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diff --git a/41105-h/41105-h.htm b/41105-h/41105-h.htm index 28d065f..c0086e7 100644 --- a/41105-h/41105-h.htm +++ b/41105-h/41105-h.htm @@ -2,8 +2,8 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> -<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> -<title>The Project Gutenberg eBook of The Secret of Charlotte Brontë, by Frederika Macdonald</title> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> +<title>The Project Gutenberg eBook of The Secret of Charlotte Brontë, by Frederika Macdonald</title> <style type="text/css"> body { @@ -115,20 +115,9 @@ v:link {color: #800000; text-decoration: none; } </style> </head> <body> -<h1>The Project Gutenberg eBook, The Secret of Charlotte Brontë, by Frederika +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41105 ***</div> +<h1>The Project Gutenberg eBook, The Secret of Charlotte Brontë, by Frederika Macdonald</h1> -<p>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> -<p>Title: The Secret of Charlotte Brontë</p> -<p> Followed by Some Reminiscences of the Real Monsieur and Madame Heger</p> -<p>Author: Frederika Macdonald</p> -<p>Release Date: October 18, 2012 [eBook #41105]</p> -<p>Language: English</p> -<p>Character set encoding: ISO-8859-1</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK THE SECRET OF CHARLOTTE BRONTë***</p> <p> </p> <h3>E-text prepared by Clare Graham & Laura McDonald<br /> (http://www.girlebooks.com)<br /> @@ -142,7 +131,7 @@ href="http://www.gutenberg.org">www.gutenberg.org</a></p> <img src="images/secret-cover.jpg" width="300" alt="" title="" /> </div> -<h1>THE SECRET OF CHARLOTTE BRONTË</h1> +<h1>THE SECRET OF CHARLOTTE BRONTË</h1> <h3>FOLLOWED BY</h3> @@ -218,12 +207,12 @@ CONTENTS<br /> <br /> PART I<br /> <br /> -CHARLOTTE BRONTË'S LETTERS TO M. HEGER<br /> -<i>(These Letters supply the Key to the Secret of Charlotte Brontë)</i><br /> +CHARLOTTE BRONTË'S LETTERS TO M. HEGER<br /> +<i>(These Letters supply the Key to the Secret of Charlotte Brontë)</i><br /> <br /> <a href="#CHAPTER_I">CHAPTER I</a><br /> THE PSYCHOLOGICAL PROBLEM OF CHARLOTTE<br /> -BRONTË, CREATED BY A FALSE CRITICAL METHOD<br /> +BRONTË, CREATED BY A FALSE CRITICAL METHOD<br /> <br /> <a href="#CHAPTER_II">CHAPTER II</a><br /> THE KEY TO THE PROBLEM<br /> @@ -252,7 +241,7 @@ FACT FROM FICTION<br /> <br /> <a href="#CHAPTER_IIb">CHAPTER II</a><br /> MY FIRST INTRODUCTION TO CHARLOTTE<br /> -BRONTË'S PROFESSOR<br /> +BRONTË'S PROFESSOR<br /> <br /> <a href="#CHAPTER_IIIb">CHAPTER III</a><br /> MONSIEUR AND MADAME HEGER AS I SAW THEM:<br /> @@ -273,14 +262,14 @@ OF RESIGNATION TO INJUSTICE<br /> <br /> LIST OF ILLUSTRATIONS<br /> <br /> -<a href="#ill001">CHARLOTTE BRONTË</a> .... <i>Frontispiece</i><br /> +<a href="#ill001">CHARLOTTE BRONTË</a> .... <i>Frontispiece</i><br /> <a href="#ill002">THE FRONT OF THE SCHOOL IN THE RUE D'ISABELLE</a><br /> <a href="#ill003">M. HEGER AT SIXTY</a><br /> -<a href="#ill004">DRAWING BY CHARLOTTE BRONTË OF ASHBURNHAM CHURCH</a><br /> +<a href="#ill004">DRAWING BY CHARLOTTE BRONTË OF ASHBURNHAM CHURCH</a><br /> (<i>Copyright of Author</i>)<br /> <a href="#ill005">MADAME HEGER AT SIXTY</a><br /> (<i>Copyright of Author</i>)<br /> -<a href="#ill006">THE ALLÉE DÉFENDUE</a><br /> +<a href="#ill006">THE ALLÉE DÉFENDUE</a><br /> (<i>Copyright of Author</i>)<br /> <a href="#ill007">THE GALERIE AND GARDEN IN WINTER</a><br /> (<i>Copyright of Author</i>)<br /> @@ -288,14 +277,14 @@ LIST OF ILLUSTRATIONS<br /> <hr style="width: 65%;" /> -<h4>THE SECRET OF CHARLOTTE BRONTË</h4> +<h4>THE SECRET OF CHARLOTTE BRONTË</h4> <h3>PART I</h3> <hr style="width: 35%;" /> <h3><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h3> <h4>THE 'PSYCHOLOGICAL PROBLEM' OF CHARLOTTE -BRONTË,<br /> CREATED BY A FALSE +BRONTË,<br /> CREATED BY A FALSE CRITICAL METHOD</h4> @@ -328,7 +317,7 @@ from a standpoint of assumptions that do not allow him to exercise the true function of criticism, defined by Matthew Arnold as: 'an impartial endeavour to see the thing as in itself it really is.'