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A NOTE 
 
 ON 
 
 CHARLOTTE BRONTE 
 
LONDON : PRINTED BY 
 
 SPOTTISWOODE AND CO., NEW-STREET SQUARE 
 
 AND PARLIAMENT STREET 
 
A NOTE 
 
 ON 
 
 CHARLOTTE BRONTE 
 
 BY 
 
 ALGERNON CHARLES SWINBURNE 
 
 CHATTO & WINDUS, PICCADILLY 
 
 1877 
 
 All rights reserved 
 
HENRY f.. ZPKEN» 
 
S?7 
 
 TO 
 
 THEODORE WATTS 
 
 I dedicate this study ; an inadequate acknowledgment 
 of much personal obligation, and an imperfect expression 
 of fellow-feeling on the subject here imperfectly and in- 
 adequately handled. 
 
 A. C. S. 
 
 ?4±B±8 
 
A NOTE 
 
 ON 
 
 CHARLOTTE BRONTE. 
 
 The priceless contribution to our know- 
 ledge of one of the greatest among women, 
 for which the thanks of all students who 
 have at heart the honour of English litera- 
 ture are due to Mr. Wemyss Reid, had on 
 its first appearance the singular good fortune 
 to evoke from a weekly paper of much lite- 
 rary and philosophic pretension one of the 
 most profound and memorable remarks ever 
 
 B 
 
-, .CHARLOTTE BRONTE. 
 
 put forth even in the columns of the con- 
 temporary Spectator. On the nth of No- 
 vember, 1876, there appeared in that quarter 
 a written assurance that its literary critic 
 did actually ' agree with this biographer ' in 
 thinking that the works of Charlotte Bronte 
 1 will one day again be regarded as evidences 
 of exceptional intellectual power.' The pre- 
 sent writer for once feels himself emboldened 
 to express in his turn his own agreement 
 with this critic in the opinion that they not 
 impossibly may ; he will even venture to 
 avow his humble conviction that they may 
 with no great show of unreason be expected 
 to outlive the works of some few at least 
 among the female immortals of whom the 
 happy present hour is so more than season- 
 ably prolific ; to be read with delight and 
 
CHARLOTTE BRONTE. 
 
 wonder, and re-read with reverence and ad- 
 miration, when darkness everlasting has 
 long since fallen upon all human memory of 
 their cheap scientific, their vulgar erotic, and 
 their voluminous domestic schools ; when 
 even 'Daniel Deronda' has gone the way of 
 all waxwork, when even Miss Broughton 
 no longer cometh up as a flower, and even 
 Mrs. Oliphant is at length cut down like the 
 grass. It is under the rash and reckless im- 
 pulse of this unfashionable belief that I would 
 offer a superfluous word or two of remark 
 on the twin-born genius of the less mortal 
 sisters who left with us for ever the legacies 
 of ' Jane Eyre ' and ' Wuthering Heights/ 
 
 The one sovereign quality common alike 
 to the spirit and the work of these two great 
 
 B 2 
 
CHARLOTTE BRONTE. 
 
 women, whose names make up with Mrs. 
 Browning's the perfect trinity for England of 
 highest female fame, is one which even the 
 prodigal Genius or God who presided at her 
 birth could not or would not accord to the 
 passionate and lyric-minded poetess. It is 
 possibly the very rarest of all powers or 
 faculties of imagination applied to actual 
 life and individual character; I can trace it 
 in no living English authoress one half so 
 strongly or so clearly marked as in the 
 work of the illustrious and honoured lady 
 — honoured scarcely more by admiration 
 from some quarters than by obloquy from 
 others — to whom we owe the over-true 
 story of ' Joshua Davidson,' and the wor- 
 thiest tribute ever yet paid to the me- 
 mory of Walter Savage Landor. But in 
 
CHARLOTTE BRONTE. 
 
 Charlotte and Emily Bronte this innate 
 personal quality was manifested, as far as 
 my knowledge or power of comparison ex- 
 tends, at a quite incomparable degree of 
 excellence ; of perfection, I would have writ- 
 ten, but for the fear of giving too Irish a 
 turn to the parting phrase of my sentence. 
 It is a quality as hard to define as impos- 
 sible to mistake ; even the static and dynamic 
 terms of definition so freely and scientifically 
 misused in the latest school of feminine 
 romance would scarcely help us much to- 
 wards an adequate apprehension or expression 
 of it. But its absence or its presence is or 
 should be anywhere and always recognisable 
 at a glance, whether dynamic or merely static, 
 of a skilful or unskilful eye to discern the 
 systole from the diastole of human com- 
 
CHARLOTTE BRONTE. 
 
 panionship — or even of inhuman jargon. 
 The crudest as the most refined pedantry 
 of semi-science, tricked out at second hand 
 in the freshest or the stalest phrases of 
 archaic schoolmen or neologic lecturers that 
 may be swept up from the dustiest boards 
 or picked up under the daintiest platforms 
 irradiated or obfuscated by new lamps or 
 old, will avail nothing to guide any possible 
 seeker on the path towards an exploration 
 by physical analysis or metaphysical syn- 
 thesis of the source or the process, the 
 fountain or the channel or the issue, of 
 this subtle and infallible force of nature — the 
 progress from the root into the fruit of this 
 direct creative instinct. Yet thus far, per- 
 haps, we may reasonably attempt some in- 
 dication of the difference which divides pure 
 
CHARLOTTE BRONTE. 
 
 genius from mere intellect as by a great 
 gulf fixed ; the quality of the latter, we 
 may say, is constructive, the property of the 
 former is creative. Adam Bede, for instance, 
 or even Tito Melema, is an example of con- 
 struction — and the latter is one of the finest 
 in literature ; Edward Rochester and Paul 
 Emanuel are creations. And the inevi- 
 table test or touchstone of this indefinable 
 difference is the immediate and enduring 
 impression set at once and engraved for 
 ever on the simplest or the subtlest mind 
 of the most careless or the most careful 
 student. In every work of pure genius 
 we feel while it is yet before us — and if we 
 cease for a little to feel when out of sight 
 of it for awhile, we surely feel afresh each 
 time our sight of it is renewed — the sense 
 
Q) 
 
 CHARLOTTE BRONTE. 
 
 v of something inevitable, some quality incor- 
 porate and innate, which determines that 
 it shall be thus and not otherwise ; and we 
 need not the 'illative sense' of Dr. New- 
 mans invention to teach us ' the grammar 
 of assent ' to the matter proposed to us as 
 subject or as object for our imaginative 
 belief. Belief, and not assent, it is that we 
 give to the highest. 
 
 There is no surer test as there can be no 
 higher evidence than this of that imperative 
 and primary genius which holds its power in 
 fee of no other mind, which derives of no 
 foreign stream through the conduit of no 
 alien channel. Perhaps we may reasonably 
 divide all imaginative work into three classes ; 
 the lowest, which leaves us in a complacent 
 
CHARLOTTE BRONTE. 
 
 mood of acquiescence with the graceful or 
 natural inventions and fancies of an honest 
 and ingenious workman, and in no mind to 
 question or dispute the accuracy of his tran- 
 script from life or the fidelity of his design 
 to the modesty and the likelihood of nature ; 
 the second, of high enough quality to engage 
 our judgment in its service, and make direct 
 demand on our grave attention for deliberate 
 assent or dissent ; the third, which in the 
 exercise of its highest faculties at their best 
 neither solicits nor seduces nor provokes us 
 to acquiescence or demur, but compels us 
 without question to positive acceptance and 
 belief. Of the first class it would be super- 
 fluous to cite instances from among writers 
 of our own day, not undeserving of serious 
 respect and of genuine gratitude for much 
 
CHARLOTTE BRONTE. 
 
 honest work done and honest pleasure con- 
 ferred on us. Of the second order our lite- 
 rature has no more apt and brilliant examples 
 than George Eliot and George Meredith. 
 Of the third, if in such a matter as this I 
 may trust my own instinct — that last resource 
 and ultimate reason of all critics in every 
 case and on every question — there is no 
 clearer and more positive instance in the 
 whole world of letters than that supplied 
 by the genius of Charlotte Bronte. 
 
 I do not mean that such an instance is 
 to be found in the treatment of each figure 
 in each of her great three books. If this 
 could accurately be said, it could not reason- 
 ably be denied that she might justly claim 
 and must naturally assume that seat by the 
 
CHARLOTTE BRONTE. n 
 
 side of Shakespeare which certain critics of 
 the hour are prompt alike to assign alter- 
 nately to the author of ' Adam Bede ' and to 
 the author of ' Queen Mary.' Only in the 
 eyes of such critics as these, or in the glassy 
 substitutes which serve their singular kind 
 as proxies for a human squint, will it seem 
 to imply a want of serious interest and 
 respect in the former direction, of loyal and 
 grateful admiration in the latter, if I confess 
 that to my unaided organs and limited 
 capacities of sight the one comparison ap- 
 pears as portentously farcical as the other 
 in its superhuman or subsimious absurdity ; 
 that I should find it as hard an article of 
 religion to digest and assimilate into the 
 body of a living faith, which bade me be- 
 lieve in the assumption of the goddess as 
 
CHARLOTTE BRONTE. 
 
 that which bade me believe in the ascension 
 of the god to complete the co-eternal and 
 co-equal personality of English genius at its 
 highest apogee, in its triune and bisexual 
 apotheosis. But, without putting in a claim 
 for the author of ' Jane Eyre ' as qualified 
 to ascend the height on which a minority of 
 not overwise admirers would fain enthrone a 
 demigoddess of more dubious divinity than 
 hers, I must take leave to reiterate my convic- 
 tion that no living English or female writer 
 can rationally be held her equal in what I 
 cannot but regard as the highest and the 
 rarest quality which supplies the hardest 
 and the surest proof of a great and absolute 
 genius for the painting and the handling 
 of human characters in mutual relation and 
 reaction. Even the glorious mistress of all 
 
CHARLOTTE BRONTE. 13 
 
 forms and powers of imaginative prose, who 
 has lately left France afresh in mourning — 
 even George Sand herself had not this gift 
 in like measure with those great twin sisters 
 in genius who were born to the stern and 
 strong-hearted old Rector of Haworth. 
 
 The gift of which I would speak is 
 that of a power to make us feel in every 
 nerve, at every step forward which our 
 imagination is compelled to take under the 
 guidance of another's, that thus and not 
 otherwise, but in all things altogether even 
 as we are told and shown, it was and it 
 must have been with the human figures set 
 before us in their action and their suffering ; 
 that thus and not otherwise they absolutely 
 must and would have felt and thought and 
 
H CHARLOTTE BRONTE. 
 
 spoken under the proposed conditions. It 
 is something for a writer to have achieved 
 if he has made it worth our fancy's while 
 to consider by the light of imaginative 
 reason whether the creatures of his own 
 fancy would in actual fact and life have 
 done as he has made them do or not ; it 
 is something, and by comparison it is much. 
 But no definite terms of comparison will 
 suffice to express how much more than 
 this it is to have done what the youngest 
 of capable readers must feel on first open- 
 ing ' Jane Eyre ' that the writer of its very 
 first pages has shown herself competent to 
 do. In almost all other great works of its 
 kind, in almost all the sovereign master- 
 pieces even of Fielding, of Thackeray, of 
 the royal and imperial master, Sir Walter 
 
CHARLOTTE BRONTE. 15 
 
 Scott himself — to whose glorious memory I 
 need offer no apology for the attribution of 
 epithets which I cannot but regret to re- 
 member that even in their vulgar sense 
 he would not have regarded as other than 
 terms of honour — even in the best and 
 greatest works of these our best and 
 greatest we do not find this one great 
 good quality so innate, so immanent as in 
 hers. At most we find the combination of 
 event with character, the coincidence of 
 action with disposition, the coherence of 
 consequences with emotions, to be rationally 
 credible and acceptable to the natural sense 
 of a reasonable faith. We rarely or never 
 feel that, given the characters, the incidents 
 become inevitable ; that such passion must 
 needs bring forth none other than such 
 
16 CHARLOTTE BRONTE. 
 
 action, such emotions cannot choose but find 
 their only issue in such events. And cer- 
 tainly we do not feel, what it seems to me 
 the highest triumph of inspired intelligence 
 and creative instinct to succeed in making 
 us feel, that the mainspring of all, the cen- 
 tral relation of the whole, 'the very pulse 
 of the machine,' has in it this occult inex- 
 plicable force of nature. But when Cathe- 
 rine Earnshaw says to Nelly Dean, ' I am 
 Heathcliff!' and when Jane Eyre answers 
 Edward Rochester's question, whether she 
 feels in him the absolute sense of fitness 
 and correspondence to herself which he 
 feels to himself in her, with the words 
 which close and crown the history of their 
 twin-born spirits — ' To the finest fibre of 
 my nature, sir '—-we feel to the finest fibre 
 
CHARLOTTE BRONTE. 17 
 
 of our own that these are no mere words. 
 On this ground at least it might for once 
 be not unpardonable to borrow their stand- 
 ing" reference or illustration from that com- 
 parative school of critics whose habit of 
 comparison we have treated with something 
 less than respect, and say, as was said on 
 another score of Emily Bronte in particular 
 by Sydney Dobell, in an admirable paper 
 which we miss with regret and with sur- 
 prise from among the costly relics of his 
 genius, so lovingly set in order and so ably 
 lighted up by the faithful friendship and 
 the loyal intelligence of Professor Nichol 
 — that either sister in this single point ' has 
 done no less ' than Shakespeare. As easily 
 might we imagine a change of the mutual 
 relations between the characters of Shake- 
 
 c 
 
18 CHARLOTTE BRONTE. 
 
 speare as a corresponding revolution or re- 
 versal of conditions among theirs. 
 
 If I turn again for contrast or com- 
 parison with their works to the work of 
 George Eliot, it will be attributed by no 
 one above the spiritual rank and type of 
 Pope s representative dunces to irreverence 
 or ingratitude for the large and liberal 
 beneficence of her genius at its best. But 
 she alone among our living writers is gene- 
 rally admitted or assumed as the rightful 
 occupant, or at least as the legitimate 
 claimant, of that foremost place in the 
 front rank of artists in this kind which 
 none can hold or claim without challenging 
 such comparison or such contrast. And in 
 some points it is undeniable that she may 
 
CHARLOTTE BRONTE. 19 
 
 claim precedence, not of these alone, but 
 of all other illustrious women. Such wealth 
 and depth of thoughtful and fruitful humour, 
 of vital and various intelligence, no woman 
 has ever shown — no woman perhaps has 
 ever shown a tithe of it. In knowledge, 
 in culture, perhaps in capacity for know- 
 ledge and for culture, Charlotte Bronte was 
 no more comparable to George Eliot than 
 George Eliot is comparable to Charlotte 
 Bronte in purity of passion, in depth and 
 ardour of feeling, in spiritual force and fer- 
 vour of forthright inspiration. It would 
 be rather a rough and sweeping than a 
 loose or inaccurate division which should 
 i define the one as a type of genius distin- 
 guished from intellect, the other of intellect 
 as opposed to genius. But it would, as I 
 c 2 
 
20 CHARLOTTE BRONTE. 
 
 venture to think, be little or nothing more 
 or less than accurate to recognise in George 
 Eliot a type of intelligence vivified and 
 coloured by a vein of genius, in Charlotte 
 Bronte a type of genius directed and 
 moulded by the touch of intelligence. No 
 better test of this distinction could be de- 
 sired than a comparison of their respective 
 shortcomings or failures. These will serve, 
 by their difference in kind and import, in 
 quality and in weight, to show the depth 
 and width of the great gulf between pure 
 genius and pure intellect, even better than 
 a comparison of their highest merits and 
 achievements. 
 
 That great genius is liable to great error 
 the world has ever been willing, if not more 
 
CHARLOTTE BRONTE. 21 
 
 than willing, to admit ; that great genius not 
 equally balanced by great intellect is not one 
 half as liable to go one half as wrong as in- 
 tellect unequally counterpoised by genius, is a 
 truth less popular and less familiar, but neither 
 less important nor less indisputable. That 
 Charlotte Bronte, a woman of the first order 
 of genius, could go very wrong indeed, there 
 are whole scenes and entire characters in her 
 work which afford more than ample proof. 
 But George Eliot, a woman of the first order 
 of intellect, has once and again shown how 
 much further and more steadily and more 
 hopelessly and more irretrievably and more 
 intolerably wrong it is possible for mere intel- 
 lect to go than it ever can be possible for 
 mere genius. Having no taste for the dis- 
 section of dolls, I shall leave Daniel Deronda 
 
CHARLOTTE BRONTE. 
 
 in his natural place above the ragshop door ; 
 and having no ear for the melodies of a Jew's 
 harp, I shall leave the Spanish Gipsy to per- 
 form on that instrument to such audience 
 as she may collect. It would be unjust and 
 impertinent to dwell much on Charlotte 
 Bronte's brief and modest attempts in verse ; 
 but it would be unmanly and unkindly to 
 touch at all on George Eliot's ; except indeed 
 to remark in passing that they are about 
 equally commendable for the one and for 
 the other of those negative good qualities 
 which I have commended in Miss Bronte's. 
 And from this point of difference, if from no 
 other point here discernible, those who will 
 or who can learn anything may learn a lesson 
 in criticism which may perhaps be worth 
 laying to heart : that genius, though it can 
 
CHARLOTTE BRONTE. 23 
 
 put forth no better claim than intellect may 
 assert for itself to share the papal gift of in- 
 fallibility, is naturally the swifter of the two 
 to perceive and to retrieve its errors. Where 
 genius takes one false step in the twilight 
 and draws back by instinct, intelligence once 
 misguided will take a thousand without the 
 slightest diffidence ; will put its best foot fore- 
 most in the pitchy darkness, step out gallantly 
 through all brakes and quagmires till stuck 
 fast up to the middle, and higher yet, in some 
 blind Serbonian bog of blundering presump- 
 tion, and thence will not improbably strike up 
 a psalm of hoarse thanksgiving or shrill 
 self-gratulation, to be echoed from afar by 
 the thousand marshy throats of a Maeotian 
 or Boeotian frog concert, for the grace here 
 given it to have set a triumphant foot on the 
 
24 CHARLOTTE BRONTE. 
 
 solid rock, and planted a steady flagstaff on 
 the splendid summits of supreme and un- 
 surpassable success. 
 
 But we will follow neither the brief 
 excursions of tentative and self-distrustful 
 genius, nor the long aberrations of belated 
 and self-confident intelligence, across any 
 line of country never made for them to 
 traverse and return with any trophies of the 
 chase. Britomartis or Bradamante, on her 
 most desperate and forlorn adventure, has 
 a claim at least on the compassionate for- 
 bearance of every good knight-errant who 
 may have ridden on the like or any such 
 other quest ; and even the felon Sir Breuse 
 Sans Pitie might be moved by some mo- 
 mentary throb of chivalrous condolence at 
 
CHARLOTTE BRONTE. 25 
 
 the pitiful and unseemly spectacle of an 
 Amazon thrown sprawling over the crupper 
 of her spavined and spur-galled Pegasus. It 
 is on ground proper to either or common 
 to both that we will compare the pace and 
 action, the blood and the wind and the staying 
 power, of either steed entered for this race. 
 And first we will examine, dropping our 
 equine metaphor before we have ridden it 
 to death, what may be the very gravest flaws 
 or shortcomings perceptible in the work of 
 Charlotte Bronte. So doing, I believe that 
 any loyal and capable critic will as surely 
 find as he will joyfully admit that her failures 
 never affect the central and radical quality 
 of that work. The heart of it is always 1 
 whole ; its outskirts or extremities alone, 
 perhaps only its dress and decorations, are 
 
26 CHARLOTTE BRONTE. 
 
 in any degree impaired. Take the first work 
 of her genius in its ripe fullness and fresh- 
 ness of new fruit ; a twig or two is twisted 
 or blighted of the noble tree, a bud or so 
 has been nipped or cankered by adverse 
 winds or frost ; but root and branch and 
 bole are all straight and strong and solid 
 and sound in grain. Whatever in 'Jane 
 Eyre ' is other than good is also less than 
 important. The accident which brings a 
 famished wanderer to the door of unknown 
 kinsfolk might be a damning flaw in a novel 
 of mere incident ; but incident is not the 
 keystone and commonplace is not the touch- 
 stone of this. The vulgar insolence and 
 brutish malignity of the well-born guests at 
 Thornfield Hall are grotesque and incredible 
 in speakers of their imputed station ; these 
 
CHARLOTTE BRONTE. 27 
 
 are the natural properties of that class of 
 persons which then supplied, as it yet sup- 
 plies, the writers of such articles as one of 
 memorable infamy and imbecility on 'Jane 
 Eyre ' to the artistic and literary depart- 
 ment of the ' Quarterly Review.' So gross 
 and grievous a blunder would entail no less 
 than ruin on a mere novel of manners ; but 
 accuracy in the distinction and reproduction 
 of social characteristics is not the test of 
 capacity for such work as this. That test ' 
 is only to be found in the grasp and ma- 
 nipulation of manly and womanly character. 
 And, to my mind, the figure of Edward 
 Rochester in this book remains, and seems 
 like to remain, one of the only two male 
 figures of wholly truthful workmanship and 
 vitally heroic mould ever carved and coloured 
 
28 CHARLOTTE BRONTE. 
 
 by a woman's hand. The other it is super- 
 fluous to mention ; all possible readers will 
 have uttered before I can transcribe the 
 name of Paul Emanuel. ^ 
 
 And now we must regretfully and re- 
 spectfully consider of what quality and what 
 kind may be the faults which deform the best 
 and ripest work of Charlotte Bronte's chosen 
 rival. Few or none, I should suppose, of 
 her most passionate and intelligent admirers 
 would refuse to accept ' The Mill on the Floss ' 
 as. on the whole at once the highest snd the 
 purest and the fullest example of her magnifi- 
 cent and matchless powers — for matchless 
 altogether, as I have already insisted, they 
 undoubtedly are in their own wide and fruit- 
 ful field of work. The first two-thirds of the 
 
CHARLOTTE BRONTE. 29 
 
 book suffice to compose perhaps the very 
 noblest of tragic as well as of humorous prose 
 idyls in the language; comprising, as they like- 
 wise do, one of the sweetest as well as saddest 
 and tenderest as well as subtlest examples of 
 dramatic analysis — a study in that kind as soft 
 and true as Rousseau's, as keen and true as 
 Browning's, as full as either's of the fine and 
 bitter sweetness of a pungent and fiery fide- 
 lity. But who can forget the horror of inward 
 collapse, the sickness of spiritual reaction, the 
 reluctant incredulous rage of disenchantment 
 and disgust, with which he first came upon 
 the thrice unhappy third part ? The two 
 first volumes have all the intensity and all 
 the perfection of George Sand's best work, 
 tempered by all the simple purity and in- 
 terfused with all the stainless pathos of Mrs. 
 
30 CHARLOTTE BRONTE. 
 
 Gaskell's ; they carry such affluent weight of 
 thought and shine with such warm radiance 
 of humour as invigorates and illuminates the 
 work of no other famous woman ; they have 
 the fiery clarity of crystal or of lightning ; 
 they go near to prove a higher claim and 
 attest a clearer right on the part of their 
 author than that of George Sand herself to 
 the crowning crown of praise conferred on 
 her by the hand of a woman even greater 
 and more glorious than either in her sovereign 
 gift of lyric genius, to the salutation given 
 as by an angel indeed from heaven, of 
 1 laree -brained woman and larofe-hearted 
 man.' And the fuller and deeper tone of 
 colour combined with greater sharpness 
 and precision of outline may be allowed 
 to excuse the apparent amount of obliga- 
 
CHARLOTTE BRONTE. 31 
 
 tion — though we may hardly see how this 
 can be admitted to explain the remarkable 
 reticence which reserves all acknowledg- 
 ment and dissembles all consciousness of 
 that sufficiently palpable and weighty and 
 direct obligation — to Mrs. Gaskell's beautiful 
 story of ' The Mcorland Cottage' ; in which 
 not the identity of name alone, nor only 
 their common singleness of heart and sim- 
 plicity of spirit, must naturally recall the 
 gentler memory of the less high-thoughted 
 and high-reaching heroine to the warmest 
 and the worthiest admirers of the later-born 
 and loftier-minded Maggie ; though the 
 hardness and brutality of the baser brother 
 through whom she suffers be the outcome 
 in manhood as in childhood of mere greedy 
 instinct and vulgar egotism, while the full 
 
32 CHARLOTTE BRONTE. 
 
 eventual efflorescence of the same gracious 
 qualities in Tom Tulliver is tracked with 
 incomparable skill and unquestionable cer- 
 titude of touch to the far other root of 4 
 sharp narrow self-devotion and honest harsh 
 self-reliance. 
 
 ' So far, all honour ; '. as Phraxanor says 
 of Joseph in the noble poem of Mr. Wells. 
 But what shall any one say of the upshot ? 
 If we are really to take it on trust, to con- 
 front it as a contingent or conceivable 
 possibility, resting our reluctant faith on 
 the authority of so great a female writer, 
 that a woman of Maggie Tulliver's kind 
 can be moved to any sense but that of 
 bitter disgust and sickening disdain by a 
 thing — I will not write, a man — of Stephen 
 
CHARLOTTE BRONTE. 33 
 
 Guest's ; if we are to accept as truth and 
 fact, however astonishing and revolting, so 
 shameful an avowal, so vile a revelation 
 as this ; in that ugly and lamentable case, 
 our only remark, as our only comfort, must 
 be that now at least the last word of 
 realism has surely been spoken, the last 
 abyss of cynicism has surely been sounded 
 and laid bare. The three master cynics 
 of French romance are eclipsed and dis- 
 tanced and extinguished, passed over and 
 run down and snuffed out on their own 
 boards. To the rosy innocence of Laclos, to 
 the cordial optimism of Stendhal, to the 
 trustful tenderness of Merimee, no such 
 degradation of female character seems ever 
 to have suggested itself as imaginable. 
 I ago never flung such an imputation on 
 
 D 
 
34 CHARLOTTE BRONTE. 
 
 all womanhood ; Madame de Merteuil 
 would never have believed it. For a 
 higher view and a more cheering aspect of 
 the sex, we must turn back to these gentler 
 teachers, these more flattering painters of 
 our own ; we must take up ' La Double 
 Meprise ' — or ' Le Rouge et le Noir ' — or 
 * Les Liaisons Dangereuses.' 
 
 But I for one am not prepared or will- 
 ing to embrace a belief so much too de- 
 grading and depressing for the conception 
 of those pure and childlike souls. My faith 
 will not digest at once the first two vo- 
 lumes and the third volume of ' The Mill 
 on the Floss ' ; my conscience or credulity 
 has not gorge enough for such a gulp. 
 Whatever capacity for belief is in me I 
 
CHARLOTTE BRONTE. 35 
 
 find here impaled once more as on the 
 horns of that old divine's dilemma between 
 the irreconcilable attributes of goodness and 
 omnipotence in the supposed Creator of 
 suffering and of sin. If the one quality be 
 predicable, the other quality cannot be pre- 
 dicate of the same subject As between 
 xowr) and 7roiv7j, we must choose Lady 
 Percy on the lap of Falstaff, bidding him 
 patch up his old body for heaven ; Miranda 
 nestling in the arms of Trinculo ; Virgilia 
 seeking consolation for her husband's exile 
 in the rival devotion of Brutus and Sici- 
 nius ; Desdemona finding refuge from her 
 troubles on the bosom of Roderigo — could 
 no longer pretend to be the widow of Hot- 
 spur, the bride of Ferdinand, the wife of 
 the noblest Roman, the fellow-martyr of the 
 
 D 2 
 
36 CHARLOTTE BRONTE. 
 
 nobler Moor. No higher tribute can be 
 claimed and no deeper condemnation can 
 be incurred by perverse or intermittent 
 genius than is conveyed or implied in such 
 comparisons as these. The hideous trans- 
 formation by which Maggie is debased — 
 were it but for an hour — into the willing 
 or yielding companion of Stephen's flight 
 would probably and deservedly have been 
 resented as a brutal and vulgar outrage on 
 the part of a male novelist. But the man 
 never lived, I do believe, who could have 
 done such a thing as this : as the man, I 
 should suppose, does not exist who could 
 make for the first time the acquaintance of 
 Mr. Stephen Guest with no incipient sense 
 of a twitching in his fingers and a tin- 
 gling in his toes at the notion of any con- 
 
CHARLOTTE BRONTE. 37 
 
 tact between Maggie Tulliver and a cur 
 so far beneath the chance of promotion to 
 the notice of his horsewhip, or elevation 
 to the level of his boot. 
 
 Here then is the patent flaw, here too 
 plainly is the flagrant blemish, which defaces 
 and degrades the very crown and flower of 
 George Eliot's wonderful and most noble 
 work ; no rent or splash on the raiment, no 
 speck or scar on the skin of it, but a cancer 
 in the very bosom, a gangrene in the very 
 flesh. It is a radical and mortal plague-spot, 
 corrosive and incurable ; in the apt and 
 accurate phrase of Rabelais, 'an enormous 
 solution of continuity/ The book is not the 
 same before it and after. No washing or 
 trimming, no pruning or purging, could eradi- 
 cate or efface it ; it could only be removable 
 
38 CHARLOTTE BRONTE. 
 
 by amputation and remediable by cautery. 
 It is even a worse offence against ethics, a 
 more grievous insult to the moral senti- 
 ment or sense, because more deliberate and 
 elaborate, than the two actual and unpar- 
 donable sins of Shakespeare : the menace 
 of unnatural marriage between Oliver and 
 Celia, and again between Isabella and her 
 ' old fantastical duke of dark corners.' 
 Scandalous and injurious as these vile 
 suggestions are, they are yet but as hasty 
 blots dropped by an impatient hand, as 
 crude excrescences which may be pared and 
 leave no scar, as broken hints of a bad 
 dream which the waking memory may be 
 fain and able to forget, to shake off it and 
 be clean again ; retaining no thought of 
 Rosalind's cousin but as she first came into 
 
CHARLOTTE BRONTE. 39 
 
 the forest of Arden, of Claudio's sister but 
 as she first was enrolled among the vo- 
 tarists of St. Clare. 
 
 Far otherwise it is with the poor noble 
 heroine so strangely disgraced and dis- 
 crowned of natural honour by the strong 
 and cruel hand which created her ; and which 
 could not redeem or raise her again, even 
 by the fittest and noblest of all deaths con- 
 ceivable, from the mire of ignominy into 
 which it had been pleased to cast her down 
 or bid her slip at the beck and call of a 
 counter-jumping Antinous, a Lauzun of the 
 counting-house, as vulgar as Vivien and as 
 mean as the fellow who could gloat on the 
 prospective degradation and anticipated un- 
 happiness of a woman he forsooth had loved, 
 
40 CHARLOTTE BRONTE. 
 
 under the wholly impossible condition of 
 an utterly unimaginable hypothesis that the 
 unfortunate young lady, who had at least 
 the good fortune to escape the miserable 
 ignominy of union with such a kinsman, 
 might have declined on a range of lower 
 feelings and a narrower heart than his ; a 
 supposition, as most men would think, be- 
 yond the power of omnipotence itself to 
 realise. Surely our world would seem in 
 danger of forgetting, under the guidance 
 and example of its most brilliant literary 
 chiefs, that there are characters and emo- 
 tions which may not lie beyond the limits 
 of degraded nature, but do assuredly grovel 
 beneath the notice of undegenerate art ; and 
 that of such, most unquestionably, — if any 
 such there be — are the characters and emo- 
 
CHARLOTTE BRONTE. 41 
 
 tions of such reptile amorists as debase by 
 the indecent exposure of their dastardly and 
 rancorous egotism the moral value of such 
 otherwise admirable masterpieces as ' Locks- 
 ley Hall ' and ' The Mill on the Floss.' An 
 eminent historian, notable alike as a reviler 
 of Frenchmen and a champion of Bulgarians, 
 has written a paper to show that the law 
 of honour as understood by our forefathers 
 is an obsolete and artificial invention of 
 depraved or barbarous times ; an opinion 
 which may help to explain, if not to justify, 
 his national antipathies and sympathies ; and 
 some at least among our living elders in 
 the field of imaginative letters would seem 
 to have adopted, with more than historic 
 ardour, a creed which nullifies the foolish 
 traditions and explodes the simple doctrines 
 
42 CHARLOTTE BRONTE. 
 
 of superstitious chivalry. Yet I for one, 
 though not like to feel personally aggrieved 
 or even ungratified by the most extravagant 
 of English compliments addressed to France, 
 should be sorry to suppose that it was even 
 yet a taste exclusively reserved for men 
 with French blood in their veins or French 
 sympathies in their hearts, to prefer the old- 
 world principle of mere chivalrous loyalty, 
 of passion self-sacrificed and self-forgetting 
 woman- worship, of knightly folly and faith 
 shown even in the service of a lawless love 
 — or lawless but for the law of honour, that 
 worn-out spiritual mainspring and worthless 
 moral motive of ' art with poisonous honey 
 stolen from France' — to all the home-made 
 treacle of the Laureate's morality. Poi- 
 sonous as to certain tastes may be the 
 
CHARLOTTE BRONTE. 43 
 
 natural passions condoned or consecrated 
 by chivalry, and preposterous in certain 
 eyes as are the conventional principles es- 
 tablished or confirmed by its law, I am not 
 reluctant, on behalf of the nation and its 
 creed, to admit that it would be no less 
 difficult to derive from a French origin or 
 refer to a French example the taint of such 
 a distemper as is implied by this distaste, 
 than to inoculate with its infection the spirit 
 of a Frenchman or a gentleman. . 
 
 No outrage of this kind on womanly loyalty 
 and manly instinct was among the possible 
 errors of Charlotte Bronte's heroic soul. To 
 errors of some gravity that great spirit was 
 indeed liable on more lines than one ; her 
 critical judgment, for instance, on Mr. Tenny- 
 
44 CHARLOTTE BRONTE. 
 
 son's ' In Memoriam' was almost as grotesque 
 in its ineptitude as that of M. Taine's very- 
 self ; and under the gigantic shadow of Bal- 
 zac's many-featured and colossal empire, she 
 would seem, like many if not most English- 
 women, to have come in as it were on the 
 wrong side. The critical faculty in a woman 
 of genius, if not well trained and cultivated 
 with much labour of spiritual husbandry, 
 seems naturally more prone to such flaws and 
 lapses than the learned judgment of an in- 
 telligence duly warmed by the suns and 
 watered by the streams of wide and fertilising 
 study can ever claim the slightest excuse 
 or plead the slightest apology for having 
 shown itself at any time to be. Nor can 
 we say that Miss Bronte's more proper and 
 natural faculty of creative imagination was 
 
CHARLOTTE BRONTE. 45 
 
 exempt from its own special chances of 
 error, its own peculiar liabilities to wrong, 
 But from any such error and from any such 
 collapse as those on which we have re- 
 marked in others — from all such disloyalty 
 to clear moral law, from all such debase- 
 ment or degradation of high personal in- 
 stinct — from all malevolence, from all brutality, 
 from all selfish and vindictive cowardice — 
 from any taint of vile or vulgar or ignoble 
 sympathies, no human spirit was ever more 
 triumphantly delivered — was ever more glo- 
 riously free. 
 
 Another not insignificant point of diffe- 
 rence, though less notable than this, we 
 find in the broad sharp contrast offered by 
 the singular perfection of George Eliot's 
 
46 CHARLOTTE BRONTE. 
 
 earliest imaginative work, with its gracious 
 union of ease and strength, its fullness and 
 purity of outline, its clearness and accuracy 
 of touch, its wise and tender equity, its 
 radiant and temperate humour, its harmony 
 and sincerity of tone, to the doubtful, heavy- 
 gaited, floundering tread of Charlotte Bronte s 
 immature and tentative genius, at its first 
 start on the road to so triumphal a goal as 
 lay ahead of it. No reader of average ca- 
 pacity could so far have failed to appreciate 
 the delicate and subtle strength of hand 
 put forth in the 'Scenes of Clerical Life' 
 as to feel any wonder mingling with his 
 sense of admiration when the same fine and 
 potent hand had gathered its latter laurels 
 in a wider field of work ; but even the wise 
 and cordial judgment which had discerned 
 
CHARLOTTE BRONTE. 47 
 
 the note of power and sincerity perceptible 
 in the crude coarse outlines of ' The Pro- 
 fessor' may well have been startled and 
 shaken out of all judicial balance and cri- 
 tical reserve at sight of the sudden sunrise 
 which followed so fast on that diffident 
 uncertain dawn. One of the two only 
 women among their contemporaries, who for 
 absolute inspiration of positive genius may 
 without absurdity of anticlimax be named 
 beside Charlotte Bronte and her sister, has 
 told how sudden and how perfect was the 
 conversion wrought by a first reading of 
 the manuscript of ' Indiana ' on the grim 
 and truculent amity of her first literary 
 tutor and censor, the Rhadamanthine author 
 of * Fragoletta ' ; who certainly, to judge by 
 his own examples of construction, had some 
 
48 CHARLOTTE BRONTE. 
 
 right to pronounce with authority how a 
 novel ought not to be written. But the 
 transfiguration of spirit and power revealed 
 by the marvellous advent of the English 
 masterpiece has in it a more splendid sign 
 of miracle than the fiery daybreak of George 
 Sand's. 
 
 There is yet a third point of contrast 
 which could not be passed over without such 
 gross and grievous injustice to the very 
 loveliest quality of George Eliot's work as 
 might deservedly expose me to the disgrace- 
 ful danger of a niche in the temple of ill-fame 
 by the side of those reserved for the repre- 
 sentative successors of Messrs. Gifford and 
 Croker. No man or woman, as far as I 
 can recollect, outside the order of poets, has 
 ever written of children with such adorable 
 
CHARLOTTE BRONTE. 
 
 49 
 
 fidelity of affection as the spiritual mother 
 of Totty, of Eppie, and of Lillo. The fiery- 
 hearted Vestal of Haworth had no room re- 
 served in the palace of her passionate and 
 high-minded imagination as a nursery for 
 inmates of such divine and delicious quality. 
 There is a certain charm of attraction as well 
 as compassion wrought upon us by the tragic 
 childhood of Jane Eyre ; and no study can 
 exceed for exquisite veracity and pathos the 
 subtle and faultless portrait of the child 
 Paulina in the opening chapters of ' Villette ' ; 
 but the attraction of these is not wholly or 
 mainly the charm of infancy, as felt either in 
 actual fleshly life or in simple reflection from 
 the flawless mirror of loving and adoring 
 genius ; it comes rather from the latent sug- 
 gestion or refraction of the woman yet to be, 
 
 E 
 
50 CHARLOTTE BRONTE. 
 
 struck sharply back or dimly shaded out from 
 the deep glass held up to us of a passionate 
 and visionary childhood. We begin at once 
 to consider how the children in Charlotte 
 Bronte's books will grow up ; it is too evident 
 that they are not there for their own childish 
 sake — a fatal and infallible note of inferiority 
 from the baby-worshipper's point of view. 
 What thickest-headed quarterly section or 
 subdivision cf a human dullard ever vexed his 
 pitifully scant quarter of an average allow- 
 ance of brains with the question how Totty 
 would grow up, and whether or not into a 
 modified likeness of her mother ? She is 
 Totty for ever and ever, a doubly immortal 
 little child, set in the lap of our love for the 
 kisses and the laughter of all time, to the last 
 generation of possible human readers. But 
 
CHARLOTTE BRONTE. 51 
 
 of Paulina we cannot choose but take thought 
 with Lucy Snowe how such ' a very unique 
 child ' will grow up, and what brighter or 
 darker chances may then bring out in full her 
 terrible incalculable capacity of suffering and 
 of love. And, hard though it may be to de- 
 termine as with legal precision what strange 
 shape and colour may not be taken by human 
 affections under the pressure of circumstance 
 or the strain of suffering, it is yet so difficult 
 to believe, for instance, in the dread and re- 
 pulsion felt by a forsaken wife and tortured 
 mother for the very beauty and dainty sweet 
 ness of her only new-born child, as recalling 
 the cruel sleek charm of the human tiger 
 who had begotten it, that we are wellnigh 
 moved to think one (ff the most powerfully 
 
 and exquisitely written chapters in ' Shirley ' 
 e 2 
 
52 CHARLOTTE BRONTE. 
 
 a chapter which could hardly have been 
 written at all by a woman, or for that matter 
 by a man, of however kindly and noble a 
 nature, in whom the instinct or nerve or 
 organ of love for children was even of average 
 natural strength and sensibility. Milton might 
 have conceived such a thing, but certainly 
 not Shakespeare ; or Corneille, but assuredly 
 not Hugo. Motherhood to Charlotte Bronte 
 must have been a more vague and dim ab- 
 straction than his camel to the mythical sage 
 of Germany or his seaport to the nautical 
 king of Bohemia. In George Eliot it is the 
 most vivid and vital impulse which lends to 
 her large intelligence the utmost it ever has of 
 the spiritual breath and living blood of genius; 
 and never had any such a gift more plainly and 
 immediately as from the very heart of heaven. 
 
CHARLOTTE BRONTE. 53 
 
 Most of her men may have been overpraised 
 by her blatant and loose-tongued outriders 
 or pursuivants in the world of letters ; and 
 some also of her women may have been 
 praised at least up to the mark of their 
 deserts ; not one of her little children ever 
 can be. They are good enough to play with 
 the little people of the greatest among poets, 
 from Astyanax down to Mamillius, and on- 
 wards again even to that poor ' Petit Paul ' 
 but now baptized as in the tears — ' tears such 
 as angels weep ' — of our mighty and most 
 loving Master. None among the many and 
 truly great qualities of their illustrious mother 
 seems to me so precious as this one ; so wholly 
 worthy of the more tender tribute paid by 
 men's loving thanks to something other if not 
 lovelier, and sweeter if less rare, than genius. 
 
54 CHARLOTTE BRONTE. 
 
 But saving for her 'plentiful lack' of 
 inborn baby-worship I cannot think of any- 
 great good quality most proper to the most 
 noble among women which was not eminent 
 in the genius as in the nature of Charlotte 
 Bronte. Take for example neither of her 
 great two masterpieces, but the most un- 
 equal and least fortunate of her three great 
 books. Weakest on that very side where the 
 others are strongest, \ Shirley ' is doubtless a 
 notable example of failure in the central and 
 crucial point of masculine character. Robert 
 Moore is rather dubious than damnable as a 
 study from the male ; but for his brother the 
 most fervent of special pleaders can hardly 
 find much to say on that score. No quainter 
 example of a woman of genius in breeches — 
 and very badly fashioned and badly fitting 
 
CHARLOTTE BRONTE. 55 
 
 breeches too — was ever exhibited by George 
 Sand's very self, in the days when she refused 
 or accorded the gift of a memorial button off 
 her own to the soft petition of the suppliant 
 Heine. Assuredly ' Louis Moore ' would 
 never have passed muster with the very sto- 
 lidest of all Swiss as the one unmistakable 
 young man in a masquerading party of ques- 
 tionably mingled sexes — as I suppose we are 
 bound to take her word for it that the author of 
 ' Lettres d'un Voyageur ' did actually succeed 
 in passing. Glorious words are given him to 
 utter, but they come as from under a mask 
 without eyesight or feature or native organ 
 of speech. Miss Bronte has written nothing 
 finer, nothing of more vivid and exquisite elo- 
 quence, than the best passages of his diary ; 
 than the sweet and sublime rhapsody on a 
 
36 CHARLOTTE BRONTE. 
 
 windy moonlit vigil, where the words have in 
 them the very breath and magic and riotous 
 radiance, the utter rapture and passion and 
 splendour of the high sonorous night. No 
 other woman that I know of, not George Sand 
 herself, could have written a prose sentence of 
 such exalted and perfect poetry as this : — 
 * The moon reigns glorious, glad of the gale ; 
 as glad as if she gave herself to its fierce 
 caress with love.' Nothing can beat that ; no 
 one can match it : it is the first and last abso- 
 lute and sufficient and triumphant word ever 
 to be said on the subject. It paints wind like 
 David Cox, and light like Turner. To find 
 anything like it in verse we must go to the 
 highest springs of all ; to Pindar or to Shelley 
 or to Hugo. And these, in the famous phrase 
 of Brummell's valet — these are her failures. 
 
CHARLOTTE BRONTE. 57 
 
 But what shall be said of her successes ? 
 Let us again take a single instance in wit- 
 ness of what one woman, and one only in all 
 time, has done for proof of what the greatest 
 of her kind can do in the loftiest way of 
 moral insight and dramatic imagination, v 
 Cervantes alone among all men has done the 
 like ; for Sterne has not ; for Thackeray has 
 not. There is no first sense of weakness 
 or faultiness or moral grotesque on his 
 part, of pity or question or amusement but 
 half compatible with reverence and tender 
 respect on our own, to overcome in the case 
 of Uncle Toby ; if from the first we have to 
 smile at him, we never from the first have to 
 wince or start as at something incongruous 
 with the qualities which evoke our general 
 and affectionate regard. And in the case of 
 
"3 
 58 CHARLOTTE BRONTE. 
 
 Colonel Newcome our sense of his intellec- 
 tual infirmity and imperfection is never quite 
 overcome or transfigured by our sense of his 
 moral and chivalrous excellence ; if indeed 
 it will ever quite allow us to shake or drive 
 off the lurking or recurring impression that 
 in the author's mind the very idea of good- 
 ness was inseparably inwoven and inwound 
 with the thought of some qualifying defor- 
 mity or characteristic debility, of something 
 in the very essence of its composition inferior 
 and infirm ; some weakness or malformation 
 of mind, some sprawling or splay-footed 
 imbecility corresponding to the physical dis- 
 figurement of Major Dobbin. One reason 
 or explanation not visibly inapt or inade- 
 quate to account for this ungracious im- 
 pression and the inevitable discomfort or 
 
CHARLOTTE BRONTE. 59 
 
 disrelish left by it on the reader's taste may 
 perhaps be found to lie in the curiously 
 undisguised and exuberant admiration with 
 which his creator dilates and expatiates on 
 the charm and perfection of the good 
 Colonel's unquestionable goodness ; display- 
 ing as it were with insistent ostentation a 
 frankness of sympathy and irrepressible effu- 
 sion of demonstrative esteem for magnanimity 
 and virtue, which in time of afterthought 
 may or may not make us like all the better 
 and respect all the more the personality and 
 manhood of the workman, but which in 
 either case must needs to some extent impair 
 rather than enhance the actual and present 
 impression of his work. 
 
 For the creator of Don Quixote we need 
 make no such allowance ; we need make no 
 
60 CHARLOTTE BRONTE. 
 
 such reservation on her behalf whose crown- 
 ing title to men's honour is that she was the 
 creator of Paul Emanuel. Had she none 
 other than this only, yet this alone would 
 place her among the highest of human rulers 
 in ' the brightest heaven of invention ' — 
 
 XajjL7rpovQ cvvaaraQ ifiirpEKOvraQ aiOipi. 
 
 Most children, I suppose, who are at 
 once given to dreaming and capable of devo- 
 tion, must know the mood of loyal fancy and 
 tender ardour so perfectly expressed in the 
 wish of Mrs. Gaskell's little Maggie that she 
 could have waited as a servant on Don 
 Quixote ; and the feeling is akin to this with 
 which at a later age any one of kindred 
 nature, on their first intimate acquaintance, 
 and in a great degree ever after, is certain to 
 regard M. Paul. Supreme as is the spiritual 
 
CHARLOTTE BRONTE. 6r 
 
 triumph of Cervantes in the person of his j 
 perfect knight over all insult and mockery of 
 brutal chance and ruffianly realities, all cud- 
 gels and all cheats and all contumely, it is 
 hardly a more marvellous or a completer 
 example of imaginative and moral mastery 
 than the triumph of Charlotte Bronte in the 
 quaint person of her grim little Professor 
 over his own eccentric infirmities of habit 
 and temper, more hazardous to our sense of 
 respect than any outward risk or infliction of 
 alien violence or mockery from duchesses or 
 muleteers ; a triumph so naturally drawn out 
 and delicately displayed in the swift steady 
 gradations of change and development, now 
 ludicrous and now attractive, and wellnigh 
 adorable at last, through which the figure of 
 M. Paul seems to pass as under summer 
 
62 CHARLOTTE BRONTE. 
 
 lights and shadows, till it gradually opens 
 upon us in human fullness of self-unconscious 
 charm and almost sacred beauty — yet 
 always with the sense of some latent infu- 
 sion, some tender native admixture of a 
 quality at once loveable and laughable ; with 
 something indeed of that quaint sweet kind 
 of earnest affection and half-smiling venera- 
 tion which all men fit to read him feel to 
 their ' heart's root ' for the person even more 
 than for the writings of Charles Lamb. 
 That our smile should in no wise impair for 
 one instant our reverence, that our reverence 
 should in no wise make us abashed or 
 ashamed for one moment at the recollection 
 of our smile — this is the final test and triumph 
 of a genius to which we find no likeness out- 
 side the very highest rank of creators in the 
 
CHARLOTTE BRONTE. 63 
 
 sphere of spiritual invention or of moral 
 imagination. 
 
 All who have ever read it will remember 
 the exquisite saying of Chateaubriand so 
 exquisitely rendered by Mr. Arnold : — ' The 
 true tears are those which are called forth by 
 the beauty of poetry ; there must be as much 
 admiration in them as sorrow.' The true 
 tears are also those of a yet rarer kind, which 
 are called up at least, if not called forth, by 
 the beauty of goodness ; and in such unshed 
 tears as these are the thoughts as it were 
 baptised, which attend upon our memory of 
 some few among the imperishable shadows 
 of men created by man's genius ; phantoms 
 more actual and vital than the creators they 
 outlive, as mankind outlives the gods of its 
 
64 CHARLOTTE BRONTE. 
 
 own creation. There is or should be for all 
 men such consecration in a great man's tears 
 as cannot but glorify the source and embalm 
 the subject of their flow. We may even, and 
 not unreasonably, suspect and fear that it 
 must be through some defect or default in 
 ourselves if we cannot feel as they do the 
 force or charm of that which touches others, 
 and these our betters as often as our equals, 
 so nearly; if we cannot, for example, — as I 
 may regretfully confess that I never could — 
 feel adequately or in full the bitter sweetness 
 that so many thousands — and most notably 
 among them all a better man by far and a far 
 worthier judge than I — have tasted in those 
 pages of Dickens which hold the story of 
 Little Nell ; a story in which all the elabo- 
 rate accumulation of pathetic incident and 
 
CHARLOTTE BRONTE. 65 
 
 interest, so tenderly and studiously built up, 
 has never, to speak truth, given me one 
 passing thrill — in the exquisitely fit and 
 faithful phrase of a great living poet, one 
 ' sweet possessive pang ' — of the tender 
 delight and pity requickened wellnigh to 
 tears at every fresh reperusal or chance 
 recollection of that one simpler page in 
 ' Bleak House' which describes the baby 
 household tended by the little sister who 
 leaves her lesser charges locked up while she 
 goes out charing ; a page which I can 
 imagine that many a man unused to the 
 melting mood would not undertake to read 
 out aloud without a break. But this in- 
 ability to feel with those who have been 
 most deeply moved by the earlier design of 
 the same great master — sovereign over all 
 
 F 
 
66 CHARLOTTE BRONTE. 
 
 competitors of his country and his day in the 
 conterminous provinces of laughter and of 
 tears — this incompetence or obduracy of 
 temper is anything but a source of self-com- 
 placent satisfaction when I remember that 
 foremost among these was the illustrious 
 man of lion-hearted genius who but thirteen 
 years since was still our greatest country- 
 man surviving from an age of godlike 
 giants and gods as yet but half divine ; the 
 Roman who best knew Greece, the English- 
 man who best loved England ; the friend of 
 Pericles and of Chatham, the associate of 
 Sophocles and of Shakespeare ; the heroic 
 poet who retained at the age of Nestor what- 
 ever qualities were "noblest in the nature of 
 Achilles — all the lightnings of his mortal 
 wrath, and all the tenderness of his immortal 
 tears. 
 
CHARLOTTE BRONTE. 67 
 
 It is certainly no subject for a boast — per- 
 haps it properly should rather be matter for a 
 blush — that Landor's little favourite among 
 all the deathless children begotten by the 
 genius of Dickens should never have had 
 power to work such transformation on my 
 eyes as many a line of his own in verse or 
 prose has wrought so many a time upon 
 them : for if ever that sovereign power of 
 perfection was made manifest in human 
 words, such words assuredly were his, 
 whether English or Latin, who wrote that 
 epitaph on the martyred patriots of Spain, as 
 far exceeding in its majesty of beauty the 
 famous inscription for the Spartan three 
 hundred as the law of the love of liberty 
 exceeds all human laws of mere obedience ; 
 who gave back Iphigenia to Agamemnon for 
 
 F 2 
 
68 CHARLOTTE BRONTE. 
 
 ever, and Vipsania for an hour to Tiberius. 
 Before the breath of such a spirit as speaks 
 in his transcendent words, the spirit of a loyal- 
 minded man is bowed down as it were at a 
 touch and melted into burning tears, to be 
 again raised up by it and filled and kindled 
 and expanded into something — or he dreams 
 so — of a likeness for the moment to itself. 
 
 Some portion of a faculty such as this, 
 some touch of the same godlike and wonder- 
 working might of imperious moral quality, 
 some flush of the same divine and plenary 
 inspiration, there was likewise in the noble 
 genius and heroic instinct of Charlotte 
 Bronte. Some part of the power denied to 
 many a writer of more keen and rare intel- 
 ligence than even hers we feel ' to the finest 
 fibre of our nature ' at the slight strong touch 
 
CHARLOTTE BRONTE. 69 
 
 of her magnetic hand. The phrase of 
 ' passionate perfection/ devised by Mr. 
 Tennyson to describe the rarest type of 
 highest human character, is admirably appli- 
 cable to her special style at its best. 'The 
 figure of the young missionary St. John 
 Rivers is by no means to be rated as one of 
 her great unsurpassable successes in spiritual 
 portraiture ; the central mainspring of his 
 hard fanatic heroism is never quite adequately 
 touched ; her own apparent lack of sympathy 
 with this white marble clergyman (counter- 
 part, as it were, of the ' black marble ' Brockle- 
 hurst, who chills and darkens the dreary 
 dawn of the story) seems here and there as 
 though it scarcely could be held down by 
 force of artistic conscience from passing into 
 actual and avowed aversion ; but the 
 
 ng into 
 ;he im 
 
7 o CHARLOTTE BRONTE. 
 
 perishable passion and perfection of the 
 words describing the moorland scene of 
 which his eyes at parting take their long 
 last look must have drawn the tears to 
 many another man's that his own were not 
 soft enough to shed. 
 
 This instinct (if I may so call it) for 
 the tragic use of landscape was wellnigh 
 even more potent and conspicuous in Emily 
 than in Charlotte. Little need was there 
 for the survivor to tell us in such earnest 
 and tender words of memorial record how 
 1 my sister Emily loved the moors ' : that 
 love exhales, as a fresh wild odour from 
 a bleak shrewd soil, from every storm-swept 
 page of ' Wuthering Heights.' All the heart 
 of the league-long billows of rolling and 
 breathing and brightening heather is blown 
 
CHARLOTTE BRONTE. 71 
 
 with the breath of it on our faces as we read ; 
 all the wind and all the sound and all the 
 fragrance and freedom and gloom and glory 
 of the high north moorland — ' in winter 
 nothing more dreary, in summer nothing 
 more divine.' Even in Charlotte Bronte's 
 highest work I find no touches of such ex- 
 quisite strength and triumphant simplicity as 
 here. There is nothing known to me in any 
 book of quite equal or similar effect to that 
 conveyed by one or two of these. Take for 
 instance that marvellous note of landscape 
 struck as it seems unconsciously by the 
 heaven-born instinct of a supreme artist in 
 composition and colour, in tones and shades 
 and minor notes of tragic and magic sweet- 
 ness, which serves as overture to the last 
 fierce rapturous passage of raging love and 
 
72 CHARLOTTE BRONTE. 
 
 mad recrimination between Heathcliff and 
 the dying Catherine ; the mention of the 
 church-bell that in winter could just be heard 
 ringing right across the naked little glen, 
 but in summer the sound was lost, muffled 
 by the murmur of blowing foliage and 
 branches full of birds. The one thing I 
 know or can remember as in some sort com- 
 parable in its effect to this passage is of 
 course that notice of the temple-haunting 
 martlet and its loved mansionry which serves 
 as prelude to the entrance of Lady Macbeth 
 from under the buttresses where its pendant 
 bed and procreant cradle bore witness to the 
 delicate air in which incarnate murder also 
 was now to breed and haunt. Even more 
 wonderful perhaps in serene perfection of 
 subdued and sovereign power is the last 
 
CHARLOTTE BRONTE. 73 
 
 brief paragraph of that stormy and fiery tale. 
 There was a dark unconscious instinct as of 
 primitive nature-worship in the passionate 
 great genius of Emily Bronte, which found 
 no corresponding quality in her sisters. It 
 is into the lips of her representative Shirley 
 Keeldar that Charlotte puts the fervent 
 ' pagan ' hymn of visionary praise to her 
 mother nature — Hertha, Demeter, 'ladeesse 
 des dieux,' which follows on her fearless 
 indignant repudiation of Milton and his Eve. 
 Nor had Charlotte's less old-world and 
 Titanic soul any touch of the self-dependent 
 solitary contempt for all outward objects of 
 faith and hope, for all aspiration after a 
 changed heart or a contrite spirit or a con- 
 verted mind, which speaks in the plain-song 
 note of Emily's clear stern verse with such 
 
74 CHARLOTTE BRONTE. 
 
 grandeur of antichristian fortitude and self- 
 controlling self-reliance, that the 'halting 
 slave ' of Epaphroditus might have owned for 
 his spiritual sister the English girl whose 
 only prayer for herself, \ in life and death' — a 
 self-sufficing prayer, self-answered, and ful- 
 filled even in the utterance — was for ' a 
 chainless soul, with courage to endure.' Not 
 often probably has such a petition gone up 
 from within the walls of a country parsonage 
 
 as this : — 
 
 And if I pray, the only prayer 
 
 That moves my lips for me, 
 Is — Leave the heart that now I bear, 
 
 And give me liberty ! 
 
 That word which is above every word might 
 
 surely have been found written on that 
 
 ■ heart. Her love of earth for earth's sake, 
 
 her tender loyalty and passionate reverence 
 
 
CHARLOTTE BRONTE. 75 
 
 for the All-mother, bring to mind the words 
 of her sister's friend, and the first eloquent 
 champion of her own genius : — 
 
 I praise thee, mother earth ! oh earth, my mother ! 
 Oh earth, sweet mother ! gentle mother earth ! 
 Whence thou receivest what thou givest I 
 Ask not as a child asketh not his mother, 
 Oh earth, my mother ! 
 
 No other poet's imagination could have con- 
 ceived that agony of the girl who dreams 
 she is in heaven, and weeps so bitterly for 
 the loss of earth that the angels cast her out 
 in anger, and she finds herself fallen on the 
 moss and heather of the mid moor-head, 
 and wakes herself with sobbing for joy. It 
 is possible that to take full delight in Emily 
 Bronte's book one must have something 
 by natural inheritance of her instinct and 
 something by earliest association of her 
 
76 CHARLOTTE BRONTE. 
 
 love for the same special points of earth — 
 the same lights and sounds and colours 
 and odours and sights and shapes of the 
 same fierce free landscape of tenantless and 
 fruitless and fenceless moor ; but however 
 that may be, it was assuredly with no less 
 justice of insight and accuracy of judgment 
 than humility of self-knowledge and fide- 
 lity of love that Charlotte in her day of 
 solitary fame assigned to her dead sister 
 the crown of poetic honour which she as 
 rightfully disclaimed for herself. Full of 
 poetic quality as her own work is through- 
 out, that quality is never condensed or 
 crystallised into the proper and final form 
 of verse. But the pure note of absolutely 
 right expression for things inexpressible in 
 full by prose at its highest point of ade- 
 
 
CHARLOTTE BRONTE. 77 
 
 quacy — the formal inspiration of sound which 
 at once reveals itself, and which can fully 
 reveal itself by metrical embodiment alone, 
 in the symphonies and antiphonies of regu- 
 lar word-music and definite instinctive modu- 
 lation of corresponsive tones — this is what 
 Emily had for her birthright as certainly as 
 Charlotte had it not. Here are a few lines to 
 give evidence for themselves on that score. 
 
 He comes with western winds, with evening's wander- 
 ing airs, 
 
 With that clear dusk of heaven that brings the thickest 
 stars. 
 
 Winds take a pensive tone, and stars a tender fire, 
 
 And visions rise, and change, that kill me with desire. 
 
 Desire for nothing known in my maturer years, 
 When Joy grew mad with awe, at counting future tears. 
 
 ****** 
 
 Oh, dreadful is the check — intense the agony — 
 When the ear begins to hear, and the eye begins to 
 
 see; 
 When the pulse begins to throb, the brain to think 
 
 again, 
 The soul to feel the flesh, and the flesh to feel the chain. 
 
78 CHARLOTTE BRONTE. 
 
 If here is not the pure distinctive note of 
 song as opposed to speech — the ' lyrical cry/ 
 as Mr. Arnold calls it — I know not where 
 to seek it in English verse since Shelley. 
 Another such unmistakable note is struck 
 in the verses headed ' Remembrance,' where 
 the deep sense of division wellnigh melts 
 and dies into a dream of reunion and re- 
 vival by the might of memories 'that are 
 most dearly sweet and bitter.' Here too is 
 the same profound perception of an abiding 
 power, but little less if surely less than 
 omnipotence, in the old dumb divinities of 
 Earth and Time — gods only not yet found 
 strong enough to divide long love from 
 
 death ; 
 
 Severed at last by Time's all-severing wave. 
 
 All these samples are from the little 
 
CHARLOTTE BRONTE. 79 
 
 triune publication of 1 846 ; which gave also 
 some witness of the latent and labouring 
 powers, as yet unsure of aim and outlet, 
 but feeling their unquiet way to right and 
 left in the deep underworld of Charlotte 
 Brontes growing genius. But the final ex- 
 pression in verse of Emily's passionate and 
 inspired intelligence was to be uttered from 
 lips already whitened though not yet chilled 
 by the present shadow of unterrifying death. 
 No last words of poet or hero or sage or 
 saint were ever worthy of longer and more 
 reverent remembrance than that appeal 
 which is so far above and beyond a prayer 
 to the indestructible God within herself ; 
 a psalm of trust so strangely (as it seems) 
 compounded of personal and pantheistic faith, 
 at once fiery and solemn, full alike of re- 
 
80 CHARLOTTE BRONTE. 
 
 signation and of rapture, far alike from the 
 conventions of vulgar piety and the com- 
 placencies of scientific limitation ; as utterly- 
 disdainful of doctrine as of doubt, as con- 
 temptuous of hearsay as reverent of itself, 
 as wholly stripped and cleared and lightened 
 from all burdens and all bandages and all 
 incrustations of creed as it is utterly per- 
 vaded and possessed by the sublime and 
 irrefutable passion of belief. 
 
 The praise of Emily Bronte can be no 
 alien or discursive episode in the briefest and 
 most cursory notice, the least adequate or ex- 
 haustive panegyric of her sister ; and far less 
 would it have seemed less than indispensable 
 to that most faithful and devoted spirit of 
 indomitable love which kept such constant 
 
CHARLOTTE BRONTE. 81 
 
 watch over her memory, and fought so good 
 a fight for her fame. There is no more sig- 
 nificant or memorable touch of nature in the 
 records of her noble soul and unalterable 
 heart than we find in her instant and her life- 
 long thankfulness for the fervent tribute of 
 Mr. Dobell to the profound and subtle genius, 
 then already fallen still and silent, which had 
 moved as a wind upon the tragic and perilous 
 waters of passion overtopped by the shadow 
 of ' Wuthering Heights.' Those who would 
 understand Charlotte, even more than those 
 who would understand Emily, should study 
 the difference of tenderness between the 
 touch that drew Shirley Keeldar and the 
 touch that drew Lucy Snowe. This latter 
 figure, as Mr. Wemyss Reid has observed 
 with indisputable accuracy of insight, was 
 
 G 
 
CHARLOTTE BRONTE. 
 
 doubtless, if never meant to win liking or 
 made to find favour in the general reader's 
 eyes, yet none the less evidently on that ac- 
 count the faithful likeness of Charlotte Bronte, 
 studied from the life, and painted by her own 
 hand with the sharp austere precision of a 
 photograph rather than a portrait. But it is 
 herself with the consolation and support of 
 her genius withdrawn, with the strength of 
 her spiritual arm immeasurably shortened, the 
 cunning of her right hand comparatively can- 
 celled ; and this it is that makes the main un- 
 dertone and ultimate result of the book some- 
 what mournfuller even than the literal record 
 of her mournful and glorious life. In the 
 house where I now write this there is a picture 
 which I have known through all the years 
 I can remember — a landscape by Crome ; 
 
CHARLOTTE BRONTE. 83 
 
 showing just a wild sad track of shoreward 
 brushwood and chill fen, blasted and wasted 
 by the bitter breath of the east wind blowing 
 off the eastward sea, shrivelled and subdued 
 and resigned as it were with a sort of grim 
 submission to the dumb dark tyranny of a full- 
 charged thunder-cloud which masks the mid 
 heaven of midnoon with the heavy muffler of 
 midnight, and leaves but here and there a 
 dull fierce gleam of discomfortable and 
 deadened sunlight along the haggard sky-line 
 or below it. As with all this it is yet always 
 a pleasure to look upon so beautiful and noble 
 a study of so sad and harsh-featured an out- 
 lying byway through the weariest waste 
 places of the world, so is it in its kind a per- 
 petual pleasure to revisit the wellnigh sunless 
 landscape of Lucy Snowe's sad, passionate, 
 
 g 2 
 
84 CHARLOTTE BRONTE. 
 
 and valiant life. But to us, knowing what 
 we all now know of the designer, there seems 
 a touch of pathos beyond all articulate ex- 
 pression in the contrast, when we turn from 
 this to the ideal decoration of Shirley 
 Keeldar's, and remember that here is the 
 vision of the life she would fain have realized 
 for her dead and best beloved and most dearly 
 honoured sister ; who had had in the days of 
 her actual life as harsh and strange a time of 
 it as her own. From the character of Shirley, 
 as from the character of Lucy Snowe, the 
 artist has naturally as of necessity withdrawn 
 the component element that in its effect and 
 result at least was or is for us now the 
 dominant and distinctive quality of Emily 
 Bronte as of Charlotte — the special gift and 
 application of her creative genius ; and on the 
 

 CHARLOTTE BRONTE. 85 
 
 other hand we can barely imagine that 
 austere and fiery poetess, a creature so ad- 
 mirably and terribly compounded of tragic 
 genius and Stoic heroism, a jester of plea- 
 santry so bitter and so grim in those brief 
 bleak flashes of northern humour that 
 lighten across the byways of her book from 
 the rigid old lips of the Calvinist farm-servant 
 — we can barely, I say, conceive of her as ex- 
 changing such rapid passes of light bright 
 fence in a laughing war of words with the 
 reverend and gallant old Cossack Helstoneas 
 sharpen and quicken the dialogue and action 
 of the most gracious and joyous interlude in 
 ' Shirley.' Yet surely Charlotte should have 
 known as well as she loved her sister ; 
 and therefore we may more reasonably and 
 more confidently infer that but for the 
 
86 CHARLOTTE BRONTE. 
 
 brilliant study of Shirley Keeldar we should 
 never have seen with the eye of our imagina- 
 tion any other than a misconceived and 
 mutilated portrait, a disfigured and disco- 
 loured likeness of Emily Bronte ; one cur- 
 tailed of the fair proportions, if not diminished 
 from the natural stature of her spirit ; 
 discrowned and disinherited of its livelier 
 and gentler charm of living feature, though 
 not degraded or dethroned from the august 
 succession to their strength for endurance or 
 rebellion most beseeming a lineal daughter 
 of the earth-born giants, more ancient in 
 their godlike lineage than all modern reign- 
 ing gods. 
 
 The habit of direct study from life which 
 has given us, among its finest and most pre- 
 cious results, these two contrasted figures of 
 
CHARLOTTE BRONTE. 87 
 
 Shirley Keeldar and Lucy Snowe, affords 
 yet another point of contrast or distinction 
 between the manner and motive of work 
 respectively perceptible in the design of 
 either sister. Emily Bronte, like William 
 Blake, would probably have said, or at least 
 would presumably have felt, that such study 
 after the model was to her impossible — an 
 attempt but too certain to diminish her 
 imaginative insight and disable her crea- 
 tive hand ; while Charlotte evidently never 
 worked so well as when painting more or 
 less directly from nature. Almost the only 
 apparent exception, as far as we — the run of 
 her readers — know, is the wonderful and 
 incomparable figure of Rochester. For M. 
 Paul she must have had some kind of model, 
 however transfigured and dilated by the 
 
88 CHARLOTTE BRONTE. 
 
 splendid influence of her own genius ; for 
 such studies as Madame Beck and Miss 
 Fanshawe she doubtless had the sitters in 
 her mind's eye as clearly and as close as 
 under the lens of a photographic machine ; 
 but how she came first to conceive and 
 finally to fashion that perfect study of noble 
 and faultful and suffering manhood remains 
 one of the most insoluble riddles ever set by 
 genius as a snare or planned as a maze for 
 the judgment of any lesser intelligence than 
 its own. There in any case is the result — 
 alive at all events, and deathless ; defiant alike 
 of explanation or reproduction by any critic 
 or copyist. The incredible absurdity and 
 the ineffable impertinence of one solution 
 proposed at the time, which sought in the 
 dedication of the book for a hint at the ori- 
 
CHARLOTTE BRONTE. 89 
 
 ginal of the hero, were worthy of the flat- 
 headed and fork-tongued generation which 
 could produce a notorious comment on 
 - Jane Eyre,' to the effect that its author must 
 be a woman who long since had deservedly 
 forfeited the society of her own sex. It is 
 of infinitely small moment that we know 
 only by its offence the obscene animal now 
 nailed up for this offence by the ear, though 
 not by name — its particular name being as 
 undiscoverable as its generic designation is 
 unmistakable — to the undecaying gibbet of 
 immemorial contempt. When a farmer used 
 to nail a dead polecat on the outside of his 
 barndoor, it was surely less from any specific 
 personal rancour of retaliatory animosity to- 
 wards that particular creature than by way 
 of judicial admonition to the tribe as yet 
 
9o CHARLOTTE BRONTE. 
 
 untrapped, the horde as yet unhanged, which 
 might survive to lament, if not to succeed, the 
 malodorous malefactor. No mortal can now 
 be curious to verify the name as well as the 
 nature of the typical specimen which then 
 emitted in one spasm of sub-human spite at 
 once the snarl and the stench proper to its 
 place and kind. But we know that from the 
 earlier days of Shelley onwards to these later 
 days of Tennyson, whatsoever things are 
 true, whatsoever things are honest, whatso- 
 ever things are just, whatsoever things are 
 pure, whatsoever things are lovely, whatso- 
 ever things are of good report, become untrue, 
 dishonest, unjust, impure, unlovely, and ill- 
 famed, when passed through the critical 
 crucible of the Quarterly Review. 
 
 For many among the minor types in 
 
CHARLOTTE BRONTE. 91 
 
 Charlotte Bronte's works it was seemingly 
 somewhat easier than perhaps it should have 
 been at the time of their appearance to 
 detect the living and not always other than 
 unoffending antitypes. If the immortal three 
 curates of ' Shirley ' did indeed admit their 
 respective likenesses, and accept for each 
 other and themselves the names by which 
 they were rebaptized in such bitter waters of 
 ridicule — a font filled rather from the springs 
 of Marah than the stream of Jordan, which 
 served Chateaubriand's purpose so much 
 better than the upshot of the ceremony would 
 seem to have served his prince — it must in 
 common justice be owned that the admirable 
 candour and good humour of her models 
 should have touched their satirist with a sense 
 of something keener than compunction ; for 
 
92 CHARLOTTE BRONTE. 
 
 such simple honesty and hearty courtesy as 
 must have been more than needed to make 
 the very dullest and most impervious of 
 reverend or irreverend gentlemen continue 
 to bear themselves with the frank civility of 
 kindly custom towards the solitary and 
 sorrowful woman whose scornful genius had 
 done its worst on them — and that worst, even 
 to a thick-headed and thick-skinned victim, 
 how terrible ! — must surely also have been 
 more than sufficient to disprove the full 
 justice of the caricature, and impeach the 
 accuracy of whatever was most offensive in 
 her design or injurious in her imputations. 
 To the vivid yet temperate fidelity of the 
 Yorke family group we have the witness of 
 a member offered to the photographer of that 
 singular and sharply outlined circle. In most 
 
CHARLOTTE BRONTE. 93 
 
 cases probably the design begun by means 
 of the camera was transferred for comple- 
 tion to the canvass. The likeness of Mr. 
 Helstone to Mr. Bronte, for example, was 
 thus at once enlarged and subdued, 
 heightened and modified, by the skilful and 
 noble instinct which kept it always within 
 the gracious and natural bounds prescribed 
 « and maintained by the fine tact of filial 
 respect. No more lifelike or memorable 
 portrait was ever wrought into the com- 
 position of an ideal or historic picture by the 
 loftiest art of any Venetian painter. The 
 man's hard, rigid, contemptuous, yet never 
 quite unkindly or unrighteous force of cha- 
 racter — his keen enjoyment of action and 
 struggle, his fierce imperious relish of resist- 
 ance — the fine soldierly quality of spirit, 
 
94 CHARLOTTE BRONTE. 
 
 somewhat too generally mistimed or mis- 
 placed, for lack of fit or full occasion to call 
 it forth, which makes him always less ready 
 to ' go with sir priest than sir knight ' — all 
 these points are relieved and combined with 
 a skill and strength of touch, perhaps incom- 
 parable in the work of any other woman. 
 
 But time and cunning would fail us to 
 discover, as art and eloquence would fail us 
 to commend, a tithe of the examples that 
 might and should be cited in evidence of that 
 noble and fruitful genius which found in the 
 frail temple of her mortal life a minister so 
 high and pure of spirit, so faithful and heroic 
 of heart. Nowhere is its peculiar gift of 
 subtle and pathetic veracity more notable 
 than in the brief last pages written between 
 the too closely neighbouring dates of her 
 
CHARLOTTE BRONTE. 95 
 
 marriage and her death ; a precious fragment 
 to which the few and fine words of introduc- 
 tion prefixed by the illustrious writer who 
 had been the peculiar god of her inmost 
 idolatry have always seemed to me worthy 
 of special remembrance among the truest and 
 the noblest, the manliest and the kindliest 
 lines that ever came from the pen of Mr. 
 Thackeray. It is a coincidence as memor- 
 able as it is deplorable that so many of the 
 best and greatest who have died within the 
 reach of our recollection should have left, 
 like these, some splendid and broken sample 
 of their highest workmanship unfinished for 
 the admiration and the craving and the 
 fruitless passionate regret of aftertime ; even 
 as Shakespeare himself left behind him the 
 two colossal fragments that a hand in the one 
 
 
96 CHARLOTTE BRONTE. 
 
 case only lesser than his own, in the other 
 case as impotent and impertinent as the hand 
 of his very worst and latest commentator, 
 ventured to rehandle and recast into the 
 shapes under which we know them as 
 ' Timon of Athens ' and ' The Two Noble 
 Kinsmen.' Too soon after he had ' taken to 
 foster' Charlotte Bronte's little orphan tale of 
 ' Emma,' Mr. Thackeray had in turn to leave 
 half unshapen, and recognisable only by grand 
 rough indications of its giant parentage, what 
 should have been the stateliest and most 
 stalwart offspring of his latter years — born to 
 disprove the premature charge of compara- 
 tive decadence and debility not unjustly 
 incurred by its more immediate predecessors ; 
 then the great man so improperly rated as 
 his rival passed also away in the mid heat of 
 
CHARLOTTE BRONTE. 97 
 
 work, leaving again but a bright fragment of 
 perplexing shape and splendour ; and now 
 but lately the biographer of Dickens likewise 
 has left us cheated of the ardent and grateful 
 hopes that were fixed on the completion of 
 the first adequate or trustworthy Life of 
 Swift. Not one of these nor of all their 
 generation has left or yet will leave a nobler 
 memory, and it may well be that in the eyes 
 of Englishmen yet unborn not one will be 
 found to have left a nobler memorial, than 
 the unforgotten life and the imperishable 
 works of Charlotte Bronte. 
 
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CHATTO &* WIND US, PICCADILLY. 23 
 
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