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EARLY HISTORY OF THE BRONTËS.

There is a striking passage in Mr. Greg's "Enigmas of Life," in which the influence of external circumstances upon the inner lives of men and women is dwelt upon somewhat minutely, and, by way of example, the connection between religious "conviction" and an imperfect digestion is carefully traced out. That we are the creatures of circumstance can hardly be doubted, nor that our destinies are moulded, just as the coral reefs are built, by the action of innumerable influences, each in itself apparently trivial and insignificant. But the habit which leads men to find a full explanation of the lives of those who have attained exceptional distinction in the circumstances amid which their lot has been cast cannot be said to be a very wholesome or happy one. Few have suffered more cruelly from this trick than the Brontë family. Graphic pictures have been presented to the world of their home among the hills, and of their surroundings in their early years; whilst the public have been asked to believe that some great shadow of gloom rested over their lives from their birth, and that to this fact, and to the influence of the moors, must be attributed, not only the peculiar bent of their genius, but the whole colour and shape of their lives. Those who are thus determined to account for everything that lies out of the range of common experience would do well, before they attempt to analyse the great mystery of genius, to reveal to us the true cause of the superlative excellence of this or that rare cru, the secret which gives Johannisberg or Château d'Yquem its glory in the eyes of connoisseurs. Circumstances apparently have little to do with the production of the fragrance and bouquet of these famous wines; for we know that grapes growing close at hand on similar vines and seemingly under precisely similar conditions, warmed by the same sun, refreshed by the same showers, fanned by the same breezes, produce a wine which is comparatively worthless. When the world has expounded this riddle, it will be time enough to deal with that deeper problem of genius on which we are now too apt to lay presumptuous and even violent hands.

The Brontës have suffered grievously from this fashion, inasmuch as their picturesque and striking surroundings have been allowed to obscure our view of the women themselves. We have made a picture of their lives, and have filled in the mere accessories with such pre-Raphaelite minuteness that the distinct individuality of the heroines has been blurred and confused amid the general blaze of vivid colour, the crowd of "telling" points. No individual is to be blamed for this fact. The world, as we have seen, was first introduced to "Currer Bell" and her sisters under romantic circumstances; the lives of those simple, sternly-honest women were enveloped from the moment when the public made their acquaintance in a certain haze of romantic mystery; and when all had passed away, and the time came for the "many-headed beast" to demand the full satisfaction of its curiosity, it would have nothing but the completion of that romance which from the first it had figured in outline for itself.

Who then does not know the salient points of that strange and touching story which tells us how the author of "Jane Eyre" lived and died? Who is not acquainted with that grim parsonage among the hills, where the sisters dwelt amidst such uncongenial and even weird influences; living like recluses in the house of a Protestant pastor; associated with sorrow and suffering, and terrible pictures of degrading vice, during their blameless maidenhood; constructing an ideal world of their own, and dwelling in it heedless of the real world which was in motion all around them? Who has not been amused and interested by those graphic pictures of Yorkshire life in the last century, in which the local flavour is so intense and piquant, and which are hardly the less interesting because they relate to an order of things which had passed away entirely long before the Brontës appeared upon the stage? And who has not been moved by the dark tragedy of Branwell Brontë's life, hinted at rather than explicitly stated, in Mrs. Gaskell's story, but yet standing out in such prominence that those who know no better may be forgiven if they regard it as having been the powerful and all-pervading influence which made the career of the sisters what it was? The true charm of the history of the Brontës, however, does not lie in these things. It is not to be found in the surroundings of their lives, remarkable and romantic as they were, but in the women themselves, and in those characteristics of their hearts and their intellects which were independent of the accidents of condition. Charlotte herself would have been the first to repudiate the notion that there was anything strikingly exceptional in their outward circumstances. With a horror of being considered eccentric that amounted to a passion, she united an almost morbid dread of the notice of strangers. If she could ever have imagined that readers throughout the world would come to associate her name, and still more the names of her idolised sisters, with the ruder features of the Yorkshire character, or with such a domestic tragedy as that amid which her unhappy brother's life terminated, her spirit would have arisen in indignant revolt against that which she would have regarded almost in the light of a personal outrage.

