Part 14
Emily was alone in the gray house, save for her secluded father and old Tabby now over seventy. She was not unhappy. No life could be freer than her own; it was she that disposed, she too that performed most of the household work. She always got up first in the morning, and did the roughest part of the day’s labor before frail old Tabby came down; since kindness and thought for others were part of the nature of this unsocial, rugged woman. She did the household ironing and most of the cookery. She made the bread; and her bread was famous in Haworth for its lightness and excellence. As she kneaded the dough, she would glance now and then at an open book propped up before her. It was her German lesson. But not always did she study out of books; those who worked with her in that kitchen, young girls called in to help in stress of business, remember how she would keep a scrap of paper, a pencil, at her side, and how, when the moment came that she could pause in her cooking or her ironing, she would jot down some impatient thought and then resume her work. With these girls she was always friendly and hearty--“pleasant, sometimes quite jovial, like a boy,” “so genial and kind, a little masculine,” say my informants; but of strangers she was exceedingly timid, and if the butcher’s boy or the baker’s man came to the kitchen door, she would be off like a bird into the hall or the parlor till she heard their hob-nails clumping down the path. Not easy getting sight of that rare bird. Therefore, it may be, the Haworth people thought more of her powers than of those of Anne or Charlotte, who might be seen at school any Sunday. They say: “A deal of folk thout her th’ clever’st o’ them a’, hasumiver shoo wur so timid, shoo cudn’t frame to let it aat.”
A. MARY F. ROBINSON: ‘Emily Brontë.’
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[Sidenote: Origin of the three-fold book of Poems.]
[Sidenote: Pseudonyms.]
One day in the autumn of 1845, I accidentally lighted on a MS. volume of verse, in my sister Emily’s handwriting. Of course, I was not surprised, knowing that she could and did write verse: I looked it over, and something more than surprise seized me--a deep conviction that these were not common effusions, nor at all like the poetry women generally write. I thought them condensed and terse, vigorous and genuine. To my ear they had also a peculiar music, wild, melancholy, and elevating. My sister Emily was not a person of a demonstrative character, nor one, on the recesses of whose mind and feelings, even those nearest and dearest to her, could, with impunity, intrude unlicensed: it took hours to reconcile her to the discovery I had made, and days to persuade her that such poems merited publication.... Meantime, my younger sister quietly produced some of her own compositions, intimating that since Emily’s had given me pleasure, I might like to look at hers. I could not but be a partial judge, yet I thought that these verses too had a sweet sincere pathos of their own.... We agreed to arrange a small selection of our poems, and, if possible, get them printed. Averse to personal publicity, we veiled our own names under those of ‘Currer,’ ‘Ellis,’ and ‘Acton Bell’; the ambiguous choice being dictated by a sort of conscientious scruple at assuming Christian names positively masculine, while we did not like to declare ourselves women, because,----without at the time suspecting that our mode of writing and thinking was not what is called “feminine,”--we had a vague impression that authoresses are likely to be looked on with prejudice.
CHARLOTTE BRONTË: _Biographical Preface to_ ‘Wuthering Heights.’ London, 1850.
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[Sidenote: Evenings at Haworth novel-writing.]
The sisters retained the old habit, which was begun in their aunt’s life-time, of putting away their work at nine o’clock, and beginning their study, pacing up and down their sitting-room. At this time, they talked over the stories they were engaged upon, and described their plots. Once or twice a week, each read to the other what she had written, and heard what they had to say about it. Charlotte told me, that the remarks made had seldom any effect in inducing her to alter her work, so possessed was she with the feeling that she had described reality; but the readings were of great and stirring interest to all, taking them out of the gnawing pressure of daily-recurring cares, and setting them in a free place. It was on one of these occasions that Charlotte determined to make her heroine plain, small, and unattractive, in defiance of the accepted canon.
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[Sidenote: Charlotte’s firmness.]
The three tales, ‘Wuthering Heights,’ ‘Agnes Grey,’ and ‘The Professor,’ had tried their fate in vain together; at length they were sent forth separately, and for many months with still-continued ill success. I have mentioned this here, because, among the dispiriting circumstances connected with her anxious visit to Manchester, Charlotte told me that her tale came back upon her hands, curtly rejected by some publisher, on the very day when her father was to submit to his operation [for cataract]. But she had the heart of Robert Bruce within her, and failure upon failure daunted her no more than him. Not only did ‘The Professor’ return again to try his chance among the London publishers, but she began, in this time of care and depressing inquietude--in those gray, weary, uniform streets where all faces, save those of her kind doctor, were strange and untouched with sunlight to her--there and then, did the brave genius begin ‘Jane Eyre.’
MRS. GASKELL: ‘Life of Charlotte Brontë.’
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[Sidenote: Immediate success of ‘Jane Eyre.’]
Those who remember that winter [of 1847] know how something like a ‘Jane Eyre’ fever raged among us. The story which had suddenly discovered a glory in uncomeliness, a grandeur in overmastering passion, moulded the fashion of the hour, and “Rochester airs” and “Jane Eyre graces” became the rage. The book, and its fame and influence, travelled beyond the seas with a speed which in those days was marvellous. In sedate New England homes the history of the English governess was read with an avidity which was not surpassed in London itself, and within a few months of the publication of the novel it was famous throughout two continents. No such triumph has been achieved in our time by any other English author; nor can it be said, upon the whole, that many triumphs have been better merited. It happened that this anonymous story, bearing the unmistakable marks of an unpractised hand, was put before the world at the very moment when another great masterpiece of fiction was just beginning to gain the ear of the English public. But at the moment of publication ‘Jane Eyre’ swept past ‘Vanity Fair’ with a marvellous and impetuous speed which left Thackeray’s work in the distant background; and its unknown author in a few weeks gained a wider reputation than that which one of the master minds of the century had been engaged for long years in building up. The reaction from this exaggerated fame of course set in, and it was sharp and severe.
T. WEMYSS REID: ‘Charlotte Brontë, a Monograph.’
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[Sidenote: Mr. Brontë informed about ‘Jane Eyre.’]
The sisters had kept the knowledge of their literary ventures from their father, fearing to increase their own anxieties and disappointment by witnessing his.... Once, Charlotte told me, they overheard the postman, meeting Mr. Brontë, as the latter was leaving the house, and inquiring from the parson where one Currer Bell could be living, to which Mr. Brontë replied that there was no such person in the parish.... Now, however, when the demand for the work had assured success to ‘Jane Eyre,’ her sisters urged Charlotte to tell their father of its publication. She accordingly went into his study one afternoon after his early dinner, carrying with her a copy of the book, and one or two reviews, taking care to include a notice adverse to it. She informed me that something like the following conversation took place:
“Papa, I’ve been writing a book.”
“Have you, my dear?”
“Yes, and I want you to read it.”
“I am afraid it will try my eyes too much.”
“But it is not in manuscript: it is printed.”
“My dear! you’ve never thought of the expense it will be! It will be almost sure to be a loss, for how can you get a book sold? No one knows you or your name.”
“But, papa, I don’t think it will be a loss; no more will you, if you will let me read you a review or two, and tell you more about it.”
So she sat down and read some of the reviews to her father; and then, giving him the copy of ‘Jane Eyre’ that she intended for him, she left him to read it. When he came in to tea, he said, “Girls, do you know Charlotte has been writing a book, and it is much better than likely?”
MRS. GASKELL: ‘Life of Charlotte Brontë.’
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[Sidenote: Charlotte’s subsequent portrait of Emily.]
Shirley [is] a fancy likeness of Emily Brontë. Emily Brontë, but under very different conditions. No longer poor, no longer thwarted, no longer acquainted with misery and menaced by untimely death; not thus, but as a loving sister would fain have seen her, beautiful, triumphant, the spoiled child of happy fortune. Yet in these altered circumstances Shirley keeps her likeness to Charlotte’s hard-working sister. Under the pathetic finery so lovingly bestowed, under the borrowed splendors of a thousand a year, a lovely face, an ancestral manor-house, we recognize our hardy and headstrong heroine, and smile a little sadly at the inefficacy of this masquerade of grandeur, so indifferent and unnecessary to her. Through these years we discern the brilliant heiress to be a person of infinitely inferior importance to the ill-dressed and over-worked vicar’s daughter.... Shirley is indeed the exterior Emily, the Emily that was to be met and known thirty-five years ago, only a little polished, with the angles a little smoothed, by a sister’s anxious care. The nobler Emily, deeply suffering, brooding, pitying, creating, is only to be found in a stray word here and there, a chance memory, a happy answer, gathered from the pages of her work, and the loving remembrance of her friends. But to know how Emily Brontë looked, moved, sat and spoke, we still return to Shirley. A host of corroborating memories start up in turning the pages. Who but Emily was always accompanied by a “rather large, strong, and fierce-looking dog, very ugly, being of a breed between a mastiff and a bull-dog”? It is familiar to us as Una’s lion.
Certainly “Captain Keeldar,” with her cavalier airs, her ready disdain, her love of independence, does bring back with vivid brilliance the memory of our old acquaintance, “the Major,”[9]... We know her, too, by her kindness to her inferiors. A hundred little stories throng our minds. Unforgotten delicacies made with her own hands for her servant’s friend, yet remembered visits of Martha’s little cousin to the kitchen, where Miss Emily would bring in her own chair for the ailing girl; anecdotes of her early rising through many years to do the hardest work, because the first servant was too old, and the second too young to get up so soon; and she, Emily, was so strong. A hundred little sacrifices, dearer to remember than Shirley’s open purse, awaken in our hearts and remind us that, after all, Emily was the nobler and more lovable heroine of the twain.... And Shirley’s love of picturesque and splendid raiment is not without an echo in our memories. It was Emily who, shopping in Bradford with Charlotte and her friend, chose a white stuff patterned with lilac thunder and lightning, to the scarcely concealed horror of her more sober companions.... She, too, had Shirley’s taste for the management of business.
A. MARY F. ROBINSON: ‘Emily Brontë.’
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[Sidenote: “Keeper.”]
The same tawny bull-dog, called “Tartar” in ‘Shirley,’ was “Keeper” in Haworth parsonage; a gift to Emily. With the gift came a warning. Keeper was faithful to the depths of his nature as long as he was with friends; but he who struck him with a stick or whip, roused the relentless nature of the brute, who flew at his throat forthwith, and held him there till one or the other was at the point of death. Now Keeper’s household fault was this: He loved to steal up-stairs, and stretch his square, tawny limbs on the comfortable beds, covered over with delicate white counterpanes. But the cleanliness of the parsonage arrangements was perfect; and this habit of Keeper’s was so objectionable, that Emily in reply to Tabby’s remonstrances, declared that, if he was found again transgressing, she herself, in defiance of warning and his well-known ferocity of nature, would beat him so severely that he would never offend again. In the gathering dusk of an autumn evening, Tabby came, half triumphantly, half tremblingly, but in great wrath, to tell Emily that Keeper was lying on the best bed, in drowsy voluptuousness. Charlotte saw Emily’s whitening face, and set mouth, but dared not speak to interfere: no one dared when Emily’s eyes glowed in that manner out of the paleness of her face, and when her lips were so compressed into stone. She went up-stairs, and Tabby and Charlotte stood in the gloomy passage below, full of the dark shadows of coming night. Down the stairs came Emily, dragging after her the unwilling Keeper, his hind legs set in a heavy attitude of resistance, held by the “scaft of his neck,” but growling low and savagely all the time. The watchers would fain have spoken, but durst not, for fear of taking off Emily’s attention, and causing her to avert her head for a moment from the enraged brute. She let him go, planted in a dark corner at the bottom of the stairs; no time was there to fetch stick or rod, for fear of the strangling clutch at her throat--her bare clenched fist struck against his red fierce eyes, before he had time to make his spring, and in the language of the turf, she “punished him” till his eyes were swelled up, and the half-blind, stupefied beast was led to his accustomed lair, to have his swelled head fomented and cared for by the very Emily herself. The generous dog owed her no grudge; he loved her dearly ever after; he walked first among the mourners at her funeral; he slept moaning for nights at the door of her empty room, and never, so to speak, rejoiced, dog fashion, after her death.
MRS. GASKELL: ‘Life of Charlotte Brontë.’
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[Sidenote: Emily saves Branwell’s life.]
At last [Branwell] grew ill, and would be content to go to bed early, and lie there half-stupefied with opium and drink. One such night, their father and Branwell being in bed, the sisters came up-stairs to sleep. Emily had gone on first into the little passage room where she still slept, when Charlotte, passing Branwell’s partly-opened door, saw a strange bright flare inside. “Oh, Emily!” she cried, “the house is on fire!”
Emily came out, her fingers at her lips. She had remembered her father’s great horror of fire; it was the one dread of a brave man; he would have no muslin curtains, no light dresses in his house. She came out silently and saw the flame; then, very white and determined, dashed from her room down stairs into the passage, where every night full pails of water stood. One in each hand she came up-stairs. Anne, Charlotte, the young servant, shrinking against the wall, huddled together in amazed horror--Emily went straight on and entered the blazing room. In a short while the bright light ceased to flare. Fortunately the flame had not reached the woodwork; drunken Branwell, turning in his bed, must have upset the light on to his sheets, for they and the bed were all on fire, and he unconscious in the midst, when Emily went in, even as Jane Eyre found Mr. Rochester. But it was no reasonable, thankful human creature with whom Emily had to deal. After a few long moments, those still standing in the passage saw her stagger out, white, with singed clothes, half-carrying in her arms, half-dragging, her besotted brother. She placed him in her bed, and took away the light; then assuring the hysterical girls that there could be no further danger, bade them go and rest--but where she slept herself that night no one remembers now.
A. M. F. ROBINSON: ‘Emily Brontë.’
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[Sidenote: Emily’s personal resemblance to G. H. Lewes.]
I have seen Lewes.... I could not feel otherwise to him than half-sadly, half-tenderly--a queer word that last, but I use it because the aspect of Lewes’s face almost moves me to tears; it is so wonderfully like Emily--her eyes, her features, the very nose, the somewhat prominent mouth, the forehead--even, at moments, the expression.
CHARLOTTE BRONTË: _Letter_, 1850, quoted by Mrs. Gaskell.
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[Sidenote: Death of Emily Brontë.]
The days drew on towards Christmas; it was already the middle of December, and still Emily was about the house, able to wait upon herself, to sew for the others, to take an active share in the duties of the day. She always fed the dogs herself. One Monday evening, it must have been about the 14th of December, she rose as usual to give the creatures their supper. She got up, walking slowly, holding out in her thin hands an apronful of broken meat and bread. But when she reached the flagged passage the cold took her; she staggered on the uneven pavement and fell against the wall. Her sisters, who had been sadly following her, unseen, came forward much alarmed and begged her to desist; but, smiling wanly, she went on and gave Floss and Keeper their last supper from her hands.
The next morning she was worse. Before her waking, her watching sisters heard the low, unconscious moaning that tells of suffering continued even in sleep; and they feared for what the coming year might hold in store. Of the nearness of the end they did not dream. Charlotte had been out to the moors, searching every glen and hollow for a sprig of heather, however pale and dry, to take to the moor-loving sister. But Emily looked on the flower laid on her pillow with indifferent eyes. She was already estranged and alienated from life.
