atements of Mr. Edward Sloane and Mr. Grundy?-?Remarks by Mr. T. Wemyss Reid?-?Correspondences between 'Wuthering Heights' an

ter, and learned much respecting his genius. We have gained also some knowledge of the history of the Bront? sisters in th

g others also to assert that Branwell was, in great part, the writer of it. Miss Robinson, in her 'Emily Bront?,' dismisses the assertion as altogether untrue; but she rightly says, as all will agree, that 'in the contemptuous silence of those who know their falsity, such slanders live and

ect disagreeable, the characters brutal, the conception crude, and the object of the work wholly unintelligible. The most that could be made of it, was that some rude soul in the north of England, burning with spite against his species, had set himself, with intent little short of diabolical, to lay open the most vicious depths of selfishness and crime, which he had embodied in the actions of characters so lost and revolting, that the mind recoiled with a s

s" is both.'-'But the taint of vulgarity in our author extends deeper than mere snobbishness; he is rude, because he prefers to be so.' I quote these remarks, as an extreme instance, to show that a critic, who could recognize the great imaginative power, the subtlety, the keen insight, and the fine dramatic character of 'Wu

t escape this error. It is not necessary here to repeat the unfortunate consequences of this misunderstanding, which caused Charlotte eventually to throw off the disguise, and declare openly that 'Wuthering Heights' was the work of her sister Emily. 'Unjust and grievous error!' says Charlotte. 'We laughed at it at first, but I deeply lament it now.' In the face of her statement, further remark on the authorship was naturally

t is true, and perhaps one of the most unpleasant books ever written: but we stand in amaze at the almost incredible fact that it was written by a slim country girl, who would have passed in a crowd as an insignificant person, and who had had little or no experience of the ways of the world. In Heathcliff, Emily Bront? has drawn the greatest villain extant, after Iago. He has no m

ke full delight in Emily Bront?'s book, one must have something by natural inheritance of her instinct, and something by earlier association of her love of the special point

by a consideration of her sister's character and circumstances. For, as we have seen, she says, 'I am bound to avow that she had scarcely

a head, savage, swart, sinister; a form moulded with at least one element of grandeur-power. He wrought with a rude chisel, from no model but the vision of his meditations. With time and labour, the crag took human shape; and there it stands colossal, dark, and frowning,

to his grave, ... had been conceived by a timid and retiring female? But this was the case.' The perusal of this sentence led Mr. William Dearden-author of the 'Star Seer' and the 'Maid of Caldene'-who was acquainted with Branwell

e a real or imaginary existence before the Deluge. They met, on the occasion, at the 'Cross Roads,' a hostel a little more than a mile from Haworth on the road to Keighley,

pressed him to read them, as they felt a curiosity to see how he could wield the pen of a novelist. After some hesitation, he complied with the request, and riveted our attention for about an hour, dropping each sheet, when read, into his hat. The story broke off abruptly in the middle of a sentence, and he gave us the sequel, viva voce, together with the real names of the prototypes of his characters; but, as some of these personages are still living, I ref

when published, than he was able to anticipate the characters and incidents to be disclosed.[37] Thus Mr. Dearden and the late Mr. Sloane claimed to have knowledge of 'Wuthering Heights' as the work of Branwell, before it was issued from the press; and we have seen that Mr. Grundy declares Branwell to have said, with the

the servant Martha is said to have seen Emily Bront? writing it. We are told, also, that it is impossible that the upright spirit of the gentle Emily could resort to the miserable fraud of appropriating a work which was not her own. And, lastly, modern critics have not found it difficult to believe that a woman might be the author of 'Wuthering Heights.' They see nothing incongruous or impossible in the possession, by a femin

ten-they had made no communication to one another of the literary work which each had in progress, is, perhaps, a matter for personal opinion. The declaration of Martha would probably be of little value, unless we knew that what Emily wa

nwell was, indeed, unfortunate in having to bear the penalty, in ceaseless open discussion, of 'une fanfaronnade des vices qu'il n'avait pas,' and that, moreover, his memory

t, within him, an abundance of worthy ambition, a modest confidence in his own ability, which he was never known to vaunt, and a just pride in the celebrity

thering Heights.' And, as to special points in the story, it may be said that Branwell Bront? had tasted most of the passions, weaknesses, and emotions there depicted; had loved, in frenzied delusion, as fiercely as Heathcliff loved; as with Hindley Earnshaw, too, in the pain of loss, 'when his ship struck; the captain abandoned his post; and the crew,

, after she had become the wife of another. Whole pages of the story are filled with the ravings and ragings of the villain against the man whose life stands between him and the woman he loves. Similar ravings are to be found in all the letters of Branwell Bront? written at this period of his career; and we may be sure that similar ravings were always on his lips, as, moody and more than half mad, he wandered about the rooms of the parsonage at Haworth. Nay, I have found some striking verbal coincidences between Branwell's own language and passages in "Wuthering Heights." In one of

ose she has nearly forgotten me?" he said. "Oh, Nelly! you know she has not! You know as well as I do, that for every thought she spends on Linton, she spends a thousand on me! At a most miserable period of my life, I had a notion o

d of Haworth, and that he, too, at that most miserable period of his life, when he wrote his novel, and

ght and expression to be found in his letters and poems with certain features and passages in 'Wuthering Heights,' which are not less striking. A few instances will illustrate much in that work which it is not easy to believe could have been transcribed by the writer from the utterances of another. Even so early as his letter to John Brown, we have seen with what force Branwell could express himself when he chose. He speaks in that letter of one who 'will be used as the tongs of hell,' and of another 'out of

s. Gaskell that Branwell had done so. The word is used twice in 'Wuthering Heights.' Heathcliff is described as having been a 'little Lascar, or an American or Spanish castaway,' and the younger Catherine addresses pious Joseph,

,' that, somewhat before the time of the writing of his novel, Branwell was accustomed frequently to visit a place of the

that gives its name to the novel. Mr. Lockwood, who has rented Thrushcross Grange of Heathcliff, and has come to reside there, relates his experience of two visits he pays to his landlord at the 'Heights.' In the excellent humour of this portion of the story we are certainly reminded of Branwell Bront?, and perhaps of Smollett and Fielding too. The succeeding chapters are related in a manner more subdued, proper to the narration of the housekeeper. There is just one mention of 'King Lear' in 'Wut

ted. In Branwell's poem on 'Caroline,' we have already seen with what certain touch he depicts her death from that disease; and how deeply, and almost morbidly, he broods on its ravages; and, in one of his later poems, we have a second and more striking picture of decline. In Emily's verse anything of the kind is entirely wanting; and, indeed, it is what we miss in her poems, even more than what we find in Branwell's, that mus

e occurred, Branwell was but jesting with his friend, who, in his surprise, took him altogether au sérieux; and, remembering that Mr. Grundy says Branwell had declared to him before that 'Wuthering Heights' was in great part his own work, it will be seen that there are passages in the novel which seem to lend probability both to this surmise as to Branwell's intention, and also to Mr. Grundy's statement. Thus, in Chapter ix., Hindley Earnshaw returns to the house in a state of frenzied intoxication, and, finding Nelly Dean stowing away his son in a cupboard, he flies at her with a madman's rage, crying: 'By heaven and hell, you've sworn between you to murder that child! I know how it is, now, that he is always out of my way. But, with the help of Satan, I shall make you sw

tened to this blazoning forth and triumphing over the glories of his ancient name?' Branwell's pride in the name of Bront? would have been foolish enough if it had been of the nature Miss Robinson supposes; but perhaps it had another meaning. At any rate Nelly Dean puts pride of birth in quite a different light in 'Wuthering Heights,' where she gives good advice to Heathcliff. 'You're fit for a prince in disguise,' she says even to the 'little Lascar,' the 'American or Spanish

ion of mind to be shocked at nothing: in fact, I was as reckless as some malefactors show themselves at the foot of the gallows.' Lastly, Heathcliff declares, speaking of Hindley Earnshaw: 'Correctly, that fool's body should be buried at the cross-roads, without ceremony of any kind.' Now Branwell was not only familiar with the traditions of suicides buried at the cross-roads near Haworth, as well as at similar cross-roads, but he was accustomed, in his p

ng-bright and cheerful out of doors-stole softened in through the blinds of the silent room, and suffused the couch and its occupant with a mellow, tender glow. Edgar Linton had his head laid on the pillow, and his eyes shut. His young and fair features were almost as death-like as those of the form beside him, and almost as fixed: but his was the hush of exhausted anguish, and hers of perfect peace. Her brow smooth, her lids closed,

therine's blessed release! To be sure, one might have doubted, after the wayward and impatient existence she had led, whether she merited a haven of peace at last. One might doubt in seasons of cold reflection; but not then, in the presence of her corpse. It asserted its own tranquillity, which seemed a pledge of equal quiet to its former inhabitants.' But Mr. Lockwood is made to say, speaking of the housekeeper's anxiety to know if he thinks such people are happy in the other world, 'I declined answering Mrs. Dean's question, which struck me as something heterodox.' The story also concludes, speaking of the head-stones of Edgar Linton, Heathcliff, and Catherine: 'I lingered round them, under that benign sky: watched the moths fluttering among the heath a

that Life i

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ainst Branwell in his statement to Mr. Grundy will not now probably be renewed; but there may not be wanting some to say that Mr. Grundy is in error in connecting what his friend said to him about his own novel with some allusion of his sister's to 'Wuthering Heights,' and that those gentlemen who believe the novel Branwell read to them to be the s

re published, and while they are finishing their novels, Branwell has ceased to speak of his, but says that, if he were in London personally, he would try a certain publisher with his poems. Now it was an edition of Wordsworth by this same publisher that Charlotte had, four months earlier, fixed upon as a model for the sisters' own volume of poems. Branwell, then, however strained his relations with his sister Charlotte might be at this late date, must have known tha

at is, something more than half-way through the book. In that first portion of it we trace the vehement passion of Heathcliff for Catherine up to her death. We see his enmity to Edgar Linton, which is satisfied by his possession of Linton's sister, whom he hates and despises, but who is the mother of a child to be heir to Thrushcross Grange, and we see the death of this unhappy wife. In this first portion of the novel is unrolled also the gradual growth of Heathcliff's hatred of Earnshaw, from the time when he says: 'I'm trying to settle how I shall pay Hindley back. I don't care how lo

e purpose of marrying the daughter of Linton, which he forcibly brings about, and thus completes his possession of the Grange; how he endeavours to pervert the youthful Hareton Earnshaw, to 'see if one tree won't grow as

for every five of such correspondences which I discovered in the first part of the novel, I could find only one in the latter. We need not, therefore, be surprised if, in the concluding half of 'Wuthering Heights,' Branwell has stood to the author as mo

ister, to whom he was always grateful for her abiding affection, the work which he had begun, and which he, perhaps, felt himself dissatisfied with, or unable to complete, or in his supplying her with a plot, and assisting her with his experience in the delineation of the characters in any story she might wish to produce. To have done so would be qu

nd novel, produced, not only the most original and powerful of the contemporary tales of the sisters, but one that is also a much longer story than 'The Pr