All this time, notwithstanding the domestic anxieties which were harassing them—notwithstanding the ill-success of their poems—the three sisters were trying that other literary venture, to which Charlotte made allusion in one of her letters to the Messrs. Aylott. Each of them had written a prose tale, hoping that the three might be published together. “Wuthering Heights” and “Agnes Grey” are before the world. The third-Charlotte’s contribution—is yet in manuscript, but will be published shortly after the appearance of this memoir.ad The plot in itself is of no great interest; but it is a poor kind of interest that depends upon startling incidents rather than upon dramatic development of character; and Charlotte Brontë never excelled one or two sketches of portraits which she has given in “The Professor,” nor, in grace of womanhood, ever surpassed one of the female characters there described. By the time she wrote this tale, her taste and judgment had revolted against the exaggerated idealisms of her early girlhood, and she went to the extreme of reality, closely depicting characters as they had shown themselves to her in actual life: if there they were strong even to coarseness,—as was the case with some that she had met with in flesh and blood existence,—she “wrote them down as ass;” if the scenery of such life as she saw was for the most part wild and grotesque, instead of pleasant or picturesque, she described it line for line. The grace of the one or two scenes and characters, which are drawn rather from her own imagination than from absolute fact, stand out in exquisite relief from the deep shadows and wayward lines of others, which call to mind some of the portraits of Rembrandt.
The three tales had tried their fate in vain together, at length they were sent forth separately, and for many months with still-continued ill success. I have mentioned this here, because, among the dispiriting circumstances connected with her anxious visit to Manchester, Charlotte told me that her tale came back upon her hands, curtly rejected by some publisher, on the very day when her father was to submit to his operation. But she had the heart of Robert Bruce within her, and failure upon failure daunted her no more than him. Not only did “The Professor” return again to try his chance among the London publishers, but she began, in this time of care and depressing inquietude, —in those grey, weary, uniform streets, where all faces, save that of her kind doctor, were strange and untouched with sunlight to her,—there and then, did the brave genius begin “Jane Eyre.” Read what she herself says:—“Currer Bell’s book found acceptance nowhere, nor any acknowledgment of merit, so that something like the chill of despair began to invade his heart.” And, remember, it was not the heart of a person who, disappointed in one hope, can turn with redoubled affection to the many certain blessings that remain. Think of her home, and the black shadow of remorse lying over one in it, till his very brain was mazed, and his gifts and his life were lost;—think of her father’s sight hanging on a thread;—of her sisters’ delicate health, and dependence on her care;—and then admire, as it deserves to be admired, the steady courage which could work away at “Jane Eyre,” all the time “that the one-volume tale was plodding its weary round in London.”
I believe I have already mentioned, that some of her surviving friends consider that an incident which she heard, when at school at Miss Wooler’s, was the germ of the story of Jane Eyre. But of this nothing can be known, except by conjecture. Those to whom she spoke upon the subject of her writings are dead and silent; and the reader may probably have noticed, that in the correspondence from which I have quoted, there has been no allusion whatever to the publication of her poems, nor is there the least hint of the intention of the sisters to publish any tales. I remember, however, many little particulars which Miss Brontë gave me, in answer to my inquiries respecting her mode of composition, &c. She said, that it was not every day that she could write. Sometimes weeks or even months elapsed before she felt that she had anything to add to that portion of her story which was already written. Then, some morning, she would waken up, and the progress of her tale lay clear and bright before her, in distinct vision. When this was the case, all her care was to discharge her household and filial duties, so as to obtain leisure to sit down and write out the incidents and consequent thoughts, which were, in fact, more present to her mind at such times than her actual life itself. Yet notwithstanding this “possession” (as it were), those who survive, of her daily and household companions, are clear in their testimony, that never was the claim of any duty, never was the call of another for help, neglected for an instant. It had become necessary to give Tabby—now nearly eighty years of age-the assistance of a girl. Tabby relinquished any of her work with jealous reluctance, and could not bear to be reminded, though ever so delicately, that the acuteness of her senses was dulled by age. The other servant might not interfere with what she chose to consider her exclusive work. Among other things, she reserved to herself the right of peeling the potatoes for dinner; but as she was growing blind, she often left in those black specks, which we in the North call the “eyes” of the potato. Miss Brontë was too dainty a housekeeper to put up with this; yet she could not bear to hurt the faithful old servant, by bidding the younger maiden go over the potatoes again, and so reminding Tabby that her work was less effectual than formerly. Accordingly she would steal into the kitchen, and quietly carry off the bowl of vegetables, without Tabby’s being aware, and breaking off in the full flow of interest and inspiration in her writing, carefully cut out the specks in the potatoes, and noiselessly carry them back to their place. This little proceeding may show how orderly and fully she accomplished her duties, even at those times when the “possession” was upon her.
Any one who has studied her writings,—whether in print or in her letters; any one who has enjoyed the rare privilege of listening to her talk, must have noticed her singular felicity in the choice of words. She herself, in writing her books, was solicitous on this point. One set of words was the truthful mirror of her thoughts; no others, however apparently identical in meaning, would do. She had that strong practical regard for the simple holy truth of expression, which Mr. Trench1 has enforced, as a duty too often neglected. She would wait patiently searching for the right term, until it presented itself to her. It might be provincial, it might be derived from the Latin; so that it accurately represented her idea, she did not mind whence it came; but this care makes her style present the finish of a piece of mosaic. Each component part, however small, has been dropped into the right place. She never wrote down a sentence until she clearly understood what she wanted to say, had deliberately chosen the words, and arranged them in their right order. Hence it comes that, in the scraps of paper covered with her pencil writing which I have seen, there will occasionally be a sentence scored out, but seldom, if ever, a word or an expression. She wrote on these bits of paper in a minute hand, holding each against a piece of board, such as is used in binding books, for a desk. This plan was necessary for one so short-sighted as she was; and, besides, it enabled her to use pencil and paper, as she sat near the fire in the twilight hours, or if (as was too often the case) she was wakeful for hours in the night. Her finished manuscripts were copied from these pencil scraps, in clear, legible, delicate traced writing, almost as easy to read as print.
The sisters retained the old habit, which was begun in their aunt’s life-time, of putting away their work at nine o’clock, and beginning their study, pacing up and down the sitting room. At this time, they talked over the stories they were engaged upon, and described their plots. Once or twice a week, each read to the others what she had written, and heard what they had to say about it. Charlotte told me, that the remarks made had seldom any effect in inducing her to alter her work, so possessed was she with the feeling that she had described reality; but the readings were of great and stirring interest to all, taking them out of the gnawing pressure of daily-recurring cares, and setting them in a free place. It was on one of these occasions, that Charlotte determined to make her heroine plain, small, and unattractive, in defiance of the accepted canon.