Charlotte Bronte: A Monograph Part 11

Every sc.r.a.p of political information which he could gather up he cherished as a precious morsel; and any visitor who could tell him how the currents of public life were moving in the great West Riding towns around him, was certain to be welcome. But the chief enjoyment of his later years was connected with the public respect shown for his daughter's memory. The tributes to her virtues and her genius which were poured from the press after the publication of Mrs. Gaskell's work were valued by him to the latest moment of his life; and in the end he at last understood something of the character and the inner life of the child who had dwelt so long a stranger under her father's roof.

One point I must notice ere I quit the subject of Charlotte Bronte's father. Some of those who knew him in his later years, including one who is above all others ent.i.tled to an opinion on the subject, have objected to the portrait of him presented in these pages, as being over-coloured. So far as his early life and manhood are concerned, I cannot admit the force of the objection; for what has been told of Mr.

Bronte in these pages has been gathered from the best of all sources--from the letters of his children and the recollections of those who saw much of him during that period. But it is perfectly true that in old age, after the marriage, and still more after the death of Charlotte, he was wonderfully softened in character. The fierce outburst of opposition to the engagement between his daughter and Mr.

Nicholls was almost the last trace of that vehement pa.s.sion which consumed him during his earlier years; and those visitors who, like Mr. Raymond, first became acquainted with him in the closing days of his life, found it difficult to believe that the stories told of his propensities in youth and middle-age could possibly be true. Time did its work at last, even on his adamantine character, softening the asperities, and wearing away the corners of a disposition, the angular eccentricities of which had long been so noticeable. Nor ought mention of the closing scenes of Mr. Bronte's life to be made without some reference to the part which Mr. Nicholls played at Haworth during those last sad years. The faithful husband remained under the parsonage roof in the character of a faithful son. The two men, bound together by so tender and sacred a tie, were not lightly to be separated, now that the living and visible link had been taken away.

To some it may seem strange that Charlotte Bronte should have given her heart to one who was little disposed to sympathise with the overmastering pa.s.sion inspired by her genius. But if in her husband she had found one who was not likely to have helped her in her literary work, she had also found in him a friend whose steadfastness even to the death was n.o.bly proved. During all these sad and lonely years, whilst the father of the Brontes waited for the summons which should call him once more into their company, Charlotte's husband lived with him, the patient companion of his hours of pain and weariness, the faithful guardian of that living legacy which had been bequeathed to him by the woman whom he loved. And by this self-sacrificing life he did greater honour to the memory of Charlotte Bronte than by the most tender and vivid appreciation of her intellectual greatness.

There is a strange sad harmony between the closing chapter of the Bronte story and the earlier ones. The brightness had fled for ever from the parson's house; the gaiety which it had once witnessed was gone; even its fame as the home of one who was a living force in English literature had departed; but there still remained one to bear witness in his own person to the n.o.bleness of that entire devotion to duty of the necessity of which Charlotte was so fully convinced. The friendship by which Mr. Nicholls soothed the last days of Mr. Bronte is a touching episode in the Haworth story, and it is one which cannot be allowed to pa.s.s unnoticed.

When Mr. Bronte died there was a general wish, not only among those who were impressed by the claims of all connected with his family upon Haworth, but by the parishioners themselves, that his son-in-law should succeed him, and that the relationship of the Brontes to the place where their lives had been spent and their work accomplished, should thus not be absolutely severed. But the bestowal of church patronage is not always influenced by considerations of this kind. The inc.u.mbency of Haworth was given to a stranger; Mr. Nicholls returned to Ireland; and new faces and a new life filled the parsonage-house in which "Jane Eyre" and "Wuthering Heights" were written.

[Ill.u.s.tration: THE ORGAN LOFT, OVER THE BRONTe TABLET AND PEW.]

XIII.

THE BRONTe NOVELS.

The Bronte novels continued to sell largely for some time after Charlotte's death. The publication of Mrs. Gaskell's "Life" added not a little to the sale, and both at home and abroad the fame of the three sisters was greatly increased. But in recent years the disposition has been almost to ignore these books; and though fresh editions have recently been issued they have had no circulation worthy of being compared with that which they maintained between 1850 and 1860. Yet though there has not been the same interest in these remarkable performances as that which formerly prevailed, they continue from time to time to attract the attention of literary critics both in this and other countries, the works of "Currer Bell"

naturally holding the foremost place in the critiques upon the writings of the sisters.