</p> -<p>In the case of Charlotte Brontë, her first, and, still, classical +<p>In the case of Charlotte Brontë, her first, and, still, classical biographer, Mrs. Gaskell, carried through, now fifty-seven years ago, with great literary skill, and also with historical exactitude, the study of her parentage and youth; of her experiences in England as a @@ -341,7 +330,7 @@ century, and since her books are still living spirits, we may be allowed to affirm this) one of the immortals.</p> <p>But now whilst all these epochs in Mrs. Gaskell's <i>Life of Charlotte -Brontë</i> were studied by exact historical methods, there was one epoch in +Brontë</i> were studied by exact historical methods, there was one epoch in her heroine's career that this, elsewhere, conscientious biographer neglected to study at all: in the sense, of subjecting facts and events and personages, belonging to its history, to careful examination. Here, @@ -372,7 +361,7 @@ now, but has never been up to this date, satisfactorily decided, by an attentive historical enquiry. What is established securely to-day, and cannot be removed from the foundation of documentary evidence that serves as the basis upon which all future theories must rest, is, that -it is in this period that Charlotte Brontë—not as an enthusiastic and +it is in this period that Charlotte Brontë—not as an enthusiastic and half-formed school-girl, as some reckless modern impressionist critics, careless of the evidence of facts, would have us believe, but as a woman, profoundly sincere, impassioned, exalted, unstained, and @@ -401,13 +390,13 @@ compared her account with Charlotte's correspondence: and also with eloquent impassioned passages in <i>Villette</i> and the <i>Professor</i>, where the authoress is plainly painting emotions and impressions she has herself undergone. And the effect that was left upon thoughtful readers -of the <i>Life of Charlotte Brontë</i>' was that the biographer was, not +of the <i>Life of Charlotte Brontë</i>' was that the biographer was, not negligently, but <i>deliberately</i>, altering the true significance, by underrating the importance, of Charlotte's experiences in Bruxelles, and of her relationships with Monsieur and Madame Heger.</p> <p>This biographer's theory was (and the doctrine has been vehemently -defended by a certain clique of devotees of Charlotte Brontë down to +defended by a certain clique of devotees of Charlotte Brontë down to the present day) that Charlotte obtained, certainly, great intellectual stimulus, as well as literary culture, from the lessons of M. Heger, as an accomplished Professor; but that, outside of these influences, her @@ -442,7 +431,7 @@ to the authoress of <i>Illustrations in Political Economy</i>, appeared a defect, that '<i>all events and personages are regarded through the medium of one passion only—the passion of unrequited love.</i>'</p> -<p>To return to Mrs. Gaskell and her criticism of Charlotte Brontë. The +<p>To return to Mrs. Gaskell and her criticism of Charlotte Brontë. The question of whether she, like Harriet Martineau, committed a critical blunder, as a result of studying Charlotte's character and genius by wrong methods, or whether out of loyalty she endeavoured to cover in her @@ -459,7 +448,7 @@ own country, has been criticised from 1857 down to 1913, in the light of one of two contradictory impressions—both of which we now know were historical mistakes.</p> -<p>The first of these impressions is that Charlotte Brontë has painted, not +<p>The first of these impressions is that Charlotte Brontë has painted, not only her own emotions, but her own actual experiences, in <i>Villette</i>; and that Lucy Snowe, Paul Emanuel, and Madame Beck, are pseudonyms, under which we ought to recognise Charlotte herself, and the Director @@ -467,12 +456,12 @@ and Directress of the Pensionnat in the Rue d'Isabelle.</p> <p>The second, and almost equally mischievous impression is that no romantic nor tragical sentiment whatever characterises the relationships -between Charlotte Brontë and her Bruxelles Professor in literature; and +between Charlotte Brontë and her Bruxelles Professor in literature; and that she derived her inspirations as a writer solely from the drab dreariness and the desolation of disease and death, of her life in the shadow of Haworth churchyard. It is impossible from the standpoint of either of these impressions to form right opinions about Charlotte -Brontë, either as a distinguished personality, or as a writer of genius, +Brontë, either as a distinguished personality, or as a writer of genius, whose place in English literature is that amongst our prose writers she is the representative 'Romantic' who counts with George Sand; but differs from her, as an English and not a French exponent of the @@ -480,7 +469,7 @@ sentiment of romantic love.</p> <p>Judged both as a distinguished personality and as a writer of genius from the standpoint of the impression that <i>Villette</i> is an -autobiographical story, Charlotte Brontë suffers injustice, both as a +autobiographical story, Charlotte Brontë suffers injustice, both as a woman of fine character, and as an imaginative painter of emotions rather than an observer of events, or a critic of manners. Accepted as a realistic picture of her own adventures in Brussels, the book does not @@ -494,7 +483,7 @@ her, when she was a friendless alien in a foreign city. And, if this were so, this traitress would have further aggravated the dishonest betrayal of her protectress, by holding up the woman she had wronged to the world's detestation, either as the contemptible and scheming Mlle. -Zoraïde Reuter, of the <i>Professor</i>:—or the less contemptible but more +Zoraïde Reuter, of the <i>Professor</i>:—or the less contemptible but more hateful Madame Beck, in <i>Villette</i>.</p> <p>If, then, Charlotte did mean, or even suppose, that others could be @@ -504,7 +493,7 @@ only as a woman of bad character, but as one who had a wicked and vindictive heart.</p> <p>Nor yet does the second impression, patronised by devotees of Charlotte -Brontë (who seem to imagine that the revelation of an entirely innocent +Brontë (who seem to imagine that the revelation of an entirely innocent and indeed beautiful, though tragical, romantic attachment in the life of this romantic writer, is the disclosure of a sin), help us to find any solution of the 'problem' as psychological critics present it to us, @@ -558,7 +547,7 @@ medium of small grievances of superior nursery governesses: the sort of people who dislike children, and want overdriven mothers to be always occupied with their governesses' sentiments, instead of with the baby who is cutting its teeth. No doubt the influences of Haworth and of -Charlotte Brontë's 'Circle' there, before she became famous, <i>did</i> help +Charlotte Brontë's 'Circle' there, before she became famous, <i>did</i> help to plant in her the immense depression and fatigue of a spirit that had known the stress of great emotions, and <i>could bear no more</i>,—expressed in the letter announcing her decision to marry one of the curates she @@ -568,12 +557,12 @@ pretend she thinks this marriage ('<i>the thing</i>')—a Festival. Well, bu the conclusion we must form is this, that if it be at Haworth, and after 1846, that we must find the causes of the depression that brought about Charlotte's marriage with Mr. Nicholl, it is <i>not</i> here that we must -seek the '<i>Secret of Charlotte Brontë</i>';—the romance that broke her +seek the '<i>Secret of Charlotte Brontë</i>';—the romance that broke her heart, true—but made her an immortal, whose claim to live for ever is based upon no moderate well-balanced sentiment, where 'the demands of both feeling and duty will be in some measure reconciled'—but upon passionate emotions, compelling expression, and forming a new language -almost; as M. Jules Lemaître has said 'introducing new ways of feeling, +almost; as M. Jules Lemaître has said 'introducing new ways of feeling, and as it were a new vibration into literature.'</p> <p>And in the place where the romance in Charlotte's life is found must we @@ -597,7 +586,7 @@ Elsmere</i>, such vigorous fighters for intellectual and moral ends as are represented by the author of the <i>Illustrations upon Political Economy</i>, and the <i>Atkinson Letters</i>. And it is because, as a result of judging her genius and her personality from the standpoint of false -impressions, Charlotte Brontë has not been recognised in England as a +impressions, Charlotte Brontë has not been recognised in England as a painter of personal emotions, a Romantic in short, but has been judged as the advocate of a general doctrine—(one very agreeable to the convictions of the average man, but especially exasperating to the @@ -611,18 +600,18 @@ conventional domesticity; whilst amongst more naturally sympathetic judges, the peculiar perfume and power of these novels, steeped in and saturated with the passionate essence of a personal romance, has not been recognised either for what it really is,—the 'magic' of Charlotte -Brontë; the special quality in her work that gives it originality and +Brontë; the special quality in her work that gives it originality and distinction; but this very quality—'the personal note' that makes her our only English Romantic Novelist, has been signalised by many sincere admirers of her books as a defect!</p> <p>I have already mentioned the judgment passed upon <i>Villette</i> by an -admirable woman of letters, Charlotte Brontë's personal friend, and a +admirable woman of letters, Charlotte Brontë's personal friend, and a critic whose good faith, and honest desire to serve the interests of this sister-authoress with whom she found fault it is quite impossible to doubt.</p> -<p>When <i>Villette</i> appeared, Charlotte Brontë had been for some little time +<p>When <i>Villette</i> appeared, Charlotte Brontë had been for some little time on very friendly terms with Harriet Martineau: and she did not fear to incur the risk—always a perilous one to friendship—of asking Harriet to tell her, quite frankly, what she thought of her book. Harriet @@ -685,7 +674,7 @@ at any rate to ignore—that '<i>there are substantial heartfelt interests for women of all ages, and in ordinary circumstances, quite apart from love.</i>'</p> -<p>The mistake lay in assuming that Charlotte Brontë was an intellectual, +<p>The mistake lay in assuming that Charlotte Brontë was an intellectual, instead of an imaginative genius; and that her literary purpose was to affirm, or deny, or ignore deliberately, any principle; or in any way to make her genius the servant of her intellect; whereas her @@ -713,7 +702,7 @@ protestantism, leaves her as far away as the 'idolatrous priests' she denounced, from any claim to enlightened tolerance.</p> <p>Yet this lack of any particular height or breadth or distinction in -Charlotte Brontë's social, political, critical, or even religious views, +Charlotte Brontë's social, political, critical, or even religious views, does not in any way detract from the height, depth and distinction of her powers of noble emotion and splendid expression; nor from the rare gift of translating words into feelings that quicken her readers' @@ -730,7 +719,7 @@ characteristic qualities of imagination and sentiment that belong to our English literary temperament, and that do us honour, as a romantic people who are romantic in our own, and nobody else's way.</p> -<p>But now if we want to appreciate the 'magic' of Charlotte Brontë as a +<p>But now if we want to appreciate the 'magic' of Charlotte Brontë as a Romantic we must not look for the sources of her inspiration at Haworth; nor in the circle of dull people, to whom she wrote, brilliant writer as she was, dull letters, because their mediocrity weighed upon her spirit @@ -739,7 +728,7 @@ like lead.</p> <p>Twenty years ago, now, I attempted (but was not especially successful in the task) to establish upon the personal knowledge that my own residence as a pupil in the historical Pensionnat in the Rue d'Isabelle, at -Bruxelles gave me of the facts of Charlotte Brontë's relationships to +Bruxelles gave me of the facts of Charlotte Brontë's relationships to Monsieur and Madame Heger, right impressions about the experiences and emotions she underwent between 1842 and 1846, and that supply the key and clue to the right interpretation of her genius. Every opinion I then @@ -752,7 +741,7 @@ the Heger family, has quite recently, not only been confirmed, but established upon entirely incontrovertible evidence, by the generous gift made to English readers throughout the world of the key needed to unlock once and for ever the tragical but romantic 'Secret' of Charlotte -Brontë.</p> +Brontë.</p> @@ -770,7 +759,7 @@ one calls this sentence to remembrance when recognising how much generosity is revealed in the act of justice recently performed by Dr. Paul Heger in his gift to the British Museum (that is to say to English readers throughout the world) of the four tragical, but incomparably -beautiful, Letters written by Charlotte Brontë to his father, the late +beautiful, Letters written by Charlotte Brontë to his father, the late Professor Constantin Heger, within two years of her return to England.</p> <p>No doubt this gift <i>was</i> an act of justice. Without the conclusive @@ -791,10 +780,10 @@ judgments passed, from a false standpoint, on the authoress of <i>Villette.</i></p> <p>We find Dr. Paul Heger able to rise entirely above all personal rancour, -and to recognise that Charlotte Brontë herself is not to be made +and to recognise that Charlotte Brontë herself is not to be made responsible because a good many of her critics have blundered. Indeed, the conduct of the whole Heger family since the publication of -<i>Villette</i>, and the death of Charlotte Brontë, has been distinguished by +<i>Villette</i>, and the death of Charlotte Brontë, has been distinguished by this fine spirit of disinterestedness; and by a dignified indifference to undeserved reproaches. The answer to all charges, of unkindness to Charlotte on Madame Heger's part, or of injudicious kindness first, @@ -816,7 +805,7 @@ publishing these documents. Twenty years ago, when I was collecting the materials for my article published in the <i>Woman at Home</i>, and when, in the light of my own recollection of M. and Madame Heger, as their former pupil, I endeavoured to rectify, what <i>I knew to be</i>, false impressions -about their relationships with Charlotte Brontë, I was told by my +about their relationships with Charlotte Brontë, I was told by my honoured and dearly loved friend, Mademoiselle Louise Heger, about the existence of these Letters; <i>but they were not shown me.</i> And I was further assured that, whilst they would be carefully preserved, they @@ -833,7 +822,7 @@ that formed her genius:</p> sentence of the Letter reprinted in the <i>Times</i>), 'as the representatives of the late M. Constantin Heger, I beg leave to offer to the British Museum, as the official custodian on behalf of the British -People, the Letters of Charlotte Brontë, which the great Novelist +People, the Letters of Charlotte Brontë, which the great Novelist addressed to our Father. These four important Letters, which have been religiously preserved, may be accepted as revealing the soul of the gifted author whose genius is the pride of England. We have hesitated @@ -843,7 +832,7 @@ sooner, by the thought that, perhaps, the publicity involved in the gift might be considered incompatible with the sensitive nature of the artist herself. But we offer them the more readily, as they lay open the true significance of what has hitherto been spoken of as the "Secret of -Charlotte Brontë," and show how groundless is the suspicion which has +Charlotte Brontë," and show how groundless is the suspicion which has resulted from the natural speculations of critics and biographers; to the disadvantage of both parties to the one-sided correspondence. We then, admirers of her genius and personality, venture to propose that we @@ -853,7 +842,7 @@ the condition that they may be preserved for the use of the nation.'</p> <p>'Doubtless,' continues Dr. Paul Heger, when dealing with the actual relations between Charlotte and the Director and Directress of the school in the Rue d'Isabelle, 'Doubtless, my parents played an important -part in the life of Charlotte Brontë: but she did not enter into their +part in the life of Charlotte Brontë: but she did not enter into their lives as one would imagine from what passes current to-day. That is evident enough from the very circumstances of life, so different for her, and for them. There is nothing in these Letters that is not @@ -865,8 +854,8 @@ never had any real existence in fact. I hope so: <i>but legends are more tenacious of life than sober reality</i>.'</p> <p>The last observation shows that Dr. Paul Heger, an experienced -<i>littérateur</i>, foresaw what has actually happened, and that the -defenders of the two 'legends' of Charlotte Brontë, patronised by +<i>littérateur</i>, foresaw what has actually happened, and that the +defenders of the two 'legends' of Charlotte Brontë, patronised by writers who derive the authority for their opinions about her, not from the study of the facts of her life and character, but from their own impressions and convictions, are not going to admit that the legends are @@ -878,7 +867,7 @@ and convictions of the most accomplished psychological theorists—well, it is the psychological theorists who must give way.</p> <p>And this is the situation that has to be faced to-day by critics of -Charlotte Brontë, who have either formed their opinions about her in the +Charlotte Brontë, who have either formed their opinions about her in the light of their impression that <i>Villette</i> represents an autobiographical study, or else who have founded their judgments of her personality and genius as a writer upon their conviction that it is a '<i>silly and @@ -895,7 +884,7 @@ Charlotte's sentiment for Professor Heger was 'literary enthusiasm,' and nothing more. And this serious attention is needed, because, in Mr. Clement Shorter's case, it is not allowable to dismiss lightly the judgment of a critic who (after Mrs. Gaskell) has done more than any one -else to throw light upon the family history of the Brontës, and also +else to throw light upon the family history of the Brontës, and also upon and around those three interesting and touching personalities—Emily, Anne, and, the greatest of them all, Charlotte, amongst the familiar scenes and personages of their environment at @@ -923,31 +912,31 @@ a correct one, with all my heart and soul I, for my part, should approve of their action in slamming the door in the face of invading facts that threatened to leave the way open for scandal-hunters and hero-phobists to enter with them, and to deal with the honoured reputation of -Charlotte Brontë in the same way that—more to the discredit of English +Charlotte Brontë in the same way that—more to the discredit of English letters than to that of two French writers of genius—recent critics -have dealt with the love-letters of Madame de Staël and George Sand.</p> +have dealt with the love-letters of Madame de Staël and George Sand.</p> <p>This point of view, however, is a mistaken one in the present case, -because, to commence with, Charlotte Brontë's romantic love for M. Heger +because, to commence with, Charlotte Brontë's romantic love for M. Heger affords no game to the scandal-hunter; but, on the contrary, it is serviceable to the just appreciation of her character, as well as of her genius, that her true sentiment for her Professor—<i>that explains her attitude of mind when writing 'Villette'</i>—should be rightly understood. -Then also, whilst Madame de Staël's infatuation for Benjamin Constant +Then also, whilst Madame de Staël's infatuation for Benjamin Constant neither adds to nor diminishes her claims, as the authoress of <i>Corinne</i> and <i>de l'Allemagne</i>, to the rank of a fine writer and a great critic, and while George Sand's tormenting and tormented love for the ill-fated, irresistible, unstable 'child of his century,' de Musset, is a poignant revelation of the passing weakness (through immense tenderness) of a splendidly strong and independent spirit, that one is almost ashamed to -be made the spectator of, Charlotte Brontë's valorous martyrdom, +be made the spectator of, Charlotte Brontë's valorous martyrdom, undergone secretly and silently, and 'rewarded openly,' fills one with an extraordinary sentiment of respect for her: and justifies Mr. Clement Shorter's own fine and generous utterances upon the impression that the Letters that betray the anguish she endured, and overcame, alone, produces upon him.</p> -<p>'<i>Charlotte Brontë</i>,' said Mr. Clement Shorter, by the report of an +<p>'<i>Charlotte Brontë</i>,' said Mr. Clement Shorter, by the report of an interviewer who recorded his opinions in the <i>Times</i>, 30th July, immediately after the publication of these Letters, '<i>is one of the noblest figures in life as well as in literature; and these Letters @@ -966,7 +955,7 @@ of a woman desiring comradeship and sympathy with a man of the character of Professor Heger. There was no sort of great sorrow on her part because Professor Heger was a married man, and it is plain in her letters that she merely -desired comradeship with a great man. When Charlotte Brontë +desired comradeship with a great man. When Charlotte Brontë made her name famous with her best-known novel, she experienced much the same adulation from admirers of both sexes as she had already poured upon her teacher. She found @@ -978,15 +967,15 @@ the first time, that any enthusiastic woman might not write to a man double her age, who was a married man with a family, and who had been her teacher. When one considers that half a dozen writers have, in the past, declared that -Charlotte Brontë was in love with Professor Heger, it is a +Charlotte Brontë was in love with Professor Heger, it is a surprising thing that Dr. Heger did not years ago publish the letters. They are a complete vindication both of her and of his father, and, as such, I welcome them, as I am sure -must all lovers of the Brontës."'</p></blockquote> +must all lovers of the Brontës."'</p></blockquote> <p>In his first contention Mr. Clement Shorter is undeniably right: it <i>is</i> quite true that '<i>the publication of these Letters places Charlotte -Brontë on a higher pedestal than ever</i>.' But why is this true? <i>Because +Brontë on a higher pedestal than ever</i>.' But why is this true? <i>Because these are love-letters of a very rare and wonderful character</i>; because the passionate tragical emotion that throbs through them is a love that, recognised as hopeless, as unrequited, makes only one claim; that, @@ -995,22 +984,22 @@ to live. Now this sort of love is a <i>very rare and wonderful emotion, that only a noble being can feel; and that although it is hopeless, tragical, is nevertheless a splendid fact, that renders it absurd to deny that sublime unselfishness is a capacity of human nature</i>. And, -again, these letters place Charlotte Brontë 'on a higher pedestal than +again, these letters place Charlotte Brontë 'on a higher pedestal than ever,' because in them her vocation and gift of expressing her own emotions in a way that makes them 'vibrate' in us like living feelings is here carried to its height. So that these personal letters, more even than the pictured emotions of Lucy Snowe, stand out as a record of romantic love that (in so far as I know) has never before been rivalled. -It is true we have the romantic love-letters of Abelard and Héloïse, and -the letters in the <i>New Héloïse</i> of Saint-Preux to Julie, and of Julie +It is true we have the romantic love-letters of Abelard and Héloïse, and +the letters in the <i>New Héloïse</i> of Saint-Preux to Julie, and of Julie to Saint-Preux, after their separation, as beautiful examples of love surviving hope of happiness; and Sainte-Beuve has quoted, as examples of the tragical disinterested passion of a love that claims no return, but only the right to exist, the letters of some eighteenth-century women: -Mademoiselle de l'Espinasse, Madame de la Popelinière, and Mademoiselle -d'Aissé. But in none of these historic love-letters (so, at least, it +Mademoiselle de l'Espinasse, Madame de la Popelinière, and Mademoiselle +d'Aissé. But in none of these historic love-letters (so, at least, it seems to me) does one feel, with the same truth and strength as in these -recently published letters of Charlotte Brontë to M. Heger, the +recently published letters of Charlotte Brontë to M. Heger, the 'vibration' of this tragical, hopeless, romantic love, that asks for nothing but acceptance, that does not 'seek its own'—the love that only asks to give, compared with which all other sorts of love, that <i>do</i> @@ -1030,7 +1019,7 @@ hold the opinion that 'the publication of these letters places Charlotte on a higher pedestal than ever'?</p> <p>It seems to me, on the contrary, that <i>then</i> we should find ourselves -compelled to admit that Charlotte Brontë had fallen very much in our +compelled to admit that Charlotte Brontë had fallen very much in our esteem as a result of the publication of these Letters. For whilst romantic love is a noble sentiment that does honour to the heart that feels it, an '<i>immense enthusiasm for literary comradeship with great @@ -1059,9 +1048,9 @@ that, if they had existed, would have rendered the writing of these Letters discreditable to Charlotte's reputation, can be accepted as in the least credible. It is not credible that her sentiment for M. Heger was that of intellectual enthusiasm for a great man double her age; -because, to begin with, M, Heger was <i>not</i> double Charlotte Brontë's +because, to begin with, M, Heger was <i>not</i> double Charlotte Brontë's age, but only seven years her senior. About this question there can be -no dispute. