CHAPTER XVI.
THE BRONTË POEMS.
Charlotte Brontë loved her sisters Emily and Anne, but in her introduction to the poetical selections from their literary remains she says little concerning their verse, preferring to give of each sister a kind of short biographical memoir. In dealing with Emily she dwelt poetically upon the features of the Yorkshire moors, and thus extended to Emily's verses that atmosphere and charm which she (Charlotte) had fixed in _Wuthering Heights_ and _Jane Eyre_; and in writing upon Anne she complained her verse gave evidence of a too melancholy religious feeling. The eldest surviving child in the Brontë family, after the deaths of Maria and Elizabeth, it was Charlotte Brontë who would first set the ideal of literary composition before the Brontë children. To her initial impulse, therefore, owe we the literary compositions that came from the pens of Emily, Anne, and Branwell. Evidence of this truth is the fact that Emily, Anne, and Branwell, in their writing, never got "right away," as the hunting phrase has it.
There are many definitions of genius: may I define it as a message? Charlotte Brontë had a message. Emily had none. _Wuthering Heights_ and all the other works of Charlotte Brontë, prose and verse, had a vital message. Ellis Bell had no message. In a sort of idle, ruminative contemplation Emily Brontë constructed verse unburdened with purpose--verse that became involved at the moment it should have soared.
I believe we have the secret of what I may call Emily's "involved moments" in Charlotte Brontë's description of her as Shirley Keeldar in _Shirley_, Chapter XXII., wherein we are told Emily saw visions, as it were, "faster than Thought can effect his combinations." We feel something of the clouded chaos of her moment of writing in her more impassioned or laboured verses; their illogic and incoherence fix it distressfully. Charlotte, to resume her reference to Emily in _Shirley_ above quoted, further tells us that "so long as she is calm, indolence, indulgence, humour, and tenderness possess" her eye; "incense her, ... it instantly quickens to flame." And with her verse, so long as it was unburdened, indolent, it ran smoothly and pleasantly along with the simplicity of the _insouciant_; but confronted with magnitude the imagination flamed, reason and logic were involved, and there was an end of art. In her excited combativeness she hit out rashly. Thus in her last verses, considered her masterpiece, she says the "thousand creeds" which move men's hearts were "vain" to "waken doubt" in her creed, blind to the fact that truth and worship finally converge to one point, howsoever diverse their starting-places. The very unbeliever is a witness to man's innate seeking for truth and right: he is a non-believer in this or that because he conceives truth to be remote from it. He seeks truth albeit he is a wide wanderer.
In "The Old Stoic" we have a "stoic" in Emily's rôle of bold challenger of chimera. "Courage to endure" and "a chainless soul" are what this old stoic would ask for! The poet was ignorant of or indifferent to the fact that a true stoic, according to the rule of Epictetus, seeks to be not other than he is, and is content wheresoever he be, whatsoever his lot. The words of this poem are those of a bold neophyte, and they are interesting chiefly because we see advanced in them the hypothesis of punishment common to Emily's chimera-creating imagination. To repeat: so long as her mood was calm her verse ran pleasantly and smoothly along. But the saying tells us, "The good seaman is known in bad weather"; and so with the poet. Life is not a placid lake: the lethal lightnings play, and faith and happiness are threatened continually and on the whole horizon.
Charlotte Brontë, with memory of her own life-storm which has left us her _Wuthering Heights_, _Jane Eyre_, and her other great prose works, wrote her introduction to Emily's poems in the spirit of one who looked upon her pieces as the reflections of an uneventful life in the inner sense of vital soul-conflict.
Anne Brontë's gentle poems, like Emily's, will appeal particularly to such readers as have sympathetic temperaments; they will not call to the human heart like the clarion notes of Charlotte Brontë's poem "Passion," but mayhap their low whisperings may waken sadly pleasant memories. With Currer Bell's poems I deal in various chapters, wherein we perceive their relationship to _Wuthering Heights_ and her other books which resulted from the harsh rigours of her tempest-bestormed night.
And shall we not say a word for Branwell Brontë? He too wrote verse.[90] He was not a genius in the sense of my definition, but his verse is such as might appear in a member of a family a generation or a degree of kin removed from the genius of the house. Him we must remember compassionately as one physically weak, an unhappy victim of circumstances against which he had not the moral force to fight. Nor shall we forget that the Rev. Patrick Brontë, the father, wrote and published verse. His productions were printed in pamphlet form, and have been collected and republished.[91] As literature they are unimportant, but to the curious they may have a sort of interest.
