Kitabı oku: «Some Eminent Women of Our Times», sayfa 8

XI
CHARLOTTE AND EMILY BRONTË

In the quiet Yorkshire village of Haworth, on the bleak moorland hillside above Keighley, were born two of the greatest imaginative writers of the present century, Charlotte and Emily Brontë. The wonderful gifts of the Brontë family, the grief and tragedy that overshadowed their lives, and their early deaths, will always cast about their story a peculiarly touching interest. Their father, the Rev. Patrick Brontë, was of Irish birth. He was born in the County Down, of a Protestant family – one that had migrated from the south to the north of Ireland. His character was that which we are more accustomed to associate with Scotland than with Ireland. Resolute, stern, independent, and self-denying, he had the virtues of an old Covenanter rather than the facile graces which so often distinguish those of Celtic blood. His father was a farmer, but Patrick Brontë had no desire to live by agricultural industry. At sixteen years of age he separated himself from his family and opened a school. What amount of success he had in this undertaking does not appear, but it is evident that he had a distinct object in view, namely, to obtain money enough to complete his own education; in this he was successful, for after nine years’ labour in instructing others, he entered as a student in St. John’s College, Cambridge, remained there four years, obtained the B.A. degree of the University, and was ordained as a clergyman of the Church of England. He kept up no intercourse with his family, and showed no trace of his Irish blood, either in speech or character. He loved and married Miss Branwell, of Penzance, a lady of much sweetness and refinement. Their six children were destined, through the writings of two of them, to be known wherever the English language is spoken, all over the world. After holding livings in Essex and at Thornton, in Yorkshire, Mr. Brontë was appointed to the Rectory of Haworth, which is now so often visited on account of its association with the authors of Jane Eyre and Wuthering Heights.

Mrs. Brontë’s six children were born in rapid succession, and her naturally delicate constitution was further tried by the constant labour and anxiety involved in providing, on very limited means, for the wants of the little brood. Mrs. Gaskell, in her Life of Charlotte Brontë, appears to imply that, more than is even usually the case, the weight of family cares and anxieties fell upon the mother rather than the father. “Mr. Brontë,” she says, “was, of course, much engaged in his study, and besides, he was not naturally fond of children, and felt their frequent appearance upon the scene as a drag both on his wife’s strength and as an interruption to the comfort of the household.” One feels disposed to comment on this by saying that children ought never to be born if either of their parents inclines to regard them “as an interruption to the comfort of the household.” To give life and grudge it at the same time is not an attractive combination of qualities. Though not much helped by her husband, Mrs. Brontë was, however, not alone in her domestic cares and duties; the eldest of the “interruptions to the comfort of the household,” Maria, was a child of wonderfully precocious intellect and heart. Her remarkable character was described in after years by her sister Charlotte as the Helen Burns of Jane Eyre. In her, her mother found a sympathising companion and a helper in her domestic cares. The time was rapidly approaching when the mother’s place in the household would be vacant, and when many of its duties and responsibilities would be discharged by Maria.

The little Brontës were from their birth unlike other children. The room dedicated to their use was not, even in their babyhood, called their nursery; it was their “study.” Little Maria at seven years old would shut herself up in this study with the newspaper, and be able to converse with her father on all the public events of the day, and instruct the other children as to current politics, and upon the characters of the chief personages of the political world.

Mrs. Brontë died in 1821. Maria was then eight; Elizabeth, seven; Charlotte, five; Patrick Branwell, four; Emily, three; and Anne, one. The little motherless brood were left alone for a year, when an elder sister of their mother came to live at the parsonage, but she does not seem to have had any real influence over them. She taught the girls to stitch and sew, and to become proficient in various domestic arts, but she had no sympathy or communion with them, and their real life was lived quite apart from hers. As soon almost as they could read and write at all, they began to compose plays and act them; they had no society but each other’s; this, however, was all-sufficient for them. Their power of invention and imagination was very marked; to the habit of composing stories in their own minds they gave the name of “making out.” As soon as the labour of writing became less formidable than it always is to baby fingers, the stories thus “made out” were written down. In fifteen months, when Charlotte was about twelve to thirteen years of age, she wrote twenty-two volumes of manuscript, in the minutest hand, which can hardly be deciphered except with the aid of a magnifying-glass. The Duke of Wellington filled a large place in the minds of the Brontës, and in their romances. Something of what the hero was to them when they were children, Charlotte afterwards put into the mouth of Shirley, the heroine of her novel of that name. After the manner of imaginative children, she not only worshipped her hero from afar, but identified herself with him or with members of his family. The authorship of many of her childish romances and poems is ascribed, in her imagination, to the Marquis of Douro, or Lord Charles Wellesley; and when these “goodly youths” are not introduced as authors they often become the chief personages of the story.