"Wuthering Heights," the solitary prose work of Emily Bronte, is now practically unread. Even those who admire the genius of the family, those who have the highest opinion of the qualities displayed in "Jane Eyre" or "Villette," turn away with something like a shudder from "that dreadful book," as one who knew the Brontes intimately always calls it. But I venture to invite the attention of my readers to this story, as being in its way as marvellous a _tour de force_ as "Jane Eyre" itself. It is true that as a novel it is repulsive and almost ghastly. As one reads chapter after chapter of the horrible chronicles of Heathcliff's crimes, the only literary work that can be recalled for comparison with it is the gory tragedy of "t.i.tus Andronicus." From the first page to the last there is hardly a redeeming pa.s.sage in the book. The atmosphere is lurid and storm-laden throughout, only lighted up occasionally by the blaze of pa.s.sion and madness. The hero himself is the most unmitigated villain in fiction; and there is hardly a personage in the story who is not in some shape or another the victim of mental or moral deformities. n.o.body can pretend that such a story as this ever ought to have been written; n.o.body can read it without feeling that its author must herself have had a morbid if not a diseased mind. Much, however, may be said in defence of Emily Bronte's conduct in writing "Wuthering Heights." She was in her twenty-eighth year when it was written, and the reader has seen something of the circ.u.mstances of her life, and the motives which led her to take up her pen. The life had been, so far as the outer world could judge, singularly barren and unproductive. Its one eventful episode was the short visit to Brussels. But Brussels had made no such impression upon Emily as it made upon Charlotte. She went back to Haworth quite unchanged; her love for the moors stronger than ever; her self-reserve only strengthened by the a.s.saults to which it had been exposed during her residence among strangers; her whole nature still crying out for the solitary life of home, and the sustenance which she drew from the congenial society of the animals she loved and the servants she understood. When, partly in the forlorn hope of making money by the use of her pen, but still more to give some relief to her pent-up feelings, she began to write "Wuthering Heights," she knew nothing of the world. "I am bound to avow," says Charlotte, "that she had scarcely more practical knowledge of the peasants amongst whom she lived than a nun has of the country people who sometimes pa.s.s her convent gates." Love, except the love for nature and for her own nearest relatives, was a pa.s.sion absolutely unknown to her--as any one who cares to study the pictures of it in "Wuthering Heights" may easily perceive. Of harsh and brutal, or deliberate crime, she had no personal knowledge. She had before her, it is true, a sad instance of the results of vicious self-indulgence, and from that she drew materials for some portions of her story. But so far as the great movements of human nature were concerned--of those movements which are not to be mastered by book learning, but which must come as the tardy fruits of personal experience--she was in absolute ignorance. Little as Charlotte herself knew at this time of the world, and of men and women, she was an accomplished mistress of the secrets of life, in comparison with Emily.

When a woman has lived such a life as that of "Ellis Bell," her first literary effort must be regarded as the attempt of an innocent and ignorant child. It may be full of faults; all the conditions which should govern a work of art may have been neglected; the book itself, so far as story, tone, and execution are concerned, may be an entire mistake; but it will nevertheless give us far more insight into the real character of the author than any more elaborate and successful work, constructed after experience has taught her what to do and what to avoid in order to secure the ear of the public.

"Wuthering Heights," then, is the work of one who, in everything but years, was a mere child, and its great and glaring faults are to be forgiven as one forgives the mistakes of childhood. But how vast was the intellectual greatness displayed in this juvenile work! The author seizes the reader at the first moment at which they meet, holds him thrilled, entranced, terrified perhaps, in a grasp which never relaxes, and leaves him at last, after a perusal of the story, shaken and exhausted as by some great effort of the mind. Surely nowhere in modern English fiction can more striking proof be found of the possession of "the creative gift" in an extraordinary degree than is to be obtained in "Wuthering Heights." From what unfathomed recesses of her intellect did this shy, nervous, untrained girl produce such characters as those which hold the foremost place in her story? Mrs.