HAWORTH VILLAGE.

And yet if their surroundings at Haworth had comparatively little to do with the development of the genius of the three sisters, it cannot be doubted that two influences which Mrs. Gaskell has rightly made prominent in her book did affect their characters, one in a minor, and the other in a very marked degree. The influence of the moors is to be traced both in their lives and their works; whilst far more distinctly is to be traced the influence of their father. As to the first there is little to be said in addition to that which all know already. There is a railway station now at Haworth, and all the world therefore can get to the place without difficulty or inconvenience. Yet even to-day, when the engine goes, shrieking past it many times between sunrise and sunset, Haworth is not as other places are. A little manufacturing village, sheltered in a nook among the hills and moors which stretch from the heart of Yorkshire into the heart of Lancashire, it bears the vivid impress of its situation. The moors which lie around it for miles on every side are superb during the summer and autumn months. Then Haworth is in its glory; a gray stone hamlet set in the midst of a vast sea of odorous purple, and swept by breezes which bear into its winding street the hum of the bees and the fragrance of the heather. But it is in the drear, leaden days of winter, when the moors are covered with snow, that we see what Haworth really is. Then we know that this is a place apart from the outer world; even the railway seems to have failed to bring it into the midst of that great West Riding which lies close at hand with its busy mills and multitudes; and the dullest therefore can understand that in the days when the railway was not, and Haworth lay quite by itself, neglected and unseen in its upland valley, its people must have been blessed by some at least of those insular peculiarities which distinguished the villagers of Zermatt and Pontresina before the flood of summer tourists had swept into those comparatively remote crannies of the Alps. Nurtured among these lonely moors, and accustomed, as all dwellers on thinly-peopled hillsides are, to study the skies and the weather, as the inhabitants of towns and plains study the faces of men and women, the Brontës unquestionably drew their love of nature, their affection for tempestuous winds and warring clouds, from their residence at Haworth.

