instance, the child-phantom which appears both to Jane Eyre and to Nelly
Dean in _Wuthering Heights_; or the rainy day and the fireside scene,
which occur in the third chapter of _Wuthering Heights_ and the opening
chapter of _Jane Eyre_. Others again, such as the parallel between the
return of Heathcliff to Catherine and that of Jane to Rochester, will
not bear examination for a moment. Of this and most of Mr.
Malham-Dembleby's parallels it may be said that they only maintain their
startling character by the process of tearing words from their
sentences, sentences from their contexts, contexts from their scenes,
and scenes from the living body of each book. Apparently to Mr.
Malham-Dembleby, a book, at any rate a Brontë book, is not a living
body; each is a box of German bricks, and he takes all the boxes and
tumbles them out on the floor together and rearranges them so as to show
that, after all, there was only one box of bricks in the family, and
that was Charlotte's. Much of his argument and the force of his parallel
passages depends on the identification of the characters in the Brontë
works, not only with their assumed originals, but with each other. For
Mr. Malham-Dembleby's purposes poor M. Héger, a model already
remorselessly overworked by Charlotte, has to sit, not only for M.
Pelet, for Rochester and Yorke Hunsden, for Robert and for Louis Moore,
but for Heathcliff, and, if you would believe it, for Hareton Earnshaw;
because (parallel passage!) the younger Catherine and Hareton Earnshaw
were teacher and pupil, and so (when she taught him English) were
Charlotte and M. Héger.
Mr. Malham-Dembleby's work of identification is made easier for him by
his subsidiary discovery of Charlotte's two methods, Method I,
interchange of the sex; Method II, alteration of the age of her
characters. With this licence almost any character may be any other.
Thus Hareton Earnshaw looking at Catherine is Jane Eyre looking at Mr.
Rochester. When he touches her Nelly Dean says, "He might have stuck a
knife into her, she started in such a taking"; and Rochester says to
Jane, "You stick a sly penknife under my ear" (parallel passage!).
Lockwood at Wuthering Heights is Jane Eyre at Thornton Hall; Heathcliff
appearing at Lockwood's bedside, besides being M. Héger and Rochester,
is Rochester's mad wife. Heathcliff returning to Catherine is Jane
returning to Rochester, and so on. But however varied, however
apparently discriminated the characters, M. Héger is in all the men, and
Charlotte is in all the women, in the two Catherines, in Jane Eyre and
Frances Henri; in Caroline Helstone, in Pauline Bassompierre, and Lucy
Snowe.
Now there is a certain plausibility in this. With all their vividness
and individuality Charlotte Brontë's characters have a way of shading
off into each other. Jane has much in common with Frances and with Lucy,
and Lucy with Pauline. Her men incline rather to one type, that of the
masterful, arbitrary, instructive male; that is the type she likes best
to draw. Yorke Hunsden in _The Professor_ splits up into Rochester and
Robert Moore and Mr. Yorke; and there is a certain amount of Paul
Emanuel in all of them. But life gives us our types very much that way,
and there is a bit of somebody else in everybody. It is easy to suggest
identity by exaggerating small points of resemblance and suppressing
large and essential differences (which is what Mr. Malham-Dembleby does
all the time). But take each whole living man and woman as they have
been created for us, I don't care if Catherine Earnshaw and Jane Eyre
_did_ each have a fit of passion in a locked room, and if a servant
waited upon each with gruel; there is no earthly likeness between the
soul of Catherine and the soul of Jane. I don't care if there was
"hell-light" in Rochester's eyes and Heathcliff's too, if they both
swore by the "Deuce", and had both swarthy complexions like Paul
Emanuel; for there is a whole universe between Heathcliff and Rochester,
between Rochester and M. Paul. Beside Heathcliff, that Titan raging on a
mountain-top, M. Paul is merely a little man gesticulating on an
_estrade_.
So much for the identifications. Mr. Malham-Dembleby has been tempted to
force them thus, because they support his theory of M. Héger and of the
great tragic passion, as his theory, by a vicious circle, supports his
identifications. His procedure is to quote all the emotional passages he
can lay his hands on, from the _Poems_, from _Wuthering Heights_, from
_Jane Eyre_, from _Villette_ and _The Professor_, "... all her life's
hope was torn by the roots out of her own riven and outraged heart..."