Dean, the faithful domestic, we can understand; for her model was at Emily's elbow in the kitchen at Haworth. Joseph, the quaint High Calvinist, whose fidelity to his creed is unredeemed by a single touch of fellow-feeling with the human creatures around him, was drawn from life; and vigorous and powerful though his portrait is, one can understand it also. But Heathcliff, and the two Catherines, and Hareton Earnshaw--none of these ever came within the ken of Emily Bronte. No persons approaching them in originality or force of character were to be found in her circle of friends. Here and there some psychologist, learned in the secrets of morbid human nature, may have conceived the existence of such persons--evolved them from an inner consciousness which had been enlightened by years of studious labour. But no such slow and painful process guided the pen of Emily Bronte in painting these weird and wonderful portraits. They come forth with all the vigour and freshness, the living reality and impressiveness, which can belong only to the spontaneous creations of genius. They are no copies, indeed, but living originals, owing their lives to her own travail and suffering.

Regarded in this light they must, I think, be counted among the greatest curiosities of literature. Their very repulsiveness adds to their force. I have said that Heathcliff is the greatest villain in fiction. The reader of the story is disposed to echo the agonised cry of his wife when she asks: "Is Mr. Heathcliff a man? If so, is he mad?

And if not, is he a devil?" It is not pleasant to see such a character obtruded upon us in a novel; but I repeat, it is far more difficult to paint a consummate villain of the Heathcliff type than to draw any of the more ordinary types of humanity. The concentration of power required in performing the task is enormous. At every moment the writer is tempted to turn aside and relieve the darkness by some touch of light; and the risk which the artist must encounter if he gives way to this temptation is that of destroying the whole effect of the picture. Light and shade there must be, or the portrait becomes a mere daub of blackness; and the man whom the author has desired to create stands forth as a monster, unrecognisable as a creature belonging to the same race as ourselves. But unless these lighter shades are introduced with a tact and a self-command which belong rather to genius than to art, there must, as I have said, be complete failure.

Now, Emily Bronte has not failed in her portrait of Heathcliff. He stands, indeed, absolutely alone in that great human portrait-gallery which forms one of the chambers in the n.o.ble edifice of English literature. We can compare him to n.o.body else among the creatures of fiction. We cannot even trace his literary pedigree. He is a distinct being, not less original than he is hateful. But this circ.u.mstance does not alter the fact that we accept him at once as a real being, not a merely grotesque monster. He stands as much alone as Frankenstein's creature did; but we recognise within him that subtle combination of elements which gives him kinship with the human race.

Here, then, Emily Bronte has succeeded; and girl as she was when she wrote, she has succeeded where some of the most practised writers have failed entirely. Compare "Wuthering Heights," for example, with the fantastic horrors of Lord Lytton's "Strange Story," and you feel at once how much more powerful and masterly is the touch of the woman.

Lord Lytton's villain, though he has been drawn with so much care and skill, is often absurd and at last entirely wearisome. Emily Bronte's is consistent, terrible, fascinating, from beginning to end. Then, again, the writer never tries to frighten her reader with a bogey. She never hints at the possibility of supernatural agencies being at work behind the scene. Even when she is showing us that Heathcliff is for ever haunted by the dead Catherine, she makes it clear by the words she puts into his own mouth that his belief on the subject is nothing more than the delusion of a disordered brain, worried by a guilty conscience. "I knew no living thing in flesh and blood was by," says Heathcliff, describing how he dug down into Catherine's grave on the night after she had been buried; "but as certainly as you perceive the approach to some substantial body in the dark, so certainly I felt that Cathy was there: not under me, but on the earth. A sudden sense of relief flowed from my heart through every limb. I relinquished my labour of agony, and turned consoled at once--unspeakably consoled.

