A few days later she wrote to another friend, speaking of her brother’s death. ‘The event to which you allude came upon us indeed with startling suddenness, and was a severe shock to us all…. I thank you for your kind sympathy. Many, under the circumstances, would think our loss rather a relief than otherwise; in truth, we must acknowledge, in all humility and gratitude, that God has greatly tempered judgment with mercy; but, yet, as you doubtless know from experience, the last earthly separation cannot take place between near relations without the keenest pangs on the part of the survivors. Every wrong and sin is forgotten then; pity and grief share the hearts and the memory between them. Yet we are not without comfort in our affliction. A most propitious change marked the last few days of poor Branwell’s life … and this change could not be owing to the fear of death, for within half-an-hour of his decease he seemed unconscious of danger.’
Charlotte concludes by referring to her own health, which had given way under the strain.
Branwell was buried in the grave in which the remains of his sisters Maria and Elizabeth lay, and his name is placed next after theirs on the tablet. Thus, after twenty-three years, he joined in the dust those from whom in life he had never been separated in affection.
It would have been well if, when the grave closed over his mortal remains, it had buried in oblivion the memory of his failings and his sorrows. Charlotte, as we have seen, when her brother was gone, remembered nothing but his woes; and, if the biographers of herself and her sister Emily had consulted the feelings of those on whom they wrote — which have been so touchingly and tearfully expressed by Charlotte — they would have drawn the veil over whatever offences Branwell, as mortal, might have committed. But, amongst Mrs. Gaskell’s other statements regarding him, there is one, relating even to his death, which cannot be passed over in silence here, since, though she had been compelled to omit it, with her other charges, from the second edition of her work, Miss Robinson has reproduced it recently in her ‘Emily Brontë.’ The statement was to the effect that, when Branwell died, his pockets were filled with the letters of the lady whom he had admired. To this bold statement Martha Brown gave to me a flat contradiction, declaring that she was employed in the sick-room at the time, and had personal knowledge that not one letter, nor a vestige of one, from the lady in question was so found. The letters were mostly from a gentleman of Branwell’s acquaintance, then living near the place of his former employment. Martha was indignant at the misrepresentation.
It may not be amiss here, in the briefest possible way, to give an outline of the subsequent history of the Brontë family. Emily’s health began rapidly to fail after Branwell’s death, which was a great shock to her, and she never left the house alive after the Sunday succeeding it. Her cough was very obstinate, and she was troubled with shortness of breath. Charlotte saw the danger, but could do nothing to ward it off, for Emily was silent and reserved, gave no answers to questions, and took no remedies that were prescribed. She grew weaker daily, and the end came on Tuesday, December the 19th. At the same time Anne was slowly failing, but she lingered longer. ‘Anne’s decline,’ said Charlotte, ‘is gradual and fluctuating; but its nature is not doubtful.’ Unlike Emily, she looked for sympathy, took medicines, and did her best to get well. It was arranged at last that Charlotte and she should go to Scarborough, hoping the change of air might invigorate her, and they left the parsonage on May the 24th, 1849. But the change had no beneficial effect, and Anne died on May the 28th, at Scarborough, where she was buried.
After this the more purely literary portion of Charlotte’s life commenced. She completed ‘Shirley’ early in September, 1849, and it was published on October the 26th. Her real name, and the neighbourhood in which she resided, became now generally known. The reviews showered rapidly; but Charlotte thought that one the best by Eugène Forçade, in the ‘Revue des deux Mondes.’ The cloud now passed away from her, and she visited London, made the acquaintance of Thackeray, Miss Martineau, and others, and entered eagerly into the occupations of literary life. ‘Villette’ was completed in November, 1852. Charlotte married the Rev. Arthur Bell Nicholls, who had long been her father’s curate, on June the 29th, 1854, and she died on Saturday, March the 31st, 1855. The Rev. Patrick Brontë, whom I knew, a fine, tall, grey-haired, and venerable old man, survived all his children, and died at Haworth on January 7th, 1861.
CHAPTER XVI.
BRANWELL’S CHARACTER.
Branwell’s Character in his Poetry — The Pious and Tender Tone of Mind which it Displays — Branwell’s Tendency to Dwell on the Past rather than on the Future — Illustrated — The Sad Tone of his Mind — He is Inclined to be Morbid — The Way in which Branwell regarded Nature — Observations on the Character Displayed in his Works.
It has often been observed that the life of a poet may best be learned from the works he has left behind him. We may fall into error in dealing with the circumstances of his external life, and may make mistakes as to chronology or facts, and, in this way, may be led often to form a false estimate of his character; but, if we discover the personality concealed in his writings, if we can grasp the hidden spirit by which they are informed, we shall be enabled to follow his heart in its cherished affections, to understand the characteristic tendency of his thoughts, and to comprehend even the very psychology of his soul. This enquiry, it is true, is often difficult in the extreme; one cannot always unravel the tangled mysteries in which natural expression is wrapped up, nor fully pierce the cloudy medium of conventionality or affectation through which it may be dimly revealed; it is especially difficult, also, to follow it in the works of a writer of a school like that of the Euphuists, or of Pope, where the medium is one of exaggerated refinement, or of classical and formal preciseness.
But, with the writings of Branwell Brontë, the case is entirely different; and for a very simple reason, viz., that everything he wrote proceeded from a personal inspiration, and was the direct expression of the fulness of emotion, and of vivid thoughts or feelings which could scarcely be hidden; because, in short, he wrote in the true artistic spirit of having something to say.
If Branwell’s affectionate nature led him to dwell upon the memories of his earlier years, and upon the thoughts of those dead sisters whom he had loved so much, he spoke in the voice of Harriet weeping for the departed Caroline; it needed but his remembrance of the fell disease that had deprived him of his sisters, and the fearful havoc which it was yet to work in his family, to inspire him with the sad fancy of his ‘Percy Hall.’ If he sank into the depths of morbid melancholy, and was filled with a consciousness of the worthlessness of ambition, the folly of pride, and the universality of sorrow, his sonnets were a natural expression, in which he found both relief and consolation.
In his case it requires no Pheidian hand to bring out the statue from the marble, but only a sympathetic spirit, a heart filled with the affections of humanity, and a mind attuned to thoughts somewhat sad, to enable one to enter into every mood in which Branwell wrote, and to understand the moral and tender pathos that fills his works. It is because Branwell’s poems are so fully expressive of his feelings at the time when they were written that they are so separately placed in this work. But, before we conclude it, it will be well to sum up, in a slight sketch, a few of the most characteristic features of his writings, and, in so doing, we shall arrive at a correct estimate of his disposition and of his poetry together.
The first thing, then, that strikes one in Branwell’s verse, beginning at its youthful period, is the tone of piety that distinguishes it. The simple stanzas which he sent to Wordsworth, even, however worthless as poetry, are valuable, because they show us the early bent of his mind; and the beautiful lines which he wrote a year later, in 1838, where he first manifests that consciousness of the vanity of earthly things, which his sister Anne also versified, tell us of the hope of a heavenly future, which is contrasted, in its serenity, with the evils of mortal life. The poem entitled ‘Caroline’s Prayer,’ and the one ‘O
n Caroline’ also, simple though they are, are evidence of a devotional turn of mind; and mark again, in the longer poem of ‘Caroline,’ how Harriet finds divine consolation in the calm of Nature:
‘Quiet airs of sacred gladness
Breathing through these woodlands wild,
O’er the whirl of mortal madness
Spread the slumbers of a child;’
and how tenderly she remembers the pious lessons which her dead sister had drawn from the sufferings of the Saviour of man, a recollection, let it be remembered, which Branwell himself preserved. A little later, we find Branwell occupied upon a long poem, of which we possess only a fragment, wholly sacred in its character, and moral in its purpose, — ‘Noah’s Warning over Methusaleh’s Grave.’ Here Noah, before the universal Deluge, in the presence even of the cloudy wall ‘piled boding round the firmament,’ harangues the people, bidding them withdraw from sin, ere it be too late. It is true, however, that in the later poems, when Branwell’s mind is cast into its deepest gloom, this disposition is not so prominent, and, perhaps, can be gathered only from an abundance of tender touches, which could proceed from nothing but a devotional spirit; and thus we may infer that, though he might have lost some of his early piety, he never lost the effect of it. There is, besides, throughout Branwell’s work, the evidence of a justly balanced morality, in that he nowhere exalts depraved passions, or manifests impiety, or, more than all, corrupts his readers with the painting of sensuous ideas, or the description of sensuous incidents. And I would ask the reader, in connection with this admirable characteristic of his poetry, to remember that he has never been charged with indulgence of the kind that has lured away too many men of genius and mental power.
The next thing that strikes me in Branwell’s poetry is the strong love that he manifests for the past, which he seems to value more than the present, and whose pleasures he deems sweeter and purer than any the future can have in store. This tone of thought could be very well understood if we had regard to circumstances of the later period of his life, when despair had cut off hope; but it is just as prominent in the earliest poems he wrote. It would seem that, to the pensive mind of Branwell, all the thoughts of childhood, all the joys of youth and its affections, became, as years passed on, hallowed and exalted in the golden halo of recollection. There were places in the sanctity of the past where the roses of Bendemeer grew, unchanging ever; places to which he turned for the joys of memory, when solitude inclined him to reflection. These pleasures of memory were often of a pensive order, for they were connected with sorrowful events, or they were joys turned sorrowful, as joys will turn, when they have been long enough departed. In Branwell’s letter to Wordsworth, and in his other letters, he expresses plenty of honest ambition, and talks bravely of work in the future; and he spoke in the same way also. But I have received from his poems the impression that this ambition grew from the requirements of circumstances, and from literary emulation; that, in fact, the constitution of Branwell’s mind was of the gentle reflective nature to which the pleasures of ambition appear hollow and insufficient in themselves. At least it is clear that he dwelt with more satisfaction on the past than on the future. So far, indeed, as his poetry is concerned, we saw, in ‘The End of All,’ that it was only when loss made the past too painful for thought, that he turned to the stony joys of solitary ambition and personal fame. This seems to me to be a very tender trait in his character, however little it might fit him to fight the battle of life with those who looked for the joys of the future, rather than turned to pleasures they could actually taste no more.
In Branwell’s thoughtful moods, it required but the woodland sunshine, perhaps, or the sound of the distant bells, to bring back memories to him, as they brought back to Harriet, in the poem of ‘Caroline,’ many a scene of bygone days, opening the fount of tears, and waking memory to the thought
‘Of visions sleeping — not forgot.’
Thus, under the pensive influence, there passed over her
‘That swell of thought, which seems to fill
The bursting heart, the gushing eye,
While fades all present good or ill
Before the shades of things gone by.’
It called up in her, also, the hours when Caroline, too, listening to the wild storms of winter, had filled the nights with pictures and feelings
‘From far-off memories brought.’
These treasures of memory, to which Branwell refers in many of his poems, were to him of a sacred nature, and might not be profaned. He tells us, indeed, in one of his sonnets, that the tears of affection are dried up by the growth of honours, and by the interests and pursuits of life, which
‘Dim or destroy those holy thoughts which cling
Round where the forms we loved lie slumbering.’
For the past was thus hallowed by Branwell, because in it lay his earliest affections, and his most poignant sorrows. I have had occasion, in speaking of several of the poems in this volume, to point out the love which he shows for his dead sisters, Maria and Elizabeth, and how he mourned them up to the last year of his life. For his disposition was of a deeply affectionate order. He has, indeed, painted for us too vividly, in both the poems of ‘Caroline’ and ‘Percy Hall,’ the pangs of separation, and the cheerless void that remains when the loved one has departed, to leave us any doubt as to the sensitiveness of his nature.
