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
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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.