Her presence was with me; it remained while I refilled the grave and led me home. You may laugh if you will; but I was sure I should see her there. I was sure she was with me, and I could not help talking to her. Having reached the Heights I rushed eagerly to the door. It was fastened; and I remember that accursed Earnshaw and my wife opposed my entrance. I remember stopping to kick the breath out of him, and then hurrying upstairs to my room and hers. I looked round impatiently--I felt her by me--I could _almost_ see her, and yet I _could not_! I ought to have sweat blood then, from the anguish of my yearning--from the fervour of my supplications to have but one glimpse! I had not one. She showed herself, as she often was in life, a devil to me. And, since then, sometimes more and sometimes less, I've been the sport of that intolerable torture.... When I sat in the house with Hareton, it seemed that on going out I should meet her; when I walked on the moors I should meet her coming in. When I went from home I hastened to return. She _must_ be somewhere at the Heights, I was certain! And when I slept in her chamber--I was beaten out of that. I couldn't lie there; for the moment I closed my eyes, she was either outside the window, or sliding back the panels, or entering the room, or even resting her darling head on the same pillow as she did when a child; and I must open my lids to see. And so I opened and closed them a hundred times a night--to be always disappointed!" Here is a picture of a man who is really haunted. No supernatural agency is invoked; no strain is put upon the reader's credulity. We are asked to believe in the suspension of no law of nature. In one word, we can all understand how a wicked man, whose brain has, as it were, been made drunk with the fumes of his own wickedness, can be persecuted throughout his whole life by terrors of this kind; and just because we are able to conceive and understand it, this haunting of Heathcliff by the ghost of his dead mistress is infinitely more terrible than if it had been accompanied either by the paraphernalia of rococo horrors which Mrs.

Radcliffe habitually invoked, or by those refined and subtle supernatural phenomena which Lord Lytton employs in his famous ghost story.

This strict honesty which refused to allow the writer of the weirdest story in the English language to avail herself of the easiest of all the modes of stimulating a reader's terrors, is shown all through the novel. The workmanship is good from beginning to end, though the art is crude and clumsy. She never allows a date to escape her memory, nor are there any of those broken threads which usually abound in the works of inexperienced writers. All is neatly, clearly, carefully finished off. Every date fits into its place, and so does every incident. The reader is never allowed to wander into a blind alley.

Though at the outset he finds himself in a bewildering maze, far too complicated in construction to comply with the canons of literary art, he has only to go straight on, and in the end he will find everything made plain. Emily permits no fact however minute to drop from her grasp. Irrelevant though it may seem at the moment when the reader meets with it, a place has been prepared for it in the edifice which the patient hands are rearing, and in the end it will be fitted into that place. Thus there is no scamped work in the story; nor any sacrifice of details in order to obtain those broad effects in which the tale abounds.

Let the reader turn to "Wuthering Heights," and he will find many a simple innocent revelation of the character of the author peeping out from its pages in unexpected places. We know how the story was written, and how day by day it was submitted to the revision of Charlotte and Anne. We may be sure under these circ.u.mstances that Emily did not allow too much of her true inner nature to appear in what she wrote. Even from her sisters she habitually concealed some of the strongest and deepest emotions of her heart. But such pa.s.sages as the following, when read in the light of her history, as we know it now, are of strange and abiding interest:

He said the pleasantest manner of spending a hot July day was lying from morning till evening on a bank of heath in the middle of the moors, with the bees humming dreamily about among the bloom, and the larks singing high up over head, and the blue sky and bright sun shining steadily and cloudlessly. That was his most perfect idea of heaven's happiness. Mine was rocking in a rustling green tree, with a west wind blowing, and bright white clouds flitting rapidly above; and not only larks, but throstles and blackbirds and linnets and cuckoos, pouring out music on every side, and the moors seen at a distance broken into cool dusky dells; but close by great swells of long gra.s.s undulating in waves to the breeze; and woods and sounding water, and the whole world awake and wild with joy. He wanted all to lie in an ecstasy of peace. I wanted all to sparkle and dance in a glorious jubilee. I said his heaven would be only half alive; and he said mine would be drunk. I said I should fall asleep in his; and he said he could not breathe in mine.

For "he," read "Anne," and accept Emily as speaking for herself, and we have in this pa.s.sage a vivid description of the opposing tastes of the two sisters.

The abhorrence which Charlotte felt for the High Calvinism, which was the favourite creed around her, was felt even more strongly by Emily.

Her poems throw not a little light upon this feature of her character; but we also gain some from her solitary novel. Joseph, the old man-servant, was a study from life, and he represented one of a cla.s.s whom the author thoroughly disliked, but for whom at the same time she entertained a certain respect. Again and again she breaks forth with all the force of sarcasm she can command against "the wearisomest, self-righteous pharisee that ever ransacked a Bible to rake the promises to himself and fling the curses to his neighbours." Yet there is no character in the story over whom she lingers more lovingly than Joseph, and it is only in painting his portrait that she allows herself to be betrayed into the display of any of that humour which, according to her sisters, always lurked very near the surface of her character, ever ready to show itself when no stranger was at hand. Few who have read "Wuthering Heights" can have forgotten Joseph's quaint remark when the boy Heathcliff has disappeared, and the others are speculating on his fate.