APPENDIX.
MINOR IDENTIFICATIONS OF PERSONS AND PLACES IN THE BRONTË WORKS.
"WUTHERING HEIGHTS."
There is not satisfactory evidence to enable the identification of the originals of Wuthering Heights the abode, and Thrushcross Grange. Similar homesteads are found anywhere near the Yorkshire moors. Architectural peculiarities and appointments are ever accretive properties with the novelist of imagination and latitude. This observation should be kept in mind also in regard to Charlotte Brontë's other works. See my remarks on page 57.
"JANE EYRE."
The interior of Thornfield Hall, as I mention on page 35, has been identified with that of "Norton Conyers," near Ripon; externally it has been associated with "The Rydings," near Birstall. Ferndean Manor has been identified with Wycollar Hall, near Colne. A Brontë biographer says this place was set on fire by a mad woman,[92] but the story finds no mention in _The Annals of Colne_, 1878, or in _Lancashire Legends_, 1873, though "Wyecoller Hall" is dealt with at length in each work.
"SHIRLEY."
Gomersall and Birstall, near Batley, Yorkshire, contribute to the background of this story. "Field Head" has been identified with Oakwell Hall, an Elizabethan mansion. Evidence shows that intimately the Rectory in _Shirley_ was in the main Haworth Parsonage to Charlotte Brontë. In _The Dictionary of National Biography_ Leslie Stephen says:--"Brontë, ... a strong Churchman and a man of imperious and passionate character, ... is partly represented by Mr. Helstone in _Shirley_, though a [Rev.] Mr. Roberson ... supplied ... characteristic traits." And Mr. Francis Leyland, who drew much of his information from Nancy Garrs, a Brontë servant, says that the fourth chapter of _Shirley_, wherein Charlotte speaks of the grossly untrue reports of Mr. Helstone's dry-eyed mourning, etc., for his wife, is a defence really of Mr. Brontë. Helstone was a composite character, as also was Mrs. Pryor, to whom, without doubt, Miss Wooler contributed, though Charlotte Brontë once had a grave difference with her. Miss Nussey, who pathetically and wrongly believed herself Caroline Helstone, proclaimed Miss Wooler, her schoolmistress, as the prototype of Mrs. Pryor. Evidence declares, however, that in many regards this character was also drawn from Tabitha Aykroyd. And we see that Charlotte Brontë, years before, in her _Wuthering Heights_, had given an ecclesiastical name--that of Dean--to her portrayal of the one woman who alone ever took up the part of mother for her--Tabitha Aykroyd. Nevertheless Mrs. Pryor was in the main a composite character, largely at the service of "story" requirements. Sometimes she is Tabitha, sometimes Miss Wooler; elsewhile she is neither. Mr. Macarthey is said to represent the Rev. Arthur Bell Nicholls, who became Charlotte Brontë's husband.
The references in _Shirley_, Chapters XII. and XXVII., to Robin Hood's connection with Nunnwood and to the ruins of a nunnery, identify Nunnely in the circumstances, with Hartshead, near Brighouse and Dewsbury; Nunnely Church with Hartshead Church (Mr. Brontë was once vicar here), and the Priory with Kirklees Hall or Priory--Kirklees Park, as we may see by turning to Dr. Whitaker's _Loidis and Elmete_, pages 306-9 (1816), wherein we find mention of Robin Hood and an old Cistercian nunnery in connection with Kirklees, appropriately now the residence of Sir George J. Armytage, Bart., one of the founders of the Harleian Society. Whinbury has been identified with Dewsbury; but I do not know that it has been remarked the name Dewsbury may have suggested to Charlotte Brontë the dewberry, bramble, or blackberry, thus leading her to adopt "whinberry" and, finally, Whinbury. The attack on Hollow's Mill is said to have been founded on an attempt in 1812, when an assault was made on the factory of Mr. Cartwright near Dewsbury.
"THE PROFESSOR" AND "VILLETTE."
_The Professor_, Charlotte Brontë offered to Messrs. Aylott & Jones in April 1846, was not published till after her death. It is related to _Villette_ in something of the way, though not so verbally and intimately, that _Wuthering Heights_ is to _Jane Eyre_. The early chapters deal vaguely with a West Riding of Yorkshire town, but the scene quickly changes to Brussels. The Héger _pension_ is recognized as the original of the schools in both novels, but in _Villette_ the place Villette occasionally becomes London as Charlotte Brontë knew it on her visits. Mr. George Smith, the Brontë publisher, and his mother, are portrayed as the Brettons. Mr. Smith showed Charlotte Brontë the sights of London: the theatres, picture galleries, churches, etc.; and we have reflected in _Villette_ incidents associated with her seeing these places.[93] The reader will find a phase of Currer Bell in Paulina--Miss de Bassompierre, and a sympathetic phase of Mr. Brontë in her father, for after the deaths of Emily, Anne, and Branwell, Charlotte and her father were brought closer to each other. And like Mr. "Home" de Bassompierre, he had "no more daughters and no son."[94] Towards the close of _Villette_ we may find a phase of the Rev. Mr. Nicholls, Charlotte Brontë's husband, in Dr. John Bretton, my previous remarks upon whom observe. It was shortly after the completion of _Villette_ Mr. Nicholls proposed successfully, but it would seem by the concluding chapters Miss Brontë expected this. The picture of the disappointment of the old father that his popular daughter would marry a plain character in life suggests to us the disappointment of the Rev. Patrick Brontë in regard to his daughter's marrying a curate. See Chapter XXXVII. Paulina, of course, is the feminine of Paul; and the original of M. Paul of this work we now well know. See footnote on page 120.
The chronological sequences in Charlotte Brontë's novels are seldom carefully ordered: this should be remembered in reference to her record of events in her own life.
"AGNES GREY" AND "THE TENANT OF WILDFELL HALL."
_Agnes Grey_ contains simple and natural portrayals of governess life in the eighteen-forties; and the following _Wildfell Hall_, we may conjecture, is built from evolved incidents founded on hearsay and experience. Whether Miss Brontë had assisted Anne or not, it is certain _Wildfell Hall_ has something in common with Currer Bell's novels. The books connected with the name of Acton Bell, however, are not important as literature in the higher sense of the word; and though a member of Messrs. Smith & Elder remarked to Miss Brontë upon a similarity in the leading male characters of _Wildfell Hall_ to Rochester, interest in it is merely dependent upon its association with the greater Brontë works, and the book does not call for sedulous inquiry.
THE HÉGER PORTRAIT OF CHARLOTTE BRONTË IN THE NATIONAL PORTRAIT GALLERY.
The Trustees of the National Portrait Gallery, London, purchased in July 1906, a hitherto unheard of portrait of Charlotte Brontë, painted in water-colours in 1850, and stated to be by M. Héger. A reproduction of the portrait was given in _The Cornhill Magazine_ for October 1906, Mr. Reginald J. Smith, K.C., of Messrs. Smith, Elder & Co., the Brontë publishers, having to do with its discovery.
In the early autumn of 1906, Mr. Lionel Cust, M.V.O., Surveyor of the King's Pictures and Works of Art, then Director of the National Portrait Gallery, was busily corresponding with me in regard to this portrait of Charlotte Brontë, the authenticity of which became sensationally attacked. At once I pointed out the importance and significance of the portrait's being signed "Paul Héger," instead of "Constantin Héger"; and other matters. In March 1907, I appended a footnote[95] to my article, "The Lifting of the Brontë Veil," in _The Fortnightly Review_, and on May 16th, 1907, the literary editor of _The Tribune_, Mr. E. G. Hawke, having placed space at my disposal, I wrote as follows:--
CHARLOTTE BRONTË. THE HÉGER PORTRAIT.
To the Editor of _The Tribune_.
SIR,--As the water-colour drawing by M. Héger is now a valuable property of the nation, and gives a more intimately faithful and characteristic likeness of Charlotte Brontë than the Richmond portrait of "Currer Bell," now also hung in the National Portrait Gallery, kindly permit me publicly to present some of the many interesting facts connected with it. The portrait is signed "Paul Héger, 1850" (the accent is correct), and it represents Miss Brontë with curls, and reading _Shirley_, on one leaf of which is a heart transfixed with an arrow. The dress that she wears is light green, and on the back of the drawing is inscribed:
The Wearin' of the Green; First since Emily's death; that being the first occasion on which Miss Brontë wore colours after the death of her sister.
And below:
This drawing is by P. Hegér (accent thus), done from life in 1850. The pose was suggested first by a sketch done by her brother Branwell many years previous.
The Trustees of the National Portrait Gallery acquired the portrait from a lady whose family obtained it nigh on forty years ago from Mr. Thomas Baylis, a personal friend of Lord Lytton. Mr. Baylis stated that he himself had acquired the portrait from the Héger family at Brussels. The children of the Mme. Héger who refused to see Mrs. Gaskell because of her dislike to Miss Brontë, aver that M. Héger never drew or painted. The statement, however, is directly opposed by indisputable evidence:
(1.) The portrait is authentic, and was drawn from life in 1850, and the inscriptions that it bears it is proved could have been inspired by none other than Charlotte Brontë herself or M. Héger.
(2.) The statement of Mr. Thomas Baylis, a well-connected gentleman.
(3.) Eugène Sue, in his 1851 volume of _Miss Mary ou l'Institutrice_, gives, with a clouding of mystery, a lover--Gérard de Morville--drawing a portrait of Miss Mary "d'après nature;" and M. Sue's _feuilleton_, as I showed in _The Fortnightly Review_ for March, identifies Miss Mary and the de Morvilles as phases of Charlotte Brontë and the Hégers.[96]
(4.) Miss Brontë, in _Shirley_, herself presents M. Héger--Louis Gérard Moore--as an artist, and refers to past drawing episodes.[97]
The authenticity of the inscriptions is not involved in the question as to whether Charlotte Brontë would use careless spelling, for, if she had written them, couching them in the third person, it is clear that she had not desired to be known as the writer. Upon the other hand, it is discovered to be utterly impossible for any one but Charlotte Brontë or M. Héger to have inspired the inscriptions, whosoever wrote them.
SIGNIFICANT PIECES OF EVIDENCE.
I find that M. Héger was Paul to none but Charlotte Brontë in 1850, and that before the publication, two years ago, of _Charlotte Brontë and Her Sisters_, by Mr. Clement Shorter, who, for reasons which he should explain, calls M. Constantin Gilles Romain Héger "M. Paul Héger," [Throughout that writer's correspondence in _The Times_, etc., and in _Charlotte Brontë and Her Sisters_: beneath the portrait of M. Héger, facing page 198, and bearing the inscription:--M. Paul Héger: The Hero of _Villette_ and _The Professor_; and on page 161 of that work] no reference in print had been made to M. Héger but as Constantin. The Hégers state that M. Héger was not called Paul, and that Dr. Paul Héger, his son, was the first member of the family named Paul.
A native of Haworth[98] who lived from 1830 till after the death of Charlotte Brontë in 1855, "within twenty yards of the Haworth Parsonage," her home, has pronounced the Héger portrait of Miss Brontë to be a correct likeness and "just like her." He says that it reminds him of her as he knew her and as she was in her younger days, and he pointed out to me particularly that he had seen her with her hair as in the Héger likeness, "scores of times before she went away"--this giving the clue to the reference in the inscription to a pose in a portrait by Branwell "many years previous" to 1850; and I have seen a reproduction of a sketch by Branwell wherein the Brontë sisters have curls. Moreover, I find that Miss Brontë really liked curls and disliked the other styles, though she conformed to the fashion.
I also find that the paper on which the Héger portrait of Miss Brontë was drawn was that used in 1850 by the house where she was a guest in London in the early June of 1850, at the very time to within a day when, as there is indisputable evidence--despite assertions that she "never under any circumstances during the later period of her life wore a green dress"--Charlotte Brontë was wearing a light green dress. That was "the first occasion on which Miss Brontë wore colours," as the inscription tells us, and fact substantiates, after she had concluded the remarkably long mourning period for her sisters, which began with "the death of Emily" and did not end till twelve months after the death of Anne, who died on May 28th, 1849.
(Signed) J. MALHAM-DEMBLEBY. Scarr Hill, Eccleshill, Bradford, May 16th, 1907.
The publication of this letter ended the controversy.[99] Since it was published Mrs. Gaskell's daughters, who well knew Miss Brontë, have declared themselves fully satisfied as to the authenticity of the Héger portrait of Charlotte Brontë and the faithfulness of the likeness. The testimony of Lady Ritchie, Thackeray's daughter, also supports this portrait. See my further references to my correspondence with her ladyship herewith. As regards the green dress, apart from the indisputable external evidence I referred to in the printed letter, I believe Charlotte Brontë speaks of it in _Villette_, though therein it is for obfuscation's sake (necessary indeed, since _Villette_ was published only a short time after her London visit) made "pink" and "flounceless." In Chapter XXVIII. we find M. Paul saying--and it is interesting thus to have connected with the green dress a character whose prototype was M. Héger--that:
"Pink or scarlet, yellow or crimson, _pea-green_ or sky-blue, [the dress] was all one."[100]
As I stated to Lady Ritchie in 1907, I believe that in Chapter XX. of _Villette_ we undoubtedly have a real glimpse of incidents connected with the wearing of the green dress; and it should be remembered that Mrs. Bretton and Dr. John Graham Bretton in this chapter represent Mrs. Smith, and her son Mr. George Smith, the publisher, whose guest Charlotte Brontë was in 1850, when she first wore the green dress:--
One morning, Mrs. Bretton ... desired me to ... show her my dresses; which I did, without a word.