Nevertheless she persisted in rising, dressing herself alone, and doing everything for herself. A fire had been lit in the room, and Emily sat on the hearth to comb her hair. She was thinner than ever now--the tall, loose-jointed, “slinky” girl--her hair in its plenteous dark abundance was all of her that was not marked by the branding finger of death. She sat on the hearth combing her long brown hair. But soon the comb slipped from her feeble grasp into the cinders. She, the intrepid,
## active Emily, watched it burn and smoulder, too weak to lift it.... At
last the servant came in: “Martha,” she said, “my comb’s down there; I was too weak to stoop and pick it up.”
She finished her dressing, and came very slowly, with dizzy head and tottering steps, down stairs into the little, bare parlor where Anne was working and Charlotte writing a letter. Emily took up some work and tried to sew. Her catching breath, her drawn and altered face, were ominous of the end. But still a little hope flickered in those sisterly hearts. “She grows daily weaker,” wrote Charlotte, on that memorable Tuesday morning; seeing surely no portent that this--this! was to be the last of the days and the hours of her weakness.
The morning grew on to noon, and Emily grew worse. She could no longer speak, but--gasping in a husky whisper--she said: “If you will send for a doctor, I will see him now!” Alas, it was too late. The shortness of breath and rending pain increased; even Emily could no longer conceal them. Towards two o’clock her sisters begged her, in an agony, to let them put her to bed. “No, no,” she cried, tormented with the feverish restlessness that comes before the last, most quiet peace. She tried to rise, leaning with one hand upon the sofa. And thus the chord of life snapped. She was dead.
She was twenty-nine years old.
They buried her, a few days after, under the church pavement; under the slab of stone where the mother lay, and Maria and Elizabeth and Branwell.... And though no wind ever rustles over the grave on which no scented heather springs, nor any bilberry bears its sprigs of greenest leaves and purple fruit, she will not miss them now; she who wondered how any could imagine unquiet slumbers for them that sleep in the quiet earth.
A. M. F. ROBINSON: ‘Emily Brontë.’
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[Sidenote: Charlotte alone on the moors.]
“I am free to walk on the moors; but when I go out there alone, everything reminds me of the times when others were with me, and then the moors seem a wilderness, featureless, solitary, saddening. My sister Emily had a particular love for them, and there is not a knoll of heath, not a branch of fern, not a young bilberry-leaf, not a fluttering lark or linnet, but reminds me of her. The distant prospects were Anne’s delight, and when I look round, she is in the blue tints, the pale mists, the waves and shadows of the horizon. In the hill-country silence, their poetry comes by lines and stanzas into my mind: once I loved it; now I dare not read it.”
CHARLOTTE BRONTË: _Letter_, quoted by Mrs. Gaskell.
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Wearied out by the vividness of her sorrowful recollections, she sought relief in long walks on the moors. A friend of hers gives an anecdote which may well come in here.
[Sidenote: Anecdote of the old woman’s “cofe.”]
“They are mistaken in saying that she was too weak to roam the hills for the benefit of the air. I do not think any one, certainly not any woman in this locality, went so much on the moors as she did, when the weather permitted. Indeed, she was so much in the habit of doing so, that people, who live quite away on the edge of the common, knew her perfectly well. I remember on one occasion an old woman saw her at a little distance, and she called out ‘How! Miss Brontë! Hey yah (have you) seen aught o’ my cofe (calf)?’ Miss Brontë told her she could not say, for she did not know it. ‘Well!’ she said, ‘Yah know, it’s getting up like nah (now), between a cah (cow) and a cofe--what we call a stirk, yah know, Miss Brontë; will yah turn it this way if yah happen to see’t, as yah’re going back, Miss Brontë; nah _do_, Miss Brontë.’”
MRS. GASKELL: ‘Life of Charlotte Brontë.’
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[Sidenote: Mrs. Gaskell’s first impression.]