Nay, nay, he's noan at Gimmerton. I's never wonder but he's at t'

bottom of a bog-boile. This visitation worn't for nowt, and I wod hev ye to look out, miss. Yah muh be t' next. Thank Hivin for all!

All works togither for gooid to them as is chozzen, and piked out fro' th' rubbidge. Yah knaw whet t' Scripture ses.

There is one pa.s.sage in the story which furnishes so strange a foreshadowing of Emily's own death, that it is difficult to believe that she did not bear it in her mind during those last hours when she faced the dread enemy with such unwavering resolution. She is writing of the death of Mrs. Earnshaw.

Poor soul! till within a week of her death that gay heart never failed her; and her husband persisted doggedly, nay furiously, in affirming her health improved every day. When Kenneth warned him that his medicines were useless at that stage of the malady, and he needn't put him to further expense by attending her, he retorted:

"I know you need not. She's well; she does not want any more attendance from you! She never was in a consumption. It was a fever, and it is gone: her pulse is as slow as mine now, and her cheek as cool!"

He told his wife the same story, and she seemed to believe him.

But one night while leaning on his shoulder, in the act of saying she thought she should be able to get up to-morrow, a fit of coughing took her--a very slight one--he raised her in his arms; she put her two hands about his neck, her face changed, and she was dead.

Strange and inscrutable, indeed, are the mysteries of the human heart!

Let the reader turn from the pa.s.sage I have quoted to that letter in which Charlotte laments that "Emily is too intractable," and let him read how she refused to believe that she was ill until death caught her as suddenly as it did the wife of Earnshaw. The blindness to the approach of danger, which she describes so clearly in her story, was but a few months afterwards displayed even more fully by herself. In this last quotation, which I venture to make from a book now seldom opened, we see the author speaking evidently out of the fulness of her heart on a subject on which in conversation she was specially reserved.

I don't know if it be a peculiarity in me, but I am seldom otherwise than happy when watching in the chamber of death, should no frenzied or despairing mourner share the duty with me. I see a repose that neither earth nor h.e.l.l can break, and I feel an a.s.surance of the endless and shadowless hereafter--the Eternity they have entered--where life is boundless in its duration, and love in its sympathy, and joy in its fulness. I noticed on that occasion how much selfishness there is even in a love like Mr.

Linton's, when he so regretted Catherine's blessed release! To be sure, one might have doubted, after the wayward and impatient existence she had led, whether she merited a haven of peace at last. One might doubt in seasons of cold reflection; but not then in the presence of her corpse. It a.s.serted its own tranquillity, which seemed a pledge of equal quiet to its former inhabitant.

Even these fragments, culled from the pages of "Wuthering Heights,"

are sufficient to show how little the story has in common with the ordinary novel. Differing widely in every respect from "Jane Eyre,"

dealing with characters and circ.u.mstances which belong to the romance rather than the reality of life, it is yet stamped by the same originality, the same daring, the same thoughtfulness, and the same intense individuality. It is a marvel to all who know anything of the secrets of literary work, that Haworth Parsonage should have produced "Jane Eyre;" but how is the marvel increased, when we know that at the same time it produced, from the brain of another inmate, the wonderful story of "Wuthering Heights." Brimful of faults as it may be, that book is alone sufficient to prove that a rare and splendid genius was lost to the world when Emily Bronte died.

All interested in the story of the Brontes must be curious to know whence Emily derived the materials for this romance. I have said that Heathcliff and the other prominent characters of the story are creations of her own; and indeed the book in its originality is almost unique. But this does not affect the fact that somewhere, and at some period during her life, the seed which brought forth this strange fruit must have been sown. It has been suggested by some--strangely ignorant, surely, of the conditions of West Riding life during the present century--that Emily obtained the skeleton of her plot from her own observation of people around her. But the life round Haworth was really tame and commonplace. Josephs and Mrs. Deans could be found in and about the village in abundance; but there were no people round whose lives hung anything of the mystery which attaches to Heathcliff.

It was, so far as I can learn, during her early girlhood that Emily's mind was filled with those grim traditions which she afterwards employed in writing "Wuthering Heights." Mr. Bronte, in addition to his other gifts, had the faculty of storytelling highly developed, and his delight was to use this faculty in order to awaken superst.i.tious terrors in the hearts of his children.

Though he habitually took his meals alone, he would often appear at the table where his daughters, with possibly their one female friend, were breakfasting, and, without joining in the repast, would entertain the little company of schoolgirls with wild legends not only relating to life in Yorkshire during the last century, but to that still wilder life which he had left behind him in Ireland. A cold smile would play round his mouth as he added horror to horror in his attempts to move his children; and his keen eyes sparkled with triumph when he found he had succeeded in filling them with alarm. Emily listened to these stories with bated breath, drinking them, in eagerly. She could repeat them afterwards by the hour together to her sisters; and no better proof of the deep root they took in her sensitive nature can be desired, than the fact that they led her to write "Wuthering Heights."

Thus the paternal influence, strong as it was in the case of all the daughters, was peculiarly strong as regarded Emily; and we can gauge the nature of that influence in the weird and ghastly story which was brought forth under its shadow.

It is with a feeling of curious disappointment that one rises from the perusal of the writings of Anne Bronte. She wrote two novels, "Agnes Grey" and "The Tenant of Wildfell Hall," neither of which will really repay perusal. In the first she sought to set forth some of the experiences which had befallen her in that patient placid life which she led as a governess. They were not ordinary experiences, the reader should know. I have resolutely avoided, in writing this sketch of Charlotte Bronte and her sisters, all unnecessary reference to the tragedy of Branwell Bronte's life. But it is a strange sad feature of that story, that the pious and gentle youngest sister was compelled to be a closer and more constant witness of his sins and his sufferings than either Charlotte or Emily. She was living under the same roof with him when he went astray and was thrust out in deep disgrace. I have said already that the effect of his career upon her own was as strong and deep as Mrs. Gaskell represents it to have been. Branwell's fall formed the dark turning-point in Anne Bronte's life. So it was not unnatural that it should colour her literary labours. Accordingly, whilst "Agnes Grey" gives us some of the scenes of her governess life, dressed up in the fashion of the ordinary romances of thirty years ago, "The Tenant of Wildfell Hall" presents us with a dreary and repulsive picture of Branwell Bronte's condition after his fall.

Charlotte, in her brief memoir of her sisters, does bare justice to Anne when she speaks in these words upon the subject:

"The Tenant of Wildfell Hall," by "Acton Bell," had likewise an unfavourable reception. At this I cannot wonder. The choice of subject was an entire mistake. Nothing less congruous with the writer's nature could be conceived. The motives which dictated this choice were pure, but, I think, slightly morbid. She had in the course of her life been called on to contemplate, near at hand, and for a long time, the terrible effects of talents misused and faculties abused; hers was naturally a sensitive, reserved, and dejected nature; what she saw sank very deeply into her mind; it did her harm. She brooded over it till she believed it to be a duty to reproduce every detail (of course with fict.i.tious characters, incidents, and situations) as a warning to others. She hated her work, but would pursue it. When reasoned with on the subject, she regarded such reasonings as a temptation to self-indulgence. She must be honest; she must not varnish, soften, or conceal. This well-meant resolution brought on her misconception and some abuse, which she bore, as it was her custom to bear whatever was unpleasant, with mild steady patience. She was a very sincere and practical Christian, but the tinge of religious melancholy communicated a sad hue to her brief blameless life.

What a picture one gets of this third and least considered of the Bronte sisters in the pa.s.sage which I have quoted! A lovable, fair-featured girl, leading a blameless life, lighted up by few hopes of any brighter future--for the one little romance of her own heart had been destroyed ere this by the unrelenting hand of death--and not inspired as her sisters were by the pa.s.sion of the artist or the creator; a girl whose simple faith was still unmoved from its first foundations; whose delight was in visiting the poor and helping the sick, who had no sustaining conviction of her own strength such as maintained Charlotte and Emily in their darkest hours, and whose very piety was "tinged with melancholy." This is the girl who, not from any of the irresistible impulses which attend the exercise of the creative faculty, but from a simple sense of duty, set herself the hard task of depicting in the pages of a novel the consequences of a shocking vice with which her brother's degradation had brought her into close and abiding contact. Of course she failed. It is not by hands so weak as those of Anne Bronte that effective blows are struck at such sins as she a.s.sailed. But whilst we acknowledge her failure, let us do justice both to the self-sacrificing courage and the fervent piety which led her to undertake this painful work.