(_Villette_) "... faith was blighted, confidence destroyed..." (_Jane
Eyre_) ... "Mr. Rochester" (M. Héger, we are informed in confidential
brackets) was not "what she had thought him". Assuring us that
Charlotte was here describing her own emotions, he builds his argument.
"Evidence" (the evidence of these passages) "shows it was in her dark
season when Charlotte Brontë wrote _Wuthering Heights_, and that she
portrayed M. Héger therein with all the vindictiveness of a woman with
'a riven, outraged heart', the wounds in which yet rankled sorely." So
that, key in hand, for "that ghoul Heathcliff!" we must read "that ghoul
Héger". We must believe that _Wuthering Heights_ was written in pure
vindictiveness, and that Charlotte Brontë repudiated its authorship for
three reasons: because it contained "too humiliating a story" of her
"heart-thrall"; because of her subsequent remorse (proof, the modified
animus of her portrait of M. Héger as Rochester and as M. Paul), and for
certain sound business considerations. So much for internal evidence.
Not that Mr. Malham-Dembleby relies on it altogether. He draws largely
upon legend and conjecture, and on more "sensational discoveries" of his
own. He certainly succeeds in proving that legend and conjecture in
Brussels began at a very early date. Naturally enough it fairly flared
after the publication of _Jane Eyre_. So far there is nothing new in his
discoveries. But he does provide a thrill when he unearths Eugène Sue's
extinct novel of _Miss Mary, ou l'Institutrice_, and gives us parallel
passages from that. For in _Miss Mary_, published in 1850-51[A] we have,
not only character for character and scene for scene, "lifted" bodily
from _Jane Eyre_, but the situation in _The Professor_ and _Villette_ is
largely anticipated. We are told that Eugène Sue was in Brussels in
1844, the year in which Charlotte left the Pensionnat. This is
interesting. But what does it prove? Not, I think, what Mr.
Malham-Dembleby maintains--that M. Héger made indiscreet revelations to
Eugène Sue, but that Eugène Sue was an unscrupulous plagiarist who took
his own where he found it, either in the pages of _Jane Eyre_ or in the
tittle-tattle of a Brussels salon. However indiscreet M. Héger may have
been, he was a man of proved gravity and honour. He would, at any rate,
have drawn the line at frivolous treachery. Nobody, however, can answer
for what Madame Héger and her friends may not have said. Which disposes
of Eugène Sue.
[Footnote A: Serially in the _London Journal_ in 1850; in volume form in
Paris, 1851. It is possible, but not likely, that Eugène Sue may have
seen the manuscript of _The Professor_ when it was "going the round".]
Then there is that other "sensational discovery" of the Héger portrait,
that little drawing (now in the National Portrait Gallery) of Charlotte
Brontë in curls, wearing a green gown, and reading _Shirley_. It is
signed Paul Héger, 1850, the year of _Shirley's_ publication, and the
year in which Charlotte sat to Richmond for her portrait. There are two
inscriptions on the back: "The Wearin' of the Green; First since Emily's
death"; and below: "This drawing is by P. Héger, done from life in
1850." The handwriting gives no clue.
Mr. Malham-Dembleby attaches immense importance to this green gown,
which he "identifies" with the pink one worn by Lucy in _Villette_. He
says that Lady Ritchie told him that Charlotte wore a green gown at the
dinner-party Thackeray gave for her in June, 1850; and when the green
gown turns out after all to be a white one with a green pattern on it,
it is all one to Mr. Malham-Dembleby. So much for the green gown. Still,
gown or no gown, the portrait _may_ be genuine. Mr. Malham-Dembleby says
that it is drawn on the same paper as that used in Mr. George Smith's
house, where Charlotte was staying in June 1850, and he argues that
Charlotte and M. Héger met in London that year, and that he then drew
this portrait of her from the life. True, the portrait is a very
creditable performance for an amateur; true, M. Héger's children
maintained that their father did not draw, and there is no earthly
evidence that he did; true, we have nothing but one person's report of
another person's (a collector's) statement that he had obtained the
portrait from the Héger family, a statement at variance with the
evidence of the Héger family itself. But granted that the children of M.
Héger were mistaken as to their father's gift, and that he did draw this
portrait of Charlotte Brontë from Charlotte herself in London in 1850,
I cannot see that it matters a straw or helps us to the assumption of
the great tragic passion which is the main support of Mr.
Malham-Dembleby's amazing fabrication.
APPENDIX II
Leyland's theory is that Branwell Brontë wrote the first seventeen
chapters of _Wuthering Heights_. It has very little beyond Leyland's
passionate conviction to support it. There is a passage in a letter of
Branwell's to Leyland, the sculptor, written in 1845, where he says he
is writing a three-volume novel of which the first volume is completed.
He compares it with "Hamlet" and with "Lear". There is also Branwell's
alleged statement to Mr. Grundy. And there is an obscure legend of
manuscripts produced from Branwell's hat, before the eyes of Mr. Grundy,
in an inn-parlour. Leyland argues freely from the antecedent probability
suggested by Branwell's letters and his verse, which he published by way
of vindication. He could hardly have done Branwell a worse service.
Branwell's letters give us a vivid idea of the sort of manuscripts that
would be produced, in inn-parlours, from his hat. As for his verse--that
formless, fluent gush of sentimentalism--it might have passed as an
error of his youth, but for poor Leyland's comments on its majesty and
beauty. There are corpses in it and tombstones, and girls dying of
tuberculosis, obscured beyond recognition in a mush of verbiage. There
is not a live line in it. One sonnet only, out of Branwell's many
sonnets, is fitted to survive. It has a certain melancholy, sentimental
grace. But it is not a good sonnet, and it shows Branwell at his best.
At his worst he sinks far below Charlotte at her worst, and, compared
with Emily or with Charlotte at her best, Branwell is nowhere. Even Anne
beats him. Her sad, virginal restraint gives a certain form and value
to her colourless and slender gift.
There is a psychology of such things, as there is a psychology of works
of genius. Emily Brontë's work, with all its faults of construction,
shows one and indivisible, fused in one fire from first to last. One
cannot take the first seventeen chapters of _Wuthering Heights_ and
separate them from the rest. There is no faltering anywhere and no break
in the power and the passion of this stupendous tale. And where passion
is, sentimentalism is not. And there is not anywhere in _Wuthering
Heights_ a trace of that corruption which for the life of him Branwell
could not have kept out of the manuscripts he produced from his hat.
INDEX
Absolute, the, 16, 176.
_Agnes Grey_, 39, 40, 49.
Augustine, St., 185.
Ballynaskeagh, 20.
Balzac, 54, 120, 121, 163.
Bassompierre, Pauline de, in
Villette, 153-157.
Being, 184.
-- Parmenides on, 185.
Birrell, Mr., 14, 20, 31, 41, 65.
Blake, William, 175, 178.
Branwell, Miss, at Haworth, 23,
24.
-- -- death of, 36.
-- Maria, marries Rev. Patrick
Brontë, 20.
-- -- illness of, 23.
-- -- death of, 23.
Brontë--
Anne, 49-57.
-- 27, 28.
-- at Thornton, 20.
-- at Haworth, 20, 27, 33,
39.
-- at Thorp Green, 33, 36,
38, 50.
-- in London, 40.
-- character of 49-51, 55,
56.
-- death of, 45.
-- diary of, 34, 168, 194.
-- Poems of, 54-57, 188,
246.
-- novels of, 39, 49-54.
-- and Branwell Brontë
compared, 54, 246.
Charlotte, 57-167.
Charlotte at Thornton, 20.
-- at Haworth, 15, 16, 19,
20, 21, 22, 25, 26, 27, 31,
37, 39, 46, 47, 69, 83, 94,
103, 105, 165, 235, 236.
-- at Cowan Bridge, 24, 25,
27, 236.
-- at Roe Head, 26, 27, 94,
95.
-- at Dewsbury Moor, 27,
94.
-- at Stonegappe, 28, 62-64.
-- at Rawdon, 33, 35, 67.
-- in Brussels, 15, 35-37,
81-90, 158, 241, 246.
-- in London, 15, 40, 46,
47, 244.
-- character of, 16, 66 et
seq., 80, 82, 83-86, 167.
-- death of, 48, 49.
-- early writings of, 101-104.
-- genius of, 13, 14, 19, 20,
21, 22, 25, 26, 35, 80, 91,
103, 104, 130, 131, 171,
233.
-- marriage of, 47-49.
-- novels of, 105-165.
-- Poems of, 39, 103, 164,
169, 170, 246.
-- her love of children,
64-67, 156.
-- and Emily Brontë compared,
48, 167-169, 229-231,
233.
-- Mr. Swinburne on, 14,
31, 64, 65, 66, 68.
Emily Jane, 167-234.
-- at Haworth, 19, 20-22,
25, 26, 27, 39.
-- at Cowan Bridge, 24, 25.
-- at Roe Head, 27, 39.
-- at Halifax, 27.
-- in Brussels, 35, 36, 37.
-- death of, 43, 44, 139,
140, 173.
-- character of, 27, 167-173.
-- diary of, 33, 38, 194.
-- genius of, 14, 15, 16, 17,
22, 171, 172, 185-186, 187,
208, 209, 229, 233, 234, 236.
-- Poems of, 17, 39, 174-185,
231, 232.
-- mysticism of, 16, 168,
171, 173-181, 186.
-- novel of, 39.
-- paganism of, 16, 135,
136, 174, 186, 208, 214.
-- and Charlotte Brontë
compared, 48, 167-169, 229-231,
233.
-- M. Maeterlinck on, 14,
170, 213.
-- Mr. Swinburne on, 14,
174.
Maria, 20, 22.
-- at Cowan Bridge, 24, 25.
-- character of, 24, 25.
-- death of, 25.
Patrick Branwell, 15, 22, 27,
28, 29, 30, 34, 54, 55, 58,
59, 61, 199, 236.
-- at Thornton, 20.
-- at Haworth, 20, 25,
28-30, 34, 42.
-- at Bradford, 28, 29.
-- at Luddenden Foot, 34.
-- at Thorp Green, 40, 41.
-- in London, 29.
-- character of, 40-43, 50-54.
-- death of, 43.
-- authorship of _Wuthering
Heights_ ascribed to, 233, 246,
247.
Patrick Branwell and Emily
Brontë compared, 246, 247.
-- and Anne Brontë compared,
54, 233.
-- and Mrs. Robinson, 40,
41, 50-52.
-- Poems of, 28, 29, 42,
164, 233, 246.
Patrick, Rev., 20-22, 24, 25,
36, 37, 42, 43, 83.
-- at Thornton, 20.
-- at Haworth, 20.
-- in Ireland, 20, 21.
-- character of, 20, 21, 22,
24.
-- works of, 22.
_Brontës, The Fact and Fiction_, by
Angus Mackay, 81.
Brown, John, 28, 29, 30, 51.
Brussels, Charlotte Brontë in, 15,
35-37, 81-90, 158, 241, 246.
-- Emily Brontë in, 35, 36, 37.
-- influence of, 15, 81-90, 158.
Byron, 121, 206, 207.
Children, love of, 64-67, 156.
-- in Charlotte Brontë's
novels, 64, 65, 66, 156.
-- in George Eliot's novels,
64, 156.
Cowan Bridge School, 24, 25, 27,
91, 236.
Creative Impulse, the, 23, 155,
157.
Criticism of Charlotte Brontë,
15, 31-33, 64-75, 78-81, 117,
120, 122.
-- of _Jane Eyre_, 114, 117,
120-124, 128-142.
-- of _Shirley_, 65, 68, 131, 132,
137, 138, 143.
-- of _Villette_, 143-149, 153-160,
162, 163.
-- of _Emma_, 161, 162.
-- of Charlotte Brontë's
_Poems_, 164, 165.
-- of Emily Brontë's _Poems_,
174-209.
Criticism of _Wuthering Heights_,
209-234.
-- of _Agnes Grey_, 49, 50.
-- of _The Tenant of Wildfell
Hall_, 54, 55.
-- of Anne Brontë's _Poems_,
54-57, 188, 246.
Dean, Nelly, in _Wuthering
Heights_, 222, 224, 225, 229.
Destiny, 35, 36, 37, 39, 48, 103,
105, 234.
_Destiny, Wisdom and_, quoted, 170.
Dewsbury, Charlotte Brontë at,
27, 94.
Dialogue, 116, 117, 139, 140, 149,
230.
Diary, Emily Brontë's, 33, 38,
194.
-- Anne Brontë's, 34, 168,
194.
Dimnet, M., 15, 16, 51, 163.
-- -- his criticism of Charlotte
Brontë, 16.
-- -- his criticism of
_Wuthering Heights_, 17.
Dobell, Sydney, on Emily
Brontë, 232.
Dramatic instinct of Charlotte
Brontë, 163, 231, 232.
-- -- of Emily Brontë, 231,
232.
Duclaux, Madame, 14, 20, 21, 44,
50, 61, 120.
-- -- her Emily Brontë,
14, 21, 44, 50, 120, 167, 182.
-- -- on _Wuthering Heights_
211, 212.
Dunton, Mr. Theodore Watts-,
14, 15.
Earnshaw, Catherine, 169,
173, 208-229.
-- -- character of, 212-216,
227.
-- Hareton, 209-212.
-- -- character of, 215-218,
226.
Earth, the, 127, 136, 143, 173,
207, 208, 224.
-- Emily Brontë's love of,
136, 174, 175, 208, 222.
-- Genius of, 175.
-- Poem to, 207, 208.
Ecstasy, 179.
Eliot, George, 64, 143, 156, 171.
Emanuel, Paul, 105, 144-146,
148-153, 157, 242, 243.
_Emma, Fragment of_, 161, 162.
Experience, 144 et seq., 170, 172,
173, 234.
-- novel of, 106, 107, 143-146,
148, 164.
-- how far important, 144,
145, 148, 234.
-- of Charlotte Brontë, 129,
130, 172, 234.
Eyre, name whence derived, 239.
Fanshawe, Ginevra, character
of, 154, 159.
Farrar, Dean, 55.
Fielding, 123.
_Fragment of Emma_, 161, 162.
Gaskell, Mrs., 20, 21, 22, 30,
42, 47, 50, 51, 52, 53, 96, 101,
120, 143, 147, 167.
Gaskell's, Mrs., _Life of Charlotte
Brontë_, 47, 57, 58, 67, 68, 234-237.
Genius,
-- of Charlotte Brontë, 13, 14,
19, 20, 21, 22, 25, 26, 35, 80,
91, 103, 104, 130, 131, 171, 233.
-- of Emily Brontë, 14, 15,
16, 17, 22, 171, 172, 185, 186,
187, 208, 209, 229, 233, 234,
236.
-- the, of Place, 19, 20, 227,
228.
-- the, of Earth, 174, 175.
-- test of, 233, 234.
"Gondal Chronicles", 38, 39,
193, 194, 232.
"Gondal Poems", 17, 193-208,
234.
Grundy, Francis, 33, 51, 60, 203,
246.
Haworth, 20, 21, 24, 25, 27,
29, 37, 42-44, 168.
-- influence of, 24, 25, 30, 47,
94, 103, 105, 165, 166, 227,
228, 235, 236.
Heathcliff, 53, 170, 197, 209-221,
222, 224, 225, 239-242.
-- character of, 209, 210, 211,
226.
-- and Zamorna, 202-207.
Héger, M. Constantin, 14, 35, 36,
81-90.
-- -- character of, 88, 89,
146, 147.
-- -- influence of, 36, 100,
103-105.
Héger's, M. Constantin, relations
with Charlotte Brontë,
14, 15, 81-90, 96, 100, 104, 105,
130, 239-247.
-- -- original of Paul
Emanuel, 105, 144-150, 239-247.
-- Madame, 14, 15, 35, 36,
85-89, 104, 148.
-- -- original of Madame
Beck, 144, 148, 149.
Helstone, Caroline, 98, 137, 139,
141, 142, 143.
-- -- and Miss Ellen
Nussey, 75, 98.
Henri, Frances, 89, 108-110.
Heredity, 211, 212.
Imagination and the real, 130,
144.
_Jane Eyre_, 21, 24, 39, 40, 64, 68,
89, 91, 101, 103, 109, 110,
112-131, 133, 143, 148, 159,
239-247.
-- -- criticisms of, 112,
116-124.
-- -- dialogue in, 113, 114,
117, 118, 119.
-- -- passion in, 113, 114,
115, 116, 117.
-- -- reality of, 112, 113,
124.
-- -- style in, 128, 129.
-- -- and _The Professor_
compared, 105, 109, 110, 112,
113, 129, 138.
-- -- and _Shirley_ compared,
131, 138, 141.
-- -- and _Villette_ compared,
105, 144, 159.
-- -- quoted, 113-115,
117-119, 125-129.
John of the Cross, St., 180, 181.
Letters of Charlotte Brontë,
46, 53, 75, 76, 165, 166.
-- -- to Miss Ellen Nussey,
46, 72, 75-78, 82-92.
-- -- from Brussels, 84-87.
-- -- to M. Héger, 90.
-- -- to Southey, 99.
-- -- to Wordsworth, 99.
Leyland, Francis A., 60, 61.
-- -- on Branwell Brontë,
81, 233, 246.
-- the sculptor, 29, 51, 246.
Lewes, George Henry, 33, 64, 68,
124.
-- -- on _Shirley_, 68.
_Life of Charlotte Brontë_, Mrs.
Gaskell's, 47, 57, 58, 67, 68,
234-237.
Linton, Catherine, 212, 221, 222,
227.
London, Charlotte Brontë in, 15,
40, 46, 47, 244.
Mackay, Mr. Angus, 81.
Maeterlinck, M., on Emily
Brontë, 14, 170, 213.
Malham-Dembleby, Mr. J., 87,
232, 239-245.
Marriage of Charlotte Brontë,
47-49.
-- Charlotte Brontë on, 69-80,
141, 142.
Meredith, George, 133, 224.
Moore, Louis, 134, 141, 143.
-- Robert, 137, 140.
Motherhood, 65-68.
Mysticism, 16, 168, 169, 173-181,
186.
Nature in _Shirley_, 136, 137.
-- in _Wuthering Heights_, 173.
-- in Emily Brontë's Poems,
207, 208.
Nicholls, Rev. Arthur Bell,
47-49, 82.
Nicoll, Sir William Robertson,
14, 182, 189, 190.
_Note on Charlotte Brontë_, by
Algernon Charles Swinburne,
14, 64.
Novel, the, 163.
Novels of Charlotte Brontë,
105-165.
-- of Anne Brontë, 39, 49-54.
-- of Emily Brontë, 39, 209-234.
Nussey, Miss Ellen, 26, 46, 58,
72, 73, 75-78, 84, 168, 169.
-- -- Charlotte Brontë's
friendship with, 91-99.
-- -- Charlotte Brontë's
letters to, 31, 46, 72, 75-78,
86, 91-99.
-- -- Charlotte Brontë's
advice to, 75-78, 84.
-- -- influence of, 91-93.
-- Rev. Henry, 79, 80.
-- -- original of St. John
Rivers, 91, 141, 145.
Oliphant, Mrs., on Charlotte
Brontë, 31, 32, 33, 69-74, 79,
80, 117, 141.
-- -- on _Shirley_, 70, 71,
72, 141, 142.
Paganism, Emily Brontë's, 16,
135, 136, 174, 186, 208, 214.
-- in _Wuthering Heights_, 209,
211, 214, 222.
Pantheism, Emily Brontë's, 171,
184.
Parmenides, Poem on _Nature_,
185.
Passion, Charlotte Brontë's treatment
of, 106, 116, 123, 124,
176.
-- Emily Brontë's treatment
of, 172, 213, 214.
-- Dickens' Treatment of,
123.
-- Fielding's treatment of,
123.
-- Jane Austen's treatment
of, 124.
-- Smollett's treatment of,
123.
-- Thackeray's treatment of,
123.
-- in _Jane Eyre_, 113, 114, 115,
116, 117.
-- in _Shirley_, 131, 141.
-- in _Villette_, 159.
-- in _Wuthering Heights_, 210,
211, 212, 213, 218, 221, 222,
224, 228, 231.
-- in Emily Brontë's Poems,
179, 180, 182, 196, 199, 200,
205, 208.
-- in Emily Brontë's soul,
170-172, 174, 209.
-- test in reality, 159.
"Philosopher, The", 177.
Philosophy, Emily Brontë's, 169,
175, 176, 177.
_Pictures of the Past_, by Francis
Grundy, 60.
Poems of Anne Brontë, 54-57,
164, 188, 246.
-- of Branwell Brontë, 28,
29, 42, 164, 233, 246.
-- of Charlotte Brontë, 39,
103, 164, 169, 170, 246.
-- of Emily Brontë, 17, 39,
174-185, 231, 232.
-- _The Complete_, of Emily
Brontë,
"Poems, Gondal", 17, 193-208,
234.
_Professor, The_, 39, 89, 105, 106,
107-112, 138.
_Professor, The_ and _Jane Eyre_ compared,
105, 109, 110, 112, 113,
129, 138.
-- -- and _Villette_ compared,
111.
-- -- quoted, 107, 108,
109, 111.
Pryor, Mrs., 140.
_Quarterly Review, The_, 53, 114,
117, 120, 121, 131.
Real, the,
-- Imagination and the, 130,
134.
-- germ of the, 138, 145, 158.
Realism, 163, 221, 231.
Reality, 113, 124, 138, 141, 143,
145, 146, 147, 148, 158, 159,
163, 171, 173, 174, 176, 228,
230, 231.
Reid, Sir T. Wemyss, 58, 96.
-- -- on Charlotte Brontë,
58, 81, 100.
-- -- quoted, 58-60.
Rigby, Miss (Lady Eastlake), 122.
Rivers, St. John, 91, 145.
Robinson, Miss A. Mary F.
_See_ Duclaux, Madame.
-- Mrs., 15, 33.
-- -- and Branwell Brontë,
15, 41, 42, 52.
-- -- vindicated, 41, 50.
Rochester, character of, 113, 117,
118, 119, 120, 121, 125, 140, 141.
Roe Head, 26, 27, 95, 162.
Sidgwick, Mr., 28, 64.
-- Mrs., 28, 62-64.
_Shirley_, 46, 65, 68, 72, 100,
131-143.
-- portrait of Emily Brontë
in, 70, 71, 133, 137, 147.
-- dialogue in, 139-141.
-- criticism of, 64, 65, 68,
137, 138.
-- style in, 139, 140, 141.
-- Woman in, 70, 71, 132,
133, 137, 141, 143.
_Shirley_ and _Jane Eyre_ compared,
131, 138, 141.
-- and _Villette_ compared, 111,
141, 148, 159.
-- and _Wuthering Heights_ compared,
139.
-- quoted, 133-137, 138, 139,
140, 141, 142.
Shorter, Mr. Clement K., 13,
14, 74, 82, 84, 87, 88, 96, 100,
101, 186-190, 191, 193. _See
also_ Prefatory Note.
Smith, Mr. George, 40, 144, 158.
Smollett, 123.
Snowe, Lucy, 71, 79, 89.
-- -- and Pauline de
Bassompierre, 153-157.
Sources of _Wuthering Heights_, 16,
196-209, 231.
Southey, Robert, Charlotte
Brontë's letter to, 99.
Southey's, Robert, advice to
Charlotte Brontë, 99.
Stephen, Mr. Leslie, 62, 63, 79.
Style, 100, 102, 103, 105, 106,
128, 160, 161, 162, 230, 231.
Sue, Eugène, 243, 244.
Supernatural, the, in _Wuthering
Heights_, 16, 207-221.
Swinburne, Mr., on Charlotte
Brontë, 14, 31, 64-65, 66, 68.
-- -- on Emily Brontë, 14, 174.
Taylor, Miss Mary, 15, 35, 58,
91, 92, 94, 98.
-- Mr. Joe, 72.
-- Mr. James, 72, 73, 74, 145.
Temperament, Charlotte Brontë's,
73, 81.
_Tenant of Wildfell Hall, The_, 39,
40, 54, 55.
-- -- audacity of, 54.
-- -- realism of, 54.
-- -- and Farrar's _Eternal
Hope_, 55.
Thackeray, 15, 47, 61, 123.
Theories, 16, 17, 57-90, 100, 106,
231-332, 237, 238-247.
Thornton, 20.
_Villette_, 46, 89, 100, 105, 140-161.
-- Lucy Snowe in, 71, 79, 89.
-- M. Paul in. _See_ Emanuel
Paul.
-- dialogue in, 149.
-- germ of the real in, 145,
158.
-- reality of, 144, 145, 146,
147, 148, 158, 159, 163.
-- realism of, 163, 164.
-- style in, 160, 161.
-- and _The Professor_ compared,
98, 99, 111, 112.
-- and _Jane Eyre_ compared,
105, 144, 159.
-- and _Shirley_ compared, 111,
141, 148, 159.
-- quoted, 149-153, 154, 155,
157.