CHAPTER XIII.

EARLY POEMS.

Branwell's Letter to Wordsworth, with Stanzas‌—‌Remarks upon it‌—‌No Reply‌—‌He Tries Again‌—‌His Interest in the Manchester and Leeds Railway‌—‌Branwell's Literary and Artistic Friends at Bradford and Halifax‌—‌Leyland's Works there‌—‌Branwell's great Interest in them‌—‌Early Verses‌—‌Mrs. Gaskell's Judgment on his Literary Abilities.

Branwell, even while working at art with great energy, was not, as I have said, oblivious of his literary power. While, however, the work of his sisters was to be conducted with great earnestness of purpose, it was unfortunate that the scintillations of Branwell's genius were too often fitful, erratic, and uncertain: his mind, indeed, even at this time, was unstable.

It may be noted, as characteristic of all Mr. Brontë's children, that, united with sterling gifts of intellectual power and literary acumen, there was always some mistrust as to the merit of their own productions, especially of poetical ones. They seem to have felt themselves like travellers wandering in mist, or struggling through a thicket, or toiling on devious paths with no reliable information at hand, until they arrived at a point where progress looked impossible, until they had obtained a guide in whom they had confidence. It appeared, indeed, to the Brontës that, without an opinion on their work, time might be altogether wasted on what was unprofitable. Charlotte, therefore, in the December of 1836, determined to submit some of her poems to the judgment of Southey; and it would seem that she also consulted Hartley Coleridge.

Before, however, Southey had answered his sister's letter, Branwell ventured, in a similar spirit, to address Wordsworth, for whose writings he had a great admiration. The following is his letter; and, although it has been previously published, it must not be omitted here. [26]

Mrs. Gaskell gives the following six stanzas, which are about a third of the whole, and declares them not to be the worst part of the composition:—

Branwell's letter to Wordsworth is, for the most part, well written, and breathes an eager spirit, which shows the anxiety he was under to know the opinion of a high and competent judge as to how he stood with the Nine. It tells us the ardour with which he read and wrote, the ambitious turn of his mind, and the special aims which he then had in the literary world. But the verses, although imbued with a fervent spirit of early piety, were such as Wordsworth could not justly review without giving discouragement, and it seems probable he preferred to keep silence rather than, by an open avowal, to give pain—if pain must be given—as the lesser evil of the two. Or, perhaps, he took amiss the ready frankness and apparent self-esteem which, notwithstanding the disavowal, would probably seem present to him in the letter of the young stranger who addressed him, without sending any evidence of the powers of which he expressed himself so confidently. But, at any rate, Mrs. Gaskell informs us that the letter and verses were preserved by the poet till the Brontës became celebrated, and that he gave the communication to his friend, Mr. Quillinan, in 1850, when the real name of 'Currer Bell' became known.

It must not be overlooked that, in the verses which Mrs. Gaskell has printed, we have no opportunity of studying Branwell's dramatic powers, which apparently found scope in the poem he had written. In them is no development of the effect of the passionate feelings which Branwell describes: 'struggling with a high imagination and acute feelings,' and ending 'in mental misery and bodily ruin.'

However, discouraged by long waiting, or assisted by friendly advice and criticism, he toiled on in silence at his literary work, as he did at art. The year 1837 turned out an important one for Charlotte. In March, she at last received the answer from Southey, which she considered a 'little stringent,' and from which she declared she had derived good. She says, in her reply to the Laureate, 'I trust I shall never more feel ambitious to see my name in print…. That letter is consecrated; no one shall ever see it, but papa, and my brother and my sisters.'

It would seem that Branwell, notwithstanding the failure of his first venture with Wordsworth, tried again, at a later date, with some other, and more matured, compositions, which he submitted to that poet and to Hartley Coleridge, 'who both,' says Mrs. Gaskell, 'expressed kind and laudatory opinions.' But, perhaps, the fact that, to the letter quoted above, Wordsworth sent no answer, and did not tell him whether he should 'write on, or write no more,' discouraged Branwell for a time; and he may have been led to suspect that his productions were worthless, and that time might 'henceforth be too precious to be wasted upon them.' In this way, perhaps, he was induced to turn with greater energy to his profession of art, as a means of getting on, of which I spoke in a former chapter, though we shall see that he did not abandon his literary work.

Branwell also now found opportunities of making himself acquainted with the grand and wild scenery of the mountainous borders of the counties of York and Lancaster, a wider district than his sisters could well survey.

The Manchester and Leeds Railway was, at the time, in course of construction below Littleborough, passing through the picturesque and romantic vale of Todmorden. Branwell became greatly interested in the work; and as stores, and other things for the completion of the line to Hebden Bridge, were forwarded from Littleborough by canal, having been previously sent to that place from Manchester by train, he soon ingratiated himself with the boatmen, and was frequently seen in their boats. It was on one of these occasions that Mr. Woolven, previously mentioned, who was officially employed on the works, recognized at once the clever young man who had surprised the company at the 'Castle Tavern,' Holborn, and entered into conversation with him. These incidents led to a friendly intercourse between them, which continued for some years.

Among his Bradford acquaintances, Branwell numbered, in addition to Geller, the mezzotinto-engraver, previously mentioned, Wilson Anderson, an admirable landscape-painter, whose productions are valued as truthful pictures of the places they represent, and on account of the skilfulness of their manipulation and colouring; and also Richard Waller, a well-known and excellent portrait-painter. To these may be added Edward Collinson, a local poet; Robert Story; and John James, the future historian of Bradford. All these were personal acquaintances of Branwell, as well as of Leyland, and the intercourse between them was frequent. For more than twenty years a party of these friends was accustomed to meet, from time to time, at the 'George Hotel,' Bradford, under the auspices of Miss Rennie, who greatly prided herself on seeing at her house, in their hours of leisure, the artistic and literary celebrities of the neighbourhood. Leyland was at Halifax, being there to erect certain monuments, which he had executed in London for various patrons in his native town. While there, he modelled, in the upper room of an ancient house, his colossal group of 'African Bloodhounds,' his model being a living specimen of the breed; and the group, which was exhibited in London, was favourably noticed. Landseer regarded it as the 'noblest modern work of its kind.' It is now in the Salford Museum. The progress of this group intensely interested Branwell and his Bradford friends; and they frequently visited Leyland's temporary studio. It also formed the subject of a poem by Dearden. [27] Finding this studio of insufficient height for a great work he contemplated—a colossal group of 'Thracian Falconers'—Leyland afterwards took a suitable place in another part of the town, which, likewise, became a meeting-place of the local literati. The new work was to consist of three figures, the centre one being seated, and having upon his right fore-finger a hawk; while his left hand rested on the shoulder of a youth just roused, as if by some sudden sound; and, on his right, was a similar youth, half-recumbent, and also in a listening attitude. The centre figure was alone completed, and is now in the Salford Museum.

Branwell, on his visits to the artist's studio, often lamented the dissipation of his high artistic hopes, and confessed that he saw with pain how misplaced his confidence in his own powers had been. But the sculptor was a poet also, and thus Branwell and he worked in the same field. Many of Leyland's poems were published in the Yorkshire papers, and also in the 'Morning Chronicle,' and were always considered to be of true poetic excellence. Branwell relied much on the artist's judgment in literary matters, and often submitted his productions to him.

Although Brontë had, as we have seen, abandoned the hope of a high artistic career, he still clung to the practice of portrait-painting, and this gave him leisure to court the muse. The following are the earliest of his poems, of which the MSS. are in my possession; and these are fragments only. The first is a verse of eleven lines, dated January 23rd, 1838, which originally concluded a poem of sixty;—

This fragment, written by Branwell at the age of twenty-one, is characteristic of the early tone of his mind. His naturally amiable and susceptible disposition had soon become imbued with the spirit of Christian piety which surrounded his life. He was, too, at the time, full of noble impulses and high aspirations; but the shade of melancholy implanted in his constitution had begun to influence his writings. The following, which is the beginning of another poem, must have been written in some such thoughtful mood, though the title is not borne out in the portion I am able to give.

DEATH TRIUMPHANT.

May, 1838.

In this beautiful fragment we have the first passionate out-pouring of the self-imposed woes, which, proceeding from within, were thereafter to overspread and tincture with darkest colours every thought of Branwell's mind. We see him here for a moment, standing in incipient melancholia, in what appears to him to be a desert of mental despondency; but, turning back with a fond affection for the past, and recalling, in plaintive words, the joys of 'departed days.' He seems here, indeed, to seek in the mysteries of the soul those pleasures and hopes which his mortal self cannot afford him. Branwell never appears to have forgotten, as I have previously suggested, the sad circumstances of the death of his sisters; and his solitary broodings over these visitations gave a morbid tone to his writings. It was in 1838 that he adopted the pseudonym of 'Northangerland.' His earlier poems, although occasionally showing some power, were not sufficiently gifted to add to the lustre of Brontë literature.

Mrs. Gaskell, alluding to Branwell's literary abilities about this time, says: 'In a fragment of one of his manuscripts which I have read, there is a justness and felicity of expression which is very striking. It is the beginning of a tale, and the actors in it are drawn with much of the grace of characteristic portrait-painting, in perfectly pure and simple language, which distinguishes so many of Addison's papers in the "Spectator." The fragment is too short to afford the means of judging whether he had much dramatic talent, as the persons of the story are not thrown into conversation. But, altogether, the elegance and composure of style are such as one would not have expected from this vehement and ill-fated young man. 'He had,' continues Mrs. Gaskell, 'a stronger desire for literary fame burning in his heart than even that which occasionally flashed up in his sisters'.' She says also that, 'He tried various outlets for his talents … and he frequently contributed verses to the "Leeds Mercury."' The latter statement, however, is incorrect, for nothing of Branwell's appears in that journal.

CHAPTER XIV.

POEMS ON 'CAROLINE.'

The Poetical bent of Branwell's Genius‌—‌'Caroline's Prayer'‌—‌'On Caroline'‌—‌'Caroline'‌—‌Spirit of these Early Effusions.

While Branwell was occupying his leisure as stated in the last chapter, and otherwise employing himself in a desultory way, he pursued the poetic bent of his genius, and sought the improvement of his diction and verse. Among the earliest of his poetical productions, the following are, perhaps, the best. They are distinguished by a similar train of thought and reflection, and by similar sentiments of piety and devotion, as also by the same gloom and sadness of mood, which pervade the poems of his sisters. Indeed, without knowing they were actually Branwell's, we might easily believe them to be from the pen of Charlotte, Emily, or Anne.

The three following poetical essays are on 'Caroline,' under which name Branwell indicates his sister Maria; and, in two of them, he records his reminiscences of her death and funeral obsequies. The first of the three, which he has framed in the sentiments and words of a child, is entitled:

CAROLINE'S PRAYER,

OR THE CHANGE FROM CHILDHOOD TO WOMANHOOD.

The second is:

ON CAROLINE.

Here Branwell, though he has changed the form of expression and the circumstance of the loss, is still occupied with the same theme of family bereavement, with which Charlotte herself was so much impressed.

The following was intended as the first canto of a long poem. It also is entitled, 'Caroline;' and is the soliloquy of one 'Harriet,' who mourns for her sister, the subject of the poem, calling to mind her early recollection of the death and funeral of the departed one. It is extremely probable that Branwell made 'Harriet' a vehicle of expression for Charlotte or Emily, as he had adopted the name of 'Caroline' for Maria.

CAROLINE.

This poem springs from the deepest feelings, and from sorrows the most poignant. The respective images, tinctured with grief and despondency, pass before us with weird and vivid reality; and many of the passages are imbued with great tenderness, beauty, and pathos. The painful, and, perhaps, too morbid intensity of some of the pictures, whether of dreams or realities, is painted here with the skill of no common artist, whatever youthful defects may be observed in the composition. The poem is one more notable for tender sweetness than any other that remains from Branwell; but it lacks in places the vigour and power of his later compositions, and is, in several parts, of unequal merit. In the earlier portion of it, where he assumes the iambic measure, it is not difficult to perceive the influence of Byron on his diction. In this work Branwell again recurs to the time when tears of anguish flowed from his yet 'unhardened heart,' whose present woes are forgotten in the swelling thoughts of 'things gone by.' We recognize with what pathetic feeling he paints in Caroline all the qualities of instructress, guardian, and friend, which had characterized his sister Maria. Long afterwards Charlotte Brontë, inspired by similar feelings, devoted the first chapters of 'Jane Eyre' to a delineation, in the character of Helen Burns, of the disposition of her dead sister, whose death, a few days after her return from Cowan Bridge, she could scarcely ever either forget or forgive.

CHAPTER XV.

EVENTS AT THE PARSONAGE.

Charlotte's first Offer of Marriage‌—‌Her Remarks concerning it‌—‌ A second Offer Declined‌—‌Anne a Governess‌—‌She Moralizes upon it‌—‌Charlotte obtains a Situation‌—‌Unsuited to Her‌—‌She Leaves it‌—‌Branwell takes Pleasure in Scenery‌—‌He Visits Liverpool with his Friends‌—‌Charlotte goes to Easton‌—‌Curates at Haworth‌—‌Their Visits to the Parsonage‌—‌Public Meetings on Church Rates‌—‌Charlotte's Attempt at a Richardsonian Novel‌—‌She sends the Commencement of it to Wordsworth for his Opinion‌—‌Branwell receives an Appointment as Private Tutor.

After the return of Charlotte and Anne from Dewsbury Moor, whither Miss Wooler had removed her school, the three sisters were at home together for some months, and, in this happy, unrestrained intercourse, with their literary relaxations and their plans for the future, Charlotte's mind expanded, and her strength returned. There was Branwell, too, to think about; his venture at Bradford and his progress with his portraits. Then they would have to go and see the likeness of Mr. Morgan; and, on such occasions, Branwell would have much to say of art and literature, and, acquaintances. But Branwell was usually at Haworth on Sundays, and then he would hear of Charlotte's visits to her friends, and her adventures on these occasions. It was shortly before the date of Branwell's return from Bradford, in the spring of 1839, that Charlotte received her first offer of marriage. A young clergyman, who had, as Mrs. Gaskell thought, some resemblance to the St. John in the last volume of 'Jane Eyre,' had evidently been attracted by Charlotte Brontë; but matrimony does not seem, at the time, to have seriously entered into her thoughts. In some respects the proposal might have had strong temptations for her, and she thought how happy her married life might be. However, it was not the way with Charlotte Brontë to take the path of smoothness and comfort, and leave the thorny one untrod; and she asked herself if she loved the clergyman in question as much as a woman should love her husband, and whether she was the one best qualified to make him happy. 'Alas!' she says, 'my conscience answered "No" to both these questions.' She knew very well that she had a 'kindly leaning' towards him, but this was not enough for her, for it was impossible that she could ever feel for him such an intense attachment as would make her sacrifice her life for him. Short of such a devotion awakened in herself, she would never marry anyone. Her comment is characteristic: 'Ten to one I shall never have the chance again; but n'importe.'

Charlotte Brontë felt that there was a want of sympathy between the young clergyman and herself, for he was a 'grave, quiet young man;' and she knew that he would be startled, and would think her a wild, romantic enthusiast, when she showed her character, and laughed, and satirized, and said whatever came into her head. Nor was her next offer any more to her taste; for, within a few months, a neighbouring curate, a young Irishman, fresh from the Dublin University, made her a proposal. The circumstance amused Charlotte, for it was, on his part, a case of love at first sight. He came with his vicar to be introduced to the family, and was speedily struck with Mr. Brontë's daughter. Charlotte was never troubled at home with the mauvaise honte that troubled her abroad; and so she talked and jested with the clergyman, and was much amused at the originality of his character. A pleasant afternoon was spent, for he made himself at home, after the fashion of his countrymen, and was witty, lively, ardent, and clever; but, withal, wanting in the dignity and discretion of an Englishman. As the evening drew on, Charlotte was not much pleased with the spice of Hibernian flattery with which he began to season his discourse, and, as she expresses it, she 'cooled a little.' The vicar and his curate went away; but what was Charlotte's astonishment to receive a letter next morning from the latter containing a proposal of marriage, and filled with ardent expressions of devotion! 'I hope you are laughing heartily,' she says to her friend. 'This is not like one of my adventures, is it? It more nearly resembles Martha's. I am certainly doomed to be an old maid. Never mind. I have made up my mind to that fate ever since I was twelve years old. Well! thought I, I have heard of love at first sight, but this beats all! I leave you to guess what my answer would be, convinced that you will not do me the injustice of guessing wrong.'

Although the married state does not appear, from Charlotte's letters at this time, to have had many attractions for her, we know, from those she wrote later, and, perhaps, more than all from the concluding chapters of 'Jane Eyre,' that she could enter into the joys and sacrifices of domestic life, that she had a correct view of the affections, and knew how to appreciate conjugal love at its true value. But, in the present instances—although, at a later period of her life, when she was on the Continent, she is believed to have felt the full force of that 'passion of the heart' which those about whom she wrote had failed to evoke—she declined to sever herself from the contented circumstances that surrounded her, and in which she was mistress, for a condition of doubtful peace and certain obedience. Charlotte's decision was not discordant with the feelings of her family; for, as she had determined to continue at home, their plans for the future would not be disconcerted.

Anne was now resolved on making a trial of the life of a governess for herself, she having completed her education, and being wishful to exert herself as her sisters had done. Inquiries were made, and at length a situation was obtained. Anne continued in this kind of employment during the next six years, and it was her experience that suggested to her the subject of her first novel, 'Agnes Grey.' If we may suppose that she has recounted her own experience at this time, where her heroine describes the circumstances of her preparation and departure for her first situation, it would appear that she had some difficulty in convincing her friends of the wisdom of her purpose. Agnes Grey says, after she has made the suggestion to her family:

'I was silenced for that day, and for many succeeding ones; but still I did not wholly relinquish my darling scheme. Mary got her drawing materials, and steadily set to work. I got mine too; but, while I drew, I thought of other things. How delightful it would be to be a governess! To go out into the world; to enter upon a new life; to act for myself; to exercise my unused faculties; to try my unknown powers; to earn my own maintenance, and something to comfort and help my father, mother, and sister, besides exonerating them from the provision of my food and clothing; to show papa what his little Agnes could do; to convince mamma and Mary that I was not quite the helpless, thoughtless being they supposed. And then, how charming to be entrusted with the care and education of children! Whatever others said, I felt I was fully competent to the task: the clear remembrance of my own thoughts in early childhood would be a surer guide than the instructions of the most mature adviser. I had but to turn from my little pupils to myself at their age, and I should know at once how to win their confidence and affections; how to waken the contrition of the erring; how to embolden the timid and console the afflicted; how to make virtue practicable, instruction desirable, and religion lively and comprehensible.' [28]

Anne Brontë was of a milder and more cheerful temperament than her sisters; she had not the fire, the morbid feeling, or the mental force that characterized Charlotte, yet she had more of the initiatory faculty than she had hitherto received credit for. But her gentle nature, her confiding piety, her more equable temper, enabled her to succeed better in the circumstances she had chosen. She had her troubles, her timidity, and her diffidence to contend with, but she made life supportable and even happy. 'Agnes Grey' thus speaks of her departure, which we cannot doubt is the experience of Anne Brontë:

'Some weeks more were yet to be devoted to preparation. How long, how tedious those weeks appeared to me! Yet they were happy ones in the main, full of bright hopes and ardent expectations. With what peculiar pleasure I assisted at the making of my new clothes, and, subsequently, the packing of my trunks! But there was a feeling of bitterness mingling with the latter occupation too; and when it was done—when all was ready for my departure on the morrow, and the last night at home approached—a sudden anguish seemed to swell my heart. My dear friends looked sad, and spoke so very kindly, that I could scarcely keep my heart from overflowing; but I still affected to be gay. I had taken my last ramble with Mary on the moors, my last walk in the garden and round the house … I had played my last tune on the old piano, and sung my last song to papa, not the last, I hoped, but the last for what appeared to me a very long time.' [29]

Charlotte and Emily made themselves busy in assisting Anne with her preparations for departure, and they were very sad and apprehensive when she left them on Monday, April 15th, 1839. She went alone, at her own wish, thinking she could manage better if left to her own resources, and when her failings were unwitnessed by those whose hopes she wished to sustain. However, she wrote, expressing satisfaction with the place she had secured, for the lady of the house was very kind. She had two of the eldest girls under her charge, the children being confined to the nursery, with which she had no concern.

Charlotte, although remarking in a letter to her friend on the cleverness and sensibility with which Anne could express herself in epistolary correspondence, had some fear that, such was the natural diffidence of her manner, her mistress would sometimes believe her to have an impediment in her speech.

Charlotte's eagerness to obtain a situation was now so great that she does not seem to have considered well the step she was about to take, and she obtained one that was not satisfactory to her. It was in the family of a wealthy Yorkshire manufacturer; and we may well believe that the stylish surroundings of her employers differed materially from those of the family at Haworth. Here a large quantity of miscellaneous work was thrown on Charlotte, which displeased her and destroyed her comfort. In a letter to Emily, she says she is 'overwhelmed with oceans of needlework; yards of cambric to hem, muslin night-caps to make, etc.' She found the outside attractions of the house beautiful in 'pleasant woods, white paths, green lawns, and blue, sunshiny sky;' but these surroundings did not compensate for the humiliations which her situation imposed upon her, and her mistress and she did not like each other; so Charlotte did not return to the place after the July holidays of 1839.

Branwell was as yet unemployed, and he sought, and took much pleasure in the scenery, the events and circumstances of the hills and valleys of the West-Riding of Yorkshire, and was frequently from home. He went about the country, associating with the people, and revelling in their ready wit, which enabled him afterwards, by such observations and experience, to give vivid pictures of life and character. At the time of the Haworth 'Rushbearing,' of July, 1839, he visited Liverpool with one or two friends, and, while there, in compliance with an injunction of his father, made a stenographic report, at St. Jude's church, of a sermon by the Rev. H. McNeile, the well-known evangelical preacher. Here, a sudden attack of Tic compelled him to resort to opium, in some form, as an anodyne, whose soothing effect in pain he had previously known. Subsequently, passing a music shop, in one of their rambles through the town, Branwell's attention was arrested by a copy of the oratorio of 'Samson,' by Handel, displayed in the window, the performance of which had always excited him to the highest degree, and he eagerly besought his friend to purchase it, as well as some Mass, and various oratorio music, which was done.

On their return from Liverpool, Branwell, being under some obligation to his friend, proffered to paint his portrait, to which Mr. M—— agreed. A sitting once a week was decided upon, to be in the room at the parsonage where Branwell studied and painted. On his visits, Mr. M—— invariably noticed a row of potatoes, placed on the uppermost rib of the range to roast, Branwell being very fond of them done in this way, even as Jane Eyre was in the novel. 'That night,' she says, 'on going to bed, I forgot to prepare, in imagination, the Barmecide supper of hot roast potatoes … with which I was wont to amuse my inward cravings.' When Mr. M—— paid his weekly visits to the parsonage he always heard some one speaking aloud in the room adjoining Branwell's studio; and, at last, his curiosity being excited, he inquired whom it was. Branwell answered that it was his father committing his Sunday's sermon to memory. When the portrait was ready for the finishing touches, Mr. M—— discovered that Branwell had painted the names of Johann Sebastian Bach, Mozart, Haydn, and Handel at each corner of the canvas respectively. He remonstrated, but Branwell was firm, maintaining that, as his friend was an accomplished musician, and could perform the most elaborate and difficult compositions of these immortal men, with expression and ease, he was, in every way, worthy of being associated with them in the manner he designed. Mr. M—— complied. When the portrait was finished, Branwell pressed his friend to take a glass of wine; and, while the two were chatting over the affair, Mr. Brontë and his daughters entered the room to view Branwell's work on its completion. They were pleased with it, and praised it as a truthful likeness and an excellent picture.

We may well imagine the enthusiasm with which Branwell would recount his experience of Liverpool. How much he would have to tell of the wonders of the Mersey, the great ships that rode upon its surface, and its commerce with the new world, out across the ocean! His visit seems to have originated a proposal that the family should spend a week or a fortnight at that sea-port, but, almost at the same moment, Charlotte's friend suggested to her that they should visit Cleethorpes together, a suggestion that pleased her very much.

'The idea of seeing the sea,' she says, 'of being near it—watching its changes by sunrise, sunset, moonlight, and noon-day—in calm, perhaps in storm—fills and satisfies my mind. I shall be discontented at nothing. And then I am not to be with a set of people with whom I have nothing in common—who would be nuisances and bores.'

The visit of Charlotte to the sea-side seems to have been put off again and again, by often-recurring obstacles. The irresolution of her family in regard to the Liverpool project, and the manifest unwillingness that she should leave home on a visit anywhere else, put off, from time to time, the pleasure she had anticipated for herself; but at last she decided to go. Her box was packed and everything prepared, but no conveyance could be procured. Mr. Brontë objected to her going by coach, and walking part of the way to meet her friend, and her aunt exclaimed against 'the weather, and the roads, and the four winds of heaven,' so Charlotte almost gave up hope. She told her friend that the elders of the house had never cordially acquiesced in the measure, and that opposition was growing more open, though her father would willingly have indulged her. Even he, however, wished her to remain at home. Charlotte was 'provoked' that her aunt had deferred opposition until arrangements had been made. In the end 'E' was asked to pay a visit to the parsonage.

Owing to the circumstances indicated, Charlotte's visit to the sea-coast was put off until the following September, when an opportunity occurred favourable to the project, which does not seem to have been entirely abandoned; and she and her friend visited Easton where they spent a fortnight. Here for the first time Charlotte beheld the sea.

Afterwards she wrote, 'Have you forgotten the sea by this time, E.? Is it grown dim in your mind? Or can you still see it, dark, blue and green and foam-white, and hear it roaring roughly when the wind is high, or rushing softly when it is calm?' The Liverpool journey appears to have been finally abandoned.

It was in a letter, written about this time that Mrs. Gaskell found the first mention of a succession of curates who henceforth revolved round Haworth Parsonage. Three years earlier Mr. Brontë had sought aid from the 'Additional Curates' Society,' or some similar institution, and was provided at once with assistance. The increasing duties of his chapelry had rendered this step necessary. It would seem also that a curate was appointed to Stanbury, while another became master of the National or Grammar School. These gentlemen were not infrequent in their visits to the parsonage, and they varied the life of its inmates, sometimes one way and sometimes another. This circumstance, at the same time, provided Charlotte Brontë with those living studies which she did not fail afterwards to remember in her delineation of the three curates in 'Shirley.' Emily, on the other hand, invariably avoided these gentlemen.

The arrival of the curates at Haworth was the occasion of increased activity in the affairs of the chapelry; and, the church-rate question being uppermost at this juncture, the new-comers entered into a crusade against the Dissenters who had refused to pay church-rates. Charlotte wrote a long letter in which she spoke of a violent public meeting held at Haworth about the affair, and of two sermons against dissent—one by Mr. W. a 'noble, eloquent, high-church, apostolical-succession discourse, in which he banged the Dissenters most fearlessly and unflinchingly;' the other by Mr. C., a 'keener, cleverer, bolder, and more heart-stirring harangue,' than Charlotte, perhaps, had ever heard from the Haworth pulpit. She, however, did not entirely agree with either of these gentlemen, and thought, if she had been a Dissenter, she would have 'taken the first opportunity of kicking or of horse-whipping both.'

In the winter of 1839-40, Charlotte employed her leisure in the composition of a story which she had commenced on a scale commensurate with one of Richardson's novels of seven or eight volumes. Mrs. Gaskell saw some fragments of the manuscript, written in a very small hand: but she was less solicitous to decipher it, as Charlotte had herself condemned it in the preface to 'The Professor.' Branwell, to whom she submitted it, seems to have understood, at the time, that in its florid style of composition she was working in opposition to her genius, and he told her she was making a mistake. It appears not unlikely that Branwell was himself similarly engaged on prose writing when he gave her this opinion. A few months later, however, Charlotte resolved to send the commencement of her tale to Wordsworth, and that an unfavourable judgment was the result, for which she was not altogether unprepared, may be gathered from the following letter she addressed to the poet:—

'Authors are generally very tenacious of their productions, but I am not so much attached to this but that I can give it up without much distress. No doubt if I had gone on I should have made quite a Richardsonian concern of it…. I had materials in my head for half-a-dozen volumes…. Of course it is with considerable regret I relinquish any scheme so charming as the one I have sketched. It is very edifying and profitable to create a world out of your own brains, and people it with inhabitants who are so many Melchisedecs, and have no father or mother but your own imagination…. I am sorry I did not exist fifty or sixty years ago, when the "Ladies' Magazine" was flourishing like a green bay-tree. In that case, I make no doubt, my aspirations after literary fame would have met with due encouragement, and I should have had the pleasure of introducing Messrs. Percy and West into the best society, and recording all their sayings and doings in double-columned, close-printed pages…. I recollect, when I was a child, getting hold of some antiquated volumes, reading them by stealth with the most exquisite pleasure. You give a correct description of the patient Grisels of these days. My aunt was one of them, and to this day she thinks the tales of the "Ladies' Magazine" infinitely superior to any trash of modern literature. So do I; for I read them in childhood, and childhood has a very strong faculty of admiration, but a very weak one of criticism…. I am pleased that you cannot quite decide whether I am an attorney's clerk or a novel-reading dressmaker. I will not help you at all in the discovery….'

In the midst of their literary endeavours, their efforts were not relaxed to obtain new places. Charlotte was obliged by circumstances to give up her subscriptions to the Jews, and she determined to force herself to take a situation, if one could be found, though she says, 'I hate and abhor the very thoughts of governess-ship.' An alternative which the sisters talked over in these holidays was the opening of a school at Haworth, for which an enlargement of the parsonage would be required.

Branwell was more successful in his pursuit of employment than Charlotte, having procured the place of a tutor; and he was to commence his duties with the new year. Charlotte says of this event, 'One thing, however, will make the daily routine more unvaried than ever. Branwell, who used to enliven us, is to leave us in a few days, and enter the situation of a private tutor in the neighbourhood of Ulverston. How he will like to settle remains yet to be seen. At present he is full of hope and resolution. I, who know his variable nature, and his strong turn for active life, dare not be too sanguine.'

Branwell seems to have paid a farewell visit to the 'Lodge of the Three Graces' on the Christmas Day of this year, when he acted as organist. This is the only occasion on which he is recorded as having attended at the meetings of the Lodge in 1839, and it is the last on which his name appears in the minute book of the Haworth masonic body.