Of Charlotte Bronte's novels, as a whole, I shall say nothing at this point; but something may very properly be said here of the story which she wrote at the time when her sisters were engaged in writing "Wuthering Heights" and "Agnes Grey." It was not published until after her death, and after the world had learned from Mrs. Gaskell's pages something of the truth about her life. Its interest to the ordinary reader was to a considerable extent discounted by the fact that the author had so largely used the materials in her last great work, "Villette." But even as a mere novel "The Professor" has striking merits, and would well repay perusal from that point of view alone; whilst as a means of gaining fresh light with regard to the character of the writer, it is not less valuable than "Wuthering Heights"

itself. True, "The Professor" is not really a first attempt. "A first attempt it certainly was not," says Charlotte in reference to it, "as the pen which wrote it had previously been worn a good deal in a practice of some years." But the previous writings, of which hardly a trace now remains--those early MSS. having been carefully destroyed, with the exception of the few which Mrs. Gaskell was permitted to see--were in no respect finished productions, nor had they been written with a view to publication. The first occasion on which Charlotte Bronte really began a prose work which she proposed to commit to the press was on that day when, seated by her two sisters, she joined them in penning the first page of a new novel.

To all practical intents, therefore, "The Professor" is ent.i.tled to be regarded as a first work; and certainly nothing can show Charlotte's peculiar views on the subject of novel-writing more clearly or strikingly than this book does. The world knows how resolutely in all her writings she strove to be true to life as she saw it. In "Jane Eyre" there are, indeed, romantic incidents and situations, but even in that work there is no trespa.s.sing beyond the limits always allowed to the writer of fiction; whilst it must not be forgotten that "Jane Eyre" was in part a response to the direct appeal from the publishers for something different in character from "The Professor." In that first story she determined that she would write a man's life as men's lives usually are. Her hero was "never to get a shilling he had not earned;" no sudden turns of fortune were "to lift him in a moment to wealth and high station;" and he was not even to marry "a beautiful girl or a lady of rank." "As Adam's son he should share Adam's doom, and drain throughout life a mixed and moderate cup of enjoyment."

Very few novel-readers will share this conception of what a novel ought to be. The writer of fiction is an artist whose accepted duty it is to lift men and women out of the cares of ordinary life, out of the sordid surroundings which belong to every lot in this world, and to show us life under different, perhaps under fantastic, conditions: a life which by its contrast to that we ourselves are leading shall furnish some relief to our mental vision, wearied and jaded by its constant contemplation of the fevers and disappointments, the crosses and long years of weary monotony, which belong to life as it is. We know how a great living writer has ventured to protest against this theory, and how in her finest works of fiction she has shown us life as it is, under the sad and bitter conditions of pain, sorrow, and hopelessness. But Charlotte Bronte wrote "The Professor" long before "George Eliot" took up her pen; and she must at least receive credit for having been in the field as a reformer of fiction before her fellow-labourer was heard of.

She was true to the conditions she had laid down for herself in writing "The Professor." Nothing more sober and matter-of-fact than that story is to be found in English literature. And yet, though the landscape one is invited to view is but a vast plain, without even a hillock to give variety to the prospect, it has beauties of its own which commend it to our admiration. The story, as everybody knows, deals with Brussels, from which she had just returned when she began to write it. But it is sad to note the difference between the spirit of "The Professor" and that which is exhibited in "Villette." Dealing with the same circ.u.mstances, and substantially with the same story, the author has nevertheless cast each in a mould of its own. Nor is the cause of this any secret to those who know Charlotte Bronte. When she wrote "The Professor," disillusioned though she was, she was still young, and still blessed with that fervent belief in a better future which the youthful heart can never quite cast out, even under the heaviest blows of fate. She had come home restless and miserable, feeling Haworth to be far too small and quiet a place for her; and her mind could not take in the reality that under that modest roof the remainder of her life was destined to be spent. Suffering and unhappy as she was, she could not shut out the hope that brighter days lay before her. The fever of life racked her; but in the very fact that it burnt so high there was proof that love and hope, the capacity for a large enjoyment of existence, still lived within her. So "The Professor," though a sad, monotonous book, has life and hope, and a fair faith in the ultimate blessedness of all sorrowful ones, shining through all its pages; and it closes in a scene of rest and peace.

Very different is the case with "Villette." It was written years after the period when "The Professor" was composed, when the hard realities of life had ceased to be veiled under tender mists of sentiment or imagination, and when the lonely present, the future, "which often appals me," made the writer too painfully aware that she had drunk the cup of existence almost to the dregs. As a piece of workmanship there is no comparison between it and the earlier story. On every page we see traces of the artist's hand. Genius flashes forth from both works it is true, but in "Villette" it is genius chastened and restrained by a cultivated taste, or working under that high pressure which only the trained writer can bring to bear upon it. Yet, whilst we must admit the immense superiority of the later over the earlier work, we cannot turn from the one to the other without being painfully touched by the sad, strange difference in the spirit which animates them. The stories, as I have said, are nearly the same. With some curious transformations, in fact, they are practically identical. But they are only the same in the sense in which the portrait of the fair and hopeful girl, with life's romance shining before her eyes, is the same as the portrait of the worn and solitary woman for whom the romance is at an end. A whole world of suffering, of sorrow, of patient endurance, lies between the two. I have spoken of the mood in which "The Professor" was written--Hope still lingered at that time in the heart, breathing its merciful though illusory suggestions of something brighter and better in the future. All who have pa.s.sed through the ordeal of a life's sorrow will be able to understand the distinction between the temperament of the author at that period in her life, and her temperament when she composed "Villette." For such suffering ones know, how, in the first and bitterest moment of sorrow, the heart cannot shut out the blessed belief that a time of release from the pain will come--a time far off, perhaps, but in which a day bright as that which has suddenly been eclipsed will shine again. It is only as the years go by, and as the first ache of intolerable anguish has been lulled into a dreary rest by habit, that the faith which gave them strength to bear the keenest smart, takes flight, and leaves them to the pale monotony of a twilight which can know no dawn. It was in this later and saddest stage of endurance that "Villette" was written. The sharpest pangs of the heart-experiences at Brussels had vanished. The author, no longer full of the self-consciousness of the girl, could even treat her own story, her own sorrows of that period, with a lighter hand, a more artistic touch, than when she first wrote of them; but through all her work there ran the dreary conviction that in those days of mingled joy and suffering she had tasted life at its best, and that in the future which lay before her there could be nothing which should renew either the strong delights or keen anguish of that time. So the book is pitched, as we know, in a key of almost absolute hopelessness. Nothing but the genius of Charlotte Bronte could have saved such a work from sinking under its own burden of gloom. That this intense and tragic study of a soul should have had power to fascinate, not the psychologist alone, but the vast ma.s.ses of the reading world, is a triumph which can hardly be paralleled in recent literary efforts. In "The Professor" we move among the same scenes, almost among the same characters and incidents, but the whole atmosphere is a different one. It is a dull, cold atmosphere, if you will, but one feels that behind the clouds the sun is shining, and that sooner or later the hero and heroine will be allowed to bask in his reviving rays. Set the two stories together, and read them in the light of all that pa.s.sed between the years in which they were written--the death of Branwell, of Emily, and of Anne, the utter shattering of some fair illusions which buoyed up Charlotte's heart in the first years of her literary triumph, the apparent extinction of all hope as to future happiness--and you will get from them a truer knowledge of the author's soul than any critic or biographer could convey to you.

Ere I part from "The Professor," which, naturally enough, never gained much attention from the public, I must extract from it one pa.s.sage, a parallel to which may be found in many of Charlotte Bronte's letters.

It describes, as none but one who had suffered could do, one of those seasons of mental depression, arising from bodily illness, by which she was visited at intervals, and under the influence of which not a little of her work was done. Reading it, we get some idea of the true origin of much in her character that was supposed to be morbid and unnatural: