte in her day of
solitary fame assigned to her dead sister
the crown of poetic honour which she as
rightfully disclaimed for herself. Full of
poetic quality as her own work is through-
out, that quality is never condensed or
crystallised into the proper and final form
of verse. But the pure note of absolutely
right expression for things inexpressible in
full by prose at its highest point of ade-

CHARLOTTE BRONTE. 77

quacy — the formal inspiration of sound which
at once reveals itself, and which can fully
reveal itself by metrical embodiment alone,
in the symphonies and antiphonies of regu-
lar word-music and definite instinctive modu-
lation of corresponsive tones — this is what
Emily had for her birthright as certainly as
Charlotte had it not. Here are a few lines to
give evidence for themselves on that score.

He comes with western winds, with evening's wander-
ing airs,

With that clear dusk of heaven that brings the thickest
stars.

Winds take a pensive tone, and stars a tender fire,

And visions rise, and change, that kill me with desire.

Desire for nothing known in my maturer years,
When Joy grew mad with awe, at counting future tears.

******
Oh, dreadful is the check — intense the agony —
When the ear begins to hear, and the eye begins to

see;
When the pulse begins to throb, the brain to think

again,
The soul to feel the flesh, and the flesh to feel the chain.

78 CHARLOTTE BRONTE.

If here is not the pure distinctive note of
song as opposed to speech — the ' lyrical cry,'
as Mr. Arnold calls it — I know not where
to seek it in English verse since Shelley.
Another such unmistakable note is struck
in the verses headed ' Remembrance,' where
the deep sense of division wellnigh melts
and dies into a dream of reunion and re-
vival by the might of memories 'that are
most dearly sweet and bitter.' Here too is
the same profound perception of an abiding
power, but little less if surely less than
omnipotence, in the old dumb divinities of
Earth and Time — gods only not yet found
strong enough to divide long love from

death ;

Severed at last by Time's all-severing wave.

All these samples are from the little

CHARLOTTE BRONTE. 79

triune publication of 1846; which gave also
some witness of the latent and labouring
powers, as yet unsure of aim and outlet,
but feeling their unquiet way to right and
left in the deep underworld of Charlotte
Brontes growing genius. But the final ex-
pression in verse of Emily's passionate and
inspired intelligence was to be uttered from
lips already whitened though not yet chilled
by the present shadow of unterrifying death.
No last words of poet or hero or sage or
saint were ever worthy of longer and more
reverent remembrance than that appeal
which is so far above and beyond a prayer
to the indestructible God within herself;
a psalm of trust so strangely (as it seems)
compounded of personal and pantheistic faith,
at once fiery and solemn, full alike of re-

80 CHARLOTTE BRONTE.

signation and of rapture, far alike from the
conventions of vulgar piety and the com-
placencies of scientific limitation ; as utterly
disdainful of doctrine as of doubt, as con-
temptuous of hearsay as reverent of itself,
as wholly stripped and cleared and lightened
from all burdens and all bandages and all
incrustations of creed as it is utterly per-
vaded and possessed by the sublime and
irrefutable passion of belief.

The praise of Emily Bronte can be no
alien or discursive episode in the briefest and
most cursory notice, the least adequate or ex-
haustive panegyric of her sister ; and far less
would it have seemed less than indispensable
to that most faithful and devoted spirit of
indomitable love which kept such constant

CHARLOTTE BRONTE. 81

watch over her memory, and fought so good
a fight for her fame. There is no more sig-
nificant or memorable touch of nature in the
records of her noble soul and unalterable
heart than we find in her instant and her life-
long thankfulness for the fervent tribute of
Mr. Dobell to the profound and subtle genius,
then already fallen still and silent, which had
moved as a wind upon the tragic and perilous
waters of passion overtopped by the shadow
of ' Wuthering Heights.' Those who would
understand Charlotte, even more than those
who would understand Emily, should study
the difference of tenderness between the
touch that drew Shirley Keeldar and the
touch that drew Lucy Snowe. This latter
figure, as Mr. Wemyss Reid has observed
with indisputable accuracy of insight, was
G

82 CHARLOTTE BRONTE.

doubtless, if never meant to win liking or
made to find favour in the general reader's
eyes, yet none the less evidently on that ac-
count the faithful likeness of Charlotte Bronte,
studied from the life, and painted by her own
hand with the sharp austere precision of a
photograph rather than a portrait. But it is
herself with the consolation and support of
her genius withdrawn, with the strength of
her spiritual arm immeasurably shortened, the
cunning of her right hand comparatively can-
celled ; and this it is that makes the main un-
dertone and ultimate result of the book some-
what mournfuller even than the literal record
of her mournful and glorious life. In the
house where I now write this there is a picture
which I have known through all the years
I can remember — a landscape by Crome ;

CHARLOTTE BRONTE. 83

showing just a wild sad track of shoreward
brushwood and chill fen, blasted and wasted
by the bitter breath of the east wind blowing
off the eastward sea, shrivelled and subdued
and resigned as it were with a sort of grim
submission to the dumb dark tyranny of a full-
charged thunder-cloud which masks the mid
heaven of midnoon with the heavy muffler of
midnight, and leaves but here and there a
dull fierce gleam of discomfortable and
deadened sunlight along the haggard sky-line
or below it. As with all this it is yet always
a pleasure to look upon so beautiful and noble
a study of so sad and harsh-featured an out-
lying byway through the weariest waste
places of the world, so is it in its kind a per-
petual pleasure to revisit the wellnigh sunless
landscape of Lucy Snowe's sad, passionate,
g 2

84 CHARLOTTE BRONTE.

and valiant life. But to us, knowing what
we all now know of the designer, there seems
a touch of pathos beyond all articulate ex-
pression in the contrast, when we turn from
this to the ideal decoration of Shirley
Keeldar's, and remember that here is the
vision of the life she would fain have realized
for her dead and best beloved and most dearly
honoured sister ; who had had in the days of
her actual life as harsh and strange a time of
it as her own. From the character of Shirley,
as from the character of Lucy Snowe, the
artist has naturally as of necessity withdrawn
the component element that in its effect and
result at least was or is for us now the
dominant and distinctive quality of Emily
Bronte as of Charlotte — the special gift and
application of her creative genius ; and on the

CHARLOTTE BRONTE. 85

other hand we can barely imagine that
austere and fiery poetess, a creature so ad-
mirably and terribly compounded of tragic
genius and Stoic heroism, a jester of plea-
santry so bitter and so grim in those brief
bleak flashes of northern humour that
lighten across the byways of her book from
the rigid old lips of the Calvinist farm-servant
— we can barely, I say, conceive of her as ex-
changing such rapid passes of light bright
fence in a laughing war of words with the
reverend and gallant old Cossack Helstoneas
sharpen and quicken the dialogue and action
of the most gracious and joyous interlude in
' Shirley.' Yet surely Charlotte should have
known as well as she loved her sister ;
and therefore we may more reasonably and
more confidently infer that but for the

86 CHARLOTTE BRONTE.

brilliant study of Shirley Keeldar we should
never have seen with the eye of our imagina-
tion any other than a misconceived and
mutilated portrait, a disfigured and disco-
loured likeness of Emily Bronte ; one cur-
tailed of the fair proportions, if not diminished
from the natural stature of her spirit ;
discrowned and disinherited of its livelier
and gentler charm of living feature, though
not degraded or dethroned from the august
succession to their strength for endurance or
rebellion most beseeming a lineal daughter
of the earth-born giants, more ancient in
their godlike lineage than all modern reign-
ing gods.

The habit of direct study from life which
has given us, among its finest and most pre-
cious results, these two contrasted figures of

CHARLOTTE BRONTE. 87

Shirley Keeldar and Lucy Snowe, affords
yet another point of contrast or distinction
between the manner and motive of work
respectively perceptible in the design ot
either sister. Emily Bronte, like William
Blake, would probably have said, or at least
would presumably have felt, that such study
after the model was to her impossible — an
attempt but too certain to diminish her
imaginative insight and disable her crea-
tive hand ; while Charlotte evidently never
worked so well as 'when painting more or
less directly from nature. Almost the only
apparent exception, as far as we — the run of
her readers — know, is the wonderful and
incomparable figure of Rochester. For M.
Paul she must have had some kind of model,
however transfigured and dilated by the

88 CHARLOTTE BRONTE.

splendid influence of her own genius ; for
such studies as Madame Beck and Miss
Fanshawe she doubtless had the sitters in
her mind's eye as clearly and as close as
under the lens of a photographic machine ;
but how she came first to conceive and
finally to fashion that perfect study of noble
and faultful and suffering manhood remains
one of the most insoluble riddles ever set by
genius as a snare or planned as a maze for
the judgment of any lesser intelligence than
its own. There in any case is the result —
alive at all events, and deathless ; defiant alike
of explanation or reproduction by any critic
or copyist. The incredible absurdity and
the ineffable impertinence of one solution
proposed at the time, which sought in the
dedication of the book for a hint at the ori-

CHARLOTTE BRONTE. 89

ginal of the hero, were worthy of the flat-
headed and fork-tongued generation which
could produce a notorious comment on
1 Jane Eyre,' to the effect that its author must
be a woman who long since had deservedly
forfeited the society of her own sex. It is
of infinitely small moment that we know
only by its offence the obscene animal now
nailed up for this offence by the ear, though
not by name — its particular name being as
undiscoverable as its generic designation is
unmistakable — to the undecaying gibbet of
immemorial contempt. When a farmer used
to nail a dead polecat on the outside of his
barndoor, it was surely less from any specific
personal rancour of retaliatory animosity to-
wards that particular creature than by way
of judicial admonition to the tribe as yet

9o CHARLOTTE BRONTE.

untrapped, the horde as yet unhanged, which
might survive to lament, if not to succeed, the
malodorous malefactor. No mortal can now
be curious to verify the name as well as the
nature of the typical specimen which then
emitted in one spasm of sub-human spite at
once the snarl and the stench proper to its
place and kind. But we know that from the
earlier days of Shelley onwards to these later
days of Tennyson, whatsoever things are
true, whatsoever things are honest, whatso-
ever things are just, whatsoever things are
pure, whatsoever things are lovely, whatso-
ever things are of good report, become untrue,
dishonest, unjust, impure, unlovely, and ill-
famed, when passed through the critical
crucible of the Quarterly Review.

For many among the minor types in

CHARLOTTE BRONTE. 91

Charlotte Bronte's works it was seemingly
somewhat easier than perhaps it should have
been at the time of their appearance to
detect the living and not always other than
unoffending antitypes. If the immortal three
curates of ■ Shirley ' did indeed admit their
respective likenesses, and accept for each
other and themselves the names by which
they were rebaptized in such bitter waters of
ridicule — a font filled rather from the springs
of Marah than the stream of Jordan, which
served Chateaubriand's purpose so much
better than the upshot of the ceremony would
seem to have served his prince — it must in
common justice be owned that the admirable
candour and good humour of her models
should have touched their satirist with a sense
of something keener than compunction ; for

92 CHARLOTTE BRONTE.

such simple honesty and hearty courtesy as
must have been more than needed to make
the very dullest and most impervious of
reverend or irreverend gentlemen continue
to bear themselves with the frank civility of
kindly custom towards the solitary and
sorrowful woman whose scornful genius had
done its worst on them — and that worst, even
to a thick-headed and thick-skinned victim,
how terrible ! — must surely also have been
more than sufficient to disprove the full
justice of the caricature, and impeach the
accuracy of whatever was most offensive in
her design or injurious in her imputations.
To the vivid yet temperate fidelity of the
Yorke family group we have the witness of
a member offered to the photographer of that
singular and sharply outlined circle. In most

CHARLOTTE BRONTE. 93

cases probably the design begun by means
of the camera was transferred for comple-
tion to the canvass. The likeness of Mr.
Helstone to Mr. Bronte, for example, was
thus at once enlarged and subdued,
heightened and modified, by the skilful and
noble instinct which kept it always within
the gracious and natural bounds prescribed
and maintained by the fine tact of filial
respect. No more lifelike or memorable
portrait was ever wrought into the com-
position of an ideal or historic picture by the
loftiest art of any Venetian painter. The
man's hard, rigid, contemptuous, yet never
quite unkindly or unrighteous force of cha-
racter— his keen enjoyment of action and
struggle, his fierce imperious relish of resist-
ance— the fine soldierly quality of spirit,

94 CHARLOTTE BRONTE.

somewhat too generally mistimed or mis-
placed, for lack of fit or full occasion to call
it forth, which makes him always less ready
to ' go with sir priest than sir knight —all
these points are relieved and combined with
a skill and strength of touch, perhaps incom-
parable in the work of any other woman.

But time and cunning would fail us to
discover, as art and eloquence would fail us
to commend, a tithe of the examples that
might and should be cited in evidence of that
noble and fruitful genius which found in the
frail temple of her mortal life a minister so
high and pure of spirit, so faithful and heroic
of heart. Nowhere is its peculiar gift of
subtle and pathetic veracity more notable
than in the brief last pages written between
the too closely neighbouring dates of her

. CHARLOTTE BRONTE. 95

marriage and her death ; a precious fragment
to which the few and fine words of introduc-
tion prefixed by the illustrious writer who
had been the peculiar god of her inmost
idolatry have always seemed to me worthy
of special remembrance among the truest and
the noblest, the manliest and the kindliest
lines that ever came from the pen of Mr.
Thackeray. It is a coincidence as memor-
able as it is deplorable that so many of the
best and greatest who have died within the
reach of our recollection should have left,
like these, some splendid and broken sample
of their highest workmanship unfinished for
the admiration and the craving and the
fruitless passionate regret of aftertime ; even
as Shakespeare himself left behind him the
two colossal fragments that a hand in the one

96 CHARLOTTE BRONTE.

case only lesser than his own, in the other
case as impotent and impertinent as the hand
of his very worst and latest commentator,
ventured to rehandle and recast into the
shapes under which we know them as
* Timon of Athens ' and ' The Two Noble
Kinsmen/ Too soon after he had ' taken to
foster' Charlotte Bronte's little orphan tale of
' Emma,' Mr. Thackeray had in turn to leave
half unshapen, and recognisable only by grand
rough indications of its giant parentage, what
should have been the stateliest and most
stalwart offspring of his latter years — born to
disprove the premature charge of compara-
tive decadence and debility not unjustly
incurred by its more immediate predecessors ;
then the great man so improperly rated as
his rival passed also away in the mid heat of

CHARLOTTE BRONTE. 97

work, leaving again but a bright fragment of
perplexing shape and splendour ; and now
but lately the biographer of Dickens likewise
has left us cheated of the ardent and grateful
hopes that were fixed on the completion of
the first adequate or trustworthy Life of
Swift. Not one of these nor of all their
generation has left or yet will leave a nobler
memory, and it may well be that in the eyes
of Englishmen yet unborn not one will be
found to have left a nobler memorial, than
the unforgotten life and the imperishable
works of Charlotte Bronte.

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29

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Oakshott Castle. | Number Seventeen
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It is Never Too Late to Mend
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32

BOOKS PUBLISHED BY CHATTO &> WIND US.

Cheap Popular Novels, continued—
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Griffith Gaunt.
Put Yourself in His Place.
The Double Marriage.
Love Me Little, Love Me Long.
Foul Play.

The Cloister and the Hearth.
The Course of True Love.
Autobiography of a Thief.
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Her Mother's Darling.
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Fairy Water.

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Women are Strange.
The Hands of Justice.

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One Against the World.
Guy Waterman.
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Two Dreamers.

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Joan Merryweather.
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New Arabian Nights.

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Diamond Cut Diamond.

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John Caldigate.
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Like Ships upon the Sea.
Anne Furness.
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Land at Last.

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Esther's Glove. By R. E. Francillon.
The Garden that Paid the Rent.

By Tom Jerrold.

J. OQDEN AND CO., PRINTERS, X7J, ST JOHN STREET, E.C.

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