"That will do," said she.... "You must have a new one."
... She returned presently with a dressmaker. She had me measured. "I mean," said she, "to follow my own taste, and to have my own way in this little matter."
Two days after came home--a pink [green] dress! "That is not for me," I said hurriedly, feeling that I would ... as soon clothe myself in the costume of a Chinese lady of rank.
... "You will wear it this ... evening."
I thought I should not; I thought no human force should avail to put me into it.... I knew it not. It knew not me. I had not proved it.
But wear it she did; and when Graham [Mr. George Smith] stood in the doorway looking at her, she tells us her uneasy aspiration was:--
"I _do_ hope he will not think I have been decking myself out to draw attention."
Clearly Charlotte Brontë wished posterity to learn how it came about she was garbed in "light fabric and bright tint," because the green dress was a page in her life's history. In a green dress she sat down to dine, as Mr. Thackeray's daughter, Lady Ritchie has written me she well remembers, when Charlotte Brontë dined at Thackeray's house on June 12, 1850--not the event of the distinguished party, when Carlyle, Miss Perry, Mrs. Procter, and others were present, though Lady Ritchie had once confounded the two in writing upon the subject[101]. Mr. Thackeray's daughter was a young girl at the time to which she referred, but she has made clear to me she saw Miss Brontë three times; that the chief occasion was when Charlotte Brontë wore the light green dress. This, to quote her ladyship's words to me, was "not Mrs. Brookfield's party, when neither my sister and I nor our governess dined--though we came down in the evening. The second occasion was just casually at my father's lecture-room, when she did not speak to me, and the third, finally, at the Brookfield evening party, which seems to have been such a solemn affair[102]."
These facts fix the wearing of the light green dress by Miss Brontë as June 12, 1850. Lady Ritchie tells me that "It was at an early family dinner by daylight with Charlotte Brontë, my father, Mr. George Smith, my sister and our governess, that I remember sitting next Miss Brontë at dinner and gazing at her _sleeve_ and mittens. Her dress was of some texture like one I had had myself, which I suppose impressed it upon me, and it had a little moss or coral pattern in green on a white ground. I only remember the sleeve, the straight look, and the smooth Victorian bandeaux of hair. I am sure she was _differently_ dressed at the Brookfield evening party."
On June 12, 1850, Charlotte Brontë wrote to her friend, Miss Nussey, from the Smiths' in London, saying:--
Thackeray made a call.... If all be well, I am to dine at his house this evening.[103]
And this was when Miss Brontë sat in a light green dress at the Thackeray dinner-table.
The Richmond portrait of Charlotte Brontë being now also in the National Portrait Gallery, I may remark that Mrs. Gaskell herself says of this portrait:--"Those best acquainted with the original were least satisfied with the resemblance.... Mr. Brontë thought ... it looked good and lifelike." Charlotte Brontë herself said her father thought the portrait looked older than she. In view of the new interest now attaching to Tabitha Aykroyd and Charlotte, it is instructive to find the latter telling us Tabitha "maintains that it is not like," and also, that Tabitha thought it "too old looking." Then she apologized for the old servant in a sentence that pathetically recalls Mrs. Dean and Bessie of "Catherine's" and "Jane's" childhood--"Doubtless she confuses her recollections of me as I was in childhood, with present impressions."[104] We discover, therefore, that in the main there was really dissatisfaction at the "old looking" presentation, and we see Charlotte Brontë from the beginning must have wished she had had her hair arrangement in that portrait as was common to her at home and in her younger days. Hence do we get a further insight into the origin of the different pose in the more characteristic and intimately faithful Héger portrait of Charlotte Brontë.
INDEX.
INTRODUCTION TO THE SPECIAL KEY INDEX.
I stated in a letter to _The Academy_, August 1st, 1908, that "were it 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_,