But this influence was trivial compared with the hereditary influences of their father's character. Few more remarkable personalities than that of the Rev. Patrick Brontë have obtruded themselves upon the smooth uniformity of modern society. The readers of Mrs. Gaskell's biography know that the incumbent of Haworth was an eccentric man, but the full measure of his eccentricity and waywardness has never yet been revealed to the world. He was an Irishman by birth, but when still a young man he had gone to Yorkshire as a curate, and in Yorkshire he remained to the end of his days. His real name was not Brontë—regarding the origin of which word there was so much unnecessary mystery when his daughter became famous—but Prunty. Born of humble parentage in the parish of Ahaderg, County Down, he was one of a large family, all of whom were said to be remarkable for their physical strength and personal beauty. Patrick Prunty was the most remarkable member of the family, and his talents were early recognised by Mr. Tighe, the rector of Drumgooland. This gentleman undertook part at least of the cost of his education, which was completed at St. John's College, Cambridge. As to the change of name from Prunty to Brontë, many fantastic stories have been told. Amongst them is one which represents the Brontës as having derived their name from that of the Bronterres, an ancient Irish family with which they were connected. The connection may possibly have existed, but there is no doubt upon one point. The incumbent of Haworth in early life bore the name of Prunty, and it was not until very shortly, before he left Ireland for England that he changed it, at the request of his patron, Mr. Tighe, for the more euphonious appellation of Brontë. He appears to have been a strange compound of good and evil. That he was not without some good is acknowledged by all who knew him. He had kindly feelings towards most people, and he delighted in the stern rectitude which distinguished many of his Yorkshire flock. When his daughter became famous, no one was better pleased at the circumstance than he was. He cut out of every newspaper every scrap which referred to her; he was proud of her achievements, proud of her intellect, and jealous for her reputation. But throughout his whole life there was but one person with whom he had any real sympathy, and that person was himself. Passionate, self-willed, vain, habitually cold and distant in his demeanour towards those of his own household, he exhibited in a marked degree many of the characteristics which Charlotte Brontë afterwards sketched in the portrait of the Mr. Helston of "Shirley." The stranger who encountered him found a scrupulously polite gentleman of the old school, who was garrulous about his past life, and who needed nothing more than the stimulus of a glass of wine to become talkative on the subject of his conquests over the hearts of the ladies of his acquaintance. As you listened to the quaintly-attired old man who chatted on with inexhaustible volubility, you possibly conceived the idea that he was a mere fribble, gay, conceited, harmless; but at odd times a searching glance from the keen, deep-sunk eyes warned you that you also were being weighed in the balance by your companion, and that this assumption of light-hearted vanity was far from revealing the real man to you. Only those who dwelt under the same roof knew him as he really was. Among the many stories told of him by his children, there is one relating to the meek and gentle woman who was his wife, and whose lot it was to submit to persistent coldness and neglect. Somebody had given Mrs. Brontë a very pretty dress, and her husband, who was as proud as he was self-willed, had taken offence at the gift. A word to his wife, who lived in habitual dread of her lordly master, would have secured all he wanted; but in his passionate determination that she should not wear the obnoxious garment, he deliberately cut it to pieces, and presented her with the tattered fragments. Even during his wife's lifetime he formed the habit of taking his meals alone; he constantly carried loaded pistols in his pockets, and when excited he would fire these at the doors of the outhouses, so that the villagers were quite accustomed to the sound of pistol-shots at any hour of the day in their pastor's house. It would be a mistake to suppose that violence was one of the weapons to which Mr. Brontë habitually resorted. However stern and peremptory might be his dealings with his wife (who soon left him to spend the remainder of his life in a dreary widowhood), his general policy was to secure his end by craft rather than by force. A profound belief in his own superior wisdom was conspicuous among his characteristics, and he felt convinced that no one was too clever to be outwitted by his diplomacy. He had also an amazing persistency, which led him to pursue any course on which he had embarked with dogged determination. It happened in later years, when his strength was failing, and when at last he began to see his daughter in her true light, that he quarrelled with her regarding the character of one of their friends. The daughter, always dutiful and respectful, found that any effort to stem the torrent of his bitter and unjust wrath when he spoke of the friend who had offended him, was attended by consequences which were positively dangerous. The veins of his forehead swelled, his eyes glared, his voice shook, and she was fain to submit lest her father's passion should prove fatal to him. But when, wounded beyond endurance by his violence and injustice, she withdrew for a few days from her home, and told her father that she would receive no letters from him in which this friend's name was mentioned, the old man's cunning took the place of passion. He wrote long and affectionate letters to her on general subjects; but accompanying each letter was a little slip of paper, which professed to be a note from Charlotte's dog Flossy to his "much-respected and beloved mistress," in which the dog, declaring that he saw "a good deal of human nature that was hid from those who had the gift of language," was made to repeat the attacks upon the obnoxious person which Mr. Brontë dared no longer make in his own character.

It was to the care of such a father as this, in the midst of the rude and uncongenial society of the lonely manufacturing village, that six motherless children, five daughters and one son, were left in the year 1821. The parson's children were not allowed to associate with their little neighbours in the hamlet; their aunt, who came to the parsonage after their mother's death, had scarcely more sympathy with them than their father himself; their only friend was the rough but kindly servant Tabby, who pitied the bairns without understanding them, and whose acts of graciousness were too often of such a character as to give them more pain than pleasure. So they grew up strange, lonely, old-fashioned children, with absolutely no knowledge of the world outside; so quiet and demure in their habits that, years afterwards, when they invited some of their Sunday scholars up to the parsonage, and wished to amuse them, they found that they had to ask the scholars to teach them how to play—they had never learned. Carefully secluded from the rest of the world, the little Brontë children found out fashions of their own in the way of amusement, and curious fashions they were. Whilst they were still in the nursery, when the oldest of the family, Maria, was barely nine years old, and Charlotte, the third, was just six, they had begun to take a quaint interest in literature and politics. Heaven knows who it was who first told these wonderful pigmies of the great deeds of a Wellington or the crimes of a Bonaparte; but at an age when other children are generally busy with their bricks or their dolls, and when all life's interests are confined for them within the walls of a nursery, these marvellous Brontës were discussing the life of the Great Duke, and maintaining the Tory cause as ardently as the oldest and sturdiest of the village politicians in the neighbouring inn.

There is a touching story of Charlotte at six years old, which gives us some notion of the ideal life led by the forlorn little girl at this time, when, her two elder sisters having been sent to school, she found herself living at home, the eldest of the motherless brood. She had read "The Pilgrim's Progress," and had been fascinated, young as she was, by that wondrous allegory. Everything in it was to her true and real; her little heart had gone forth with Christian on his pilgrimage to the Golden City, her bright young mind had been fired by the Bedford tinker's description of the glories of the Celestial Place; and she made up her mind that she too would escape from the City of Destruction, and gain the haven towards which the weary spirits of every age have turned with eager longing. But where was this glittering city, with its streets of gold, its gates of pearl, its walls of precious stones, its streams of life and throne of light? Poor little girl! The only place which seemed to her to answer Bunyan's description of the celestial town was one which she had heard the servants discussing with enthusiasm in the kitchen, and its name was Bradford! So to Bradford little Charlotte Brontë, escaping from that Haworth Parsonage which she believed to be a doomed spot, set off one day in 1822. Ingenious persons may speculate if they please upon the sore disappointment which awaited her when, like older people, reaching the place which she had imagined to be Heaven, she found that it was only Bradford. But she never even reached her imaginary Golden City. When her tender feet had carried her a mile along the road, she came to a spot where overhanging trees made the highway dark and gloomy; she imagined that she had come to the Valley of the Shadow of Death, and, fearing to go forward, was presently discovered by her nurse cowering by the roadside.

Of the school-days of the Brontës nothing need be said here. Every reader of "Jane Eyre" knows what Charlotte Brontë herself thought of that charitable institution to which she has given so unenviable a notoriety. There she lost her oldest sister, whose fate is described in the tragic tale of Helen Burns; and it was whilst she was at this place that her second sister, Elizabeth, also died. Only one thing need be added to this dismal record of the stay at Cowan Bridge. During the whole time of their sojourn there, the young Brontës scarcely ever knew what it was to be free from the pangs of hunger.

Charlotte was now the head of the little family; the remaining members of which were her brother Branwell and her sisters Emily and Anne. Mrs. Gaskell has given the world a vivid picture of the life which these four survivors from the hardships of Cowan Bridge led between the years 1825 and 1831. They spent those years at Haworth, almost without care or sympathy. Their father saw little in their lot to interest him, nothing to drag him out of his selfish absorption in his own pursuits; their aunt, a permanent invalid, conceived that her duty was accomplished when she had taught them a few lessons and insisted on their doing a certain amount of needlework every day. For the rest they were left to themselves, and thus early they showed the bent of their genius by spending their time in writing novels.

Mrs. Gaskell has given us some idea of the character of these juvenile performances in a series of extracts which sufficiently indicate their rare merit. She has, however, paid exclusive attention to Charlotte's productions. All readers of the Brontë story will remember the account of the play of "The Islanders," and other remarkable specimens, showing with what real vigour and originality Charlotte could handle her pen whilst she was still in the first year of her teens; but those few persons who have seen the whole of the juvenile library of the family bear testimony to the fact that Branwell and Emily were at least as industrious and successful as Charlotte herself. Indeed, even at this early age, the bizarre character of Emily's genius was beginning to manifest itself, and her leaning towards weird and supernatural effects was exhibited whilst she composed her first fairy tales within the walls of her nursery. It may be well to bear in mind the frequency with which the critics have charged Charlotte Brontë with exaggerating the precocity of children. What we know of the early days of the Brontës proves that what would have been exaggeration in any other person was in the case of Charlotte nothing but a truthful reproduction of her own experiences.

Only one specimen of these earliest writings of the Brontës can be quoted here: it is that to which I have already referred, the play of "The Islanders:"