It will not have escaped the reader’s attention that Branwell’s muse sings often morbidly enough, and that, — like some spirit that cannot forsake the scene of its mortal sorrows, and haunts the place of its affliction — he dwells frequently upon details of a painful kind, that others would gladly have relegated to oblivion. In the poem of ‘Caroline,’ the picture of his mother, clad in black, is still before his eyes; he remembers even the grave-clothes of his sister in her coffin, and
‘Her too bright cheek all faded now;’
the closing of the coffin lid, and the lowering of it into its narrow bed are yet before his eyes; and painfully he remembers his feeling at the grave-side:
‘And wild my sob, when hollow rung
The first cold clod above her flung.’
Later, though he was occupied with different subjects, Branwell could not entirely free himself from a morbid and painful analysis of the physical effects of the disease he dreaded so much; and very beautifully does he suggest the picture of consumptive decline and early decay.
This tone of thought, and the many misfortunes and gloomy forebodings that attended Branwell’s later years, had a natural effect in giving a mournful cast to almost every emanation of his muse; and we find, in effect, throughout the poems here collected, that, save in one instance — ‘The Epicurean’s Song’ — which we feel to be the production of a moment of elation, there is scarcely a line that does not breathe a consciousness of sad regret, or of cruel and bitter sorrow.
He was filled with the sense of the futility of human joy, and the abiding presence of woe:
‘No! joy itself is but a shade,
So well may its remembrance die,
But cares, Life’s conquerors, never fade,
So strong is their reality.’
These sorrows, as years went by, grew so terrible in their crushing weight, that the mind could barely withstand them, and Branwell felt, in that period when his cry was for peace in death, that, when the light of life is gone,
‘There come no sorrows crowding on,
And powerless lies Despair.’
With Branwell, indeed, as with Mary in his poem of ‘Percy Hall,’ ‘thought felt irksome to the heated brain.’
It was then that oblivion became to him a coveted relief from immediate woe, and that he envied the dreamless head of the wandering, water-borne corpse, whose rolling bed seemed calmer than the turmoil of the world.
This figure of the body rocked by the waves of ocean, brings me to a consideration of the way in which Branwell regarded Nature, which had something very noteworthy in it. It was always remarked by
his friends that the young poet was a great observer, and took an especial pleasure in the works of Nature. It is, therefore, somewhat surprising, at first sight, that, in his poems, he does not dwell upon them descriptively or in a marked manner, and that we have to infer, from certain suggestive touches and pictures — which do, indeed, speak more plainly than words could — that he observed them at all. But we learn that the works of Nature had for Branwell a deeper significance than for most people, that he conceived they had some mysterious sympathy or unspeakable connection with human affections, and were, in a manner, the expression or immediate reflection of the Deity. Wordsworth, Southey, and Coleridge had already looked upon Nature somewhat in this wise; but it would be a mistake to suppose that Branwell imitated them: his thoughts flow too swiftly and impetuously to admit of such a conclusion. It is possible that, if his life had passed calmly, he might have dwelt upon the simple beauties of Nature, and found in them a homely harmony with familiar ideas; Charlotte and Anne in their poetry scarcely get beyond this; but it was different with Emily and Branwell. Emily, with her reserved, passionate nature, had a sympathetic spell in the solitary moorland; and Branwell, labouring with his sorrows, found, in the wildest storms, a being with whom he must battle, or saw, in the mighty mountains, an image of unbroken strength and everlasting fortitude, such a power as he must strive after and make his own. But, in Branwell’s earlier poems, this influence is not so marked, and his muse is simply attuned to the saddened thoughts in which Nature participates. Thus Wordsworth had sung:
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