The shadow of death that casts so deep a gloom over the story of the Brontë family, first fell on Maria and Elizabeth, the two elder children. The four girls – Maria, Elizabeth, Charlotte, and Emily – had been sent to a school, which was partly a charitable institution, at Cowan Bridge, in Westmoreland. The living at Haworth parsonage was the reverse of luxurious, but the food and the sanitary arrangements at Cowan Bridge were so bad that the health of the little Brontës was seriously injured by it. The food was repulsive from the want of cleanliness with which it was prepared and placed on the table. The children frequently refused food altogether, though sinking from the want of it, rather than drink the “bingy” milk, and eat unappetising scraps from a dirty larder, and puddings made with water taken from rain-tubs and impregnated with the smell of soot and dust. Besides the faulty domestic arrangements of the school, the discipline was harsh and tyrannical, and one teacher in particular was guilty of conduct towards Maria Brontë that can only be called brutal. Low fever broke out at the school, from which about forty of the pupils suffered, but the Brontës did not take the disease. It was evident that Maria was destined for another fate, that of consumption. She was removed from the school only a few days before her death, and Elizabeth followed her to the grave about six weeks later, in June 1825. Even after this Mr. Brontë’s eyes were not opened to the danger his children were in by their treatment at Cowan Bridge, and Charlotte and Emily were still allowed to remain at the school. It soon, however, became evident that they would not be long in following Maria and Elizabeth unless they were removed; and they returned home before the rigours of another winter set in. All the physical and mental tortures she endured at Cowan Bridge, Charlotte afterwards described in the account she gives of “Lowood” in Jane Eyre. It is not to be taken that the account of “Lowood” is as strictly an accurate description of Cowan Bridge as Charlotte Brontë would have given if she had been simply writing a history of the school. The facts are, perhaps, magnified by the lurid glow of passion and grief with which she recalled her sisters’ sufferings. She was only between nine and ten when she left Cowan Bridge, and in the account she wrote of it twenty years later we see rather the impression that was left on her imagination than a strictly accurate history; but there is no doubt that in her account of Maria Brontë’s angelic patience, and the cruel persecution to which she was subjected by one of the teachers, the Lowood of Jane Eyre is a perfectly faithful transcript of what took place at Cowan Bridge. Mrs. Gaskell says, “Not a word of that part of Jane Eyre but is a literal repetition of scenes between the pupil and the teacher. Those who had been pupils at the same time knew who must have written the book from the force with which Helen Burns’s sufferings are described.”

After the death of Maria and Elizabeth, the next great sorrow of the Brontë family arose from the career of the only son, Patrick Branwell. He was a handsome boy of exceptional mental powers. He had in particular the gift of brilliant conversation, and there was hardly anything he attempted in the way of talking, writing, or drawing which he did not do well. In one of Charlotte’s letters she says, “You ask me if I do not think that men are strange beings? I do, indeed. I have often thought so; and I think, too, that the mode of bringing them up is strange; they are not sufficiently guarded from temptation. Girls are protected as if they were something very frail and silly indeed, while boys are turned loose on the world, as if they of all beings in existence were the wisest and least liable to be led astray.” Poor Branwell, with his brilliant social qualities, was not sufficiently guarded from temptation. The easiest outlet from the narrow walls of Haworth parsonage was to be found at the little inn of Haworth village. The habit of the place was, when any stranger arrived at the inn, for the host to send for the brilliant boy from the parsonage to amuse the guest. The result will easily be guessed. The guiding principle of Charlotte’s character was her inexorable fidelity to duty; her whole nature turned with irresistible force to what was right rather than to what was pleasant. With Branwell the reverse was the case. Conventional propriety of course strictly guarded Charlotte from the possible dangers of associating with casual strangers at the village inn, although her strong resolute character would not have run a tenth part of the risk of contamination as did that of the weak, pleasure-seeking Branwell. It is needless to dwell on the details of his gradual degradation; the high ideals and hopes of his youth were given up; his character became at once coarse and weak. He was entirely incapable of self-government and of retaining any kind of respectable employment. His intemperance and other vices made the daily life of his sisters at the parsonage a nightmare of horrors. For eight years the young man, whose boyhood his family had watched with so much hope and pride, was a source of shame and anguish to them, all the more keenly felt because it could not be openly avowed. Many who knew the family affirmed that so far as purely intellectual qualities were concerned Branwell was even more eminently distinguished than his sisters; but mere intellect, without moral power to guide it, is as dangerous as a spirited horse without bit or bridle. Branwell was singularly deficient in that moral power in which his sisters were so strong, and his education did nothing to supply this natural deficiency. He died in 1848, at the age of thirty.

Cowan Bridge was not the only experience Charlotte and Emily had of school life. They went for a time to another school at Roe Head, where Charlotte was very happy, and in 1835 she returned to the same school as a teacher. In 1842 Charlotte and Emily went to a school in Brussels, where the former stayed two years, the latter only one. All that Charlotte saw and all the friends she made were afterwards portrayed in her stories. One of her most intimate friends became the Caroline Helstone of Shirley; the originals of Rose and Jessie Yorke were also among her schoolfellows at Roe Head. There can be little doubt that M. Paul Emanuel of Villette was M. Héger of the Brussels school. Every trivial circumstance of an unusually uneventful life became food for her imagination.

The development of Emily’s genius was different. Her love of the moors around Haworth was so intense that it was impossible for her to thrive when she was away from them. It became a fact recognised by all the family that Emily must not be taken away from home. The solitude of the wild, dark moors, and the communing with her own heart, together with the dark tragedy of Branwell’s wasted life, were the sole sources of Emily’s inspiration. Her poems have a wild, untameable quality in them, and her one romance, Wuthering Heights, places her in the first rank among the great imaginative writers of English fiction. There is something terrible in Emily’s sternness of character, which she never vented pitilessly on any one but herself. She was deeply reserved, and hardly ever, even to her sisters, spoke of what she felt most intensely. A friend who furnished Mrs. Gaskell with some particulars for her biography, states that on one occasion she mentioned “that some one had asked me what religion I was of (with the view of getting me for a partisan), and that I had said that was between God and me. Emily, who was lying on the hearth-rug, exclaimed, ‘That’s right.’ This was all,” adds the friend, “I ever heard Emily say on religious subjects.” Emily’s love for animals was intense; she was especially devoted to a savage old bull-dog named Keeper, who owned no master but herself. The incident in Shirley of the heroine being bitten by a mad dog, and straightway burning the wound herself with a red-hot Italian iron, was true of Emily. Her last illness was a time of terrible agony to Charlotte and Anne, not merely because they saw that she who, Charlotte said, was the thing that seemed nearest to her heart in the world was going to be taken from them, but because Emily’s resistance to the inroads of illness was so terrible. She resolutely refused to see a doctor, and she would allow no nursing and no tender helpfulness of any kind. It was evident to her agonised sisters that she was dying, but she maintained her savage reserve, suffering in solitary silence rather than admit her pain and weakness. On the very day of her death she rose as usual, dressed herself, and attempted to carry on her usual employments, and all this with the catching, rattling breath and the glazing eye which told that the hand of Death was actually upon her. Charlotte wrote in this agonising hour, “Moments so dark as these I have never known. I pray for God’s support to us all. Hitherto He has granted it.” At noon on that day, when it was too late, Emily whispered in gasps, “If you will send for a doctor, I will see him now.” A few days later Charlotte wrote, “We are very calm at present. Why should we be otherwise? The anguish of seeing her suffer is over; the spectacle of the pains of death is gone by; the funeral day is past. We feel she is at peace. No need to tremble for the hard frost and the keen wind. Emily does not feel them.” The terrible anguish of those last days haunted the surviving sisters like a vision of doom. Nearly six months later Charlotte wrote again that nothing but hope in the life to come had kept her heart from breaking. “I cannot forget,” she says, “Emily’s death-day; it becomes a more fixed, a darker, a more frequently recurring idea in my mind than ever. It was very terrible. She was torn, conscious, panting, reluctant, though resolute, out of a happy life.” Within a very short time the gentle youngest sister Anne also died, and Charlotte was left with her father, the last survivor of the family of six wonderful children who had come to Haworth twenty-nine years before.

In earlier and happier days the habit of the sisters had been, when their aunt went to bed at nine o’clock, to put out the candles and pace up and down the room discussing the plots of their novels, and making plans and projects for their future life. Now Charlotte was left to pace the room alone, with all that had been dearest to her in the world under the church pavement at Haworth and in the old churchyard at Scarborough. But Charlotte was not one to give way to self-indulgent idleness, even in the hour of darkest despair. She was writing Shirley at the time of Anne’s last illness. After the death of this beloved and only remaining sister, she resumed her task; but those who knew what her private history at the time was, can trace in the pages of the novel what she had gone through. The first chapter she wrote after the death of Anne is called, “The Valley of the Shadow of Death.”

The first venture in authorship of the sisters was a volume of poems, to which they each contributed. They imagined, probably with justice, that the world was at that time prejudiced against literary women. Therefore they were careful to conceal, even from their publishers, their real identity. The poems were published as the writings of Currer, Ellis, and Acton Bell.

Jane Eyre was the first of Charlotte’s stories which was published, but The Professor was the first that was written with a view to publication. The sisters each wrote a story – Charlotte, The Professor; Emily, Wuthering Heights; and Anne, Agnes Grey, and sent them to various publishers. Charlotte was the only one of the three sisters whose manuscript was returned on her hands. But she was not discouraged by the disappointment. Just at this time Mr. Brontë, who had been suffering from cataract, was persuaded by his daughters to go to Manchester for an operation. Charlotte accompanied him, and it was while she was waiting on him, in the long suspense after the operation had been performed, that she began Jane Eyre, the book that made her, and ultimately the name of Brontë, famous. Nothing is more striking in Charlotte’s personal history than the way in which she reproduced the events and personages of her own circle into her novels. Probably the belief that she was writing anonymously encouraged her in this. Her father’s threatened blindness and her own fear of a similar calamity are reflected, as it were, in the blindness of Rochester in Jane Eyre. The success of Jane Eyre was rapid and complete, and there was much dispute whether its author were a man or a woman. The Quarterly Review distinguished itself by the remark that if the author were a woman it was evident “she must be one who for some sufficient reason has long forfeited the society of her sex.” Sensitive as Charlotte Brontë was, the coarseness of the insult could not wound her; it could at the utmost be regarded as nothing worse than a trivial annoyance; for when the words reached Charlotte, the grave had not long closed over Branwell’s wasted life; Emily was just dead, and it was evident that Anne was dying. The greatness of her grief and the anguish of her loneliness dwarfed to their proper proportions the petty insults that at another time would have caused her acute pain. On the whole she had nothing to complain of in the way her book was received; she suffered no lack of generous appreciation from the real leaders of the literary world. Thackeray and G. H. Lewes, Miss Martineau, and Sidney Dobell were warm in their praise of her work. Charlotte’s manner of making her literary fame known to her father was characteristic. The secret of their authorship had been very strictly kept by the sisters; but when the success of Jane Eyre was assured, Emily and Anne urged Charlotte that their father ought to be allowed to share the pleasure of knowing that she was the writer of the book. Accordingly one afternoon Charlotte entered her father’s study and said, “Papa, I’ve been writing a book.” When Mr. Brontë found that the book was not only written, but printed and published, he exclaimed, “My dear, you’ve never thought of the expense it will be! It will be almost sure to be a loss, for how can you get a book sold? No one knows you or your name.”

“But, papa, I don’t think it will be a loss; no more will you, if you will just let me read you a review or two, and tell you more about it.” At tea that evening Mr. Brontë exclaimed to his other daughters, “Girls, do you know that Charlotte has been writing a book, and it is much better than likely?”

The pacing up and down of the sisters in the firelight, discussing the plots of their novels, has been already mentioned. Mrs. Gaskell records that Charlotte told her that these discussions seldom had any effect in causing her to change the events in her stories, “so possessed was she with the feeling that she had described reality.” This confirms what Mr. Swinburne has said of her strongest characteristic as an author, that she has the power of making the reader feel in every nerve that thus and not otherwise it must have been. It must not, however, be thought that the conversations with her sisters were therefore useless; no doubt they were very stimulating to her imagination, and gave her creations more solid reality than they would otherwise have had.

In 1854 Charlotte Brontë married Mr. Nicholls, an Irish gentleman, who had for eight years been her father’s curate. She only lived nine months after her marriage. She was happy in her husband’s love, and appreciated his devotion to his parish duties. But the loving admirers of Charlotte Brontë can never feel much enthusiasm for Mr. Nicholls. Mrs. Gaskell states that he was not attracted by her literary fame, but was rather repelled by it; he appears to have used her up remorselessly, in their short married life, in the routine drudgery of parish work. She did not complain; on the contrary, she seemed more than contented to sacrifice everything for him and his work; but she remarks in one of her letters, “I have less time for thinking.” Apparently she had none for writing. Surely the husband of a Charlotte Brontë, just as much as the wife of a Wordsworth or a Tennyson, ought to be attracted by literary fame. To be the life partner of one to whom the most precious of Nature’s gifts is confided, and to be unappreciative of it and even repelled by it, shows a littleness of nature and essential meanness of soul. A true wife or husband of one of these gifted beings should rather regard herself or himself as responsible to the world for making the conditions of the daily life of their distinguished partners favourable to the development of their genius. But pearls have before now been cast before swine, and one cannot but regret that Charlotte Brontë was married to a man who did not value her place in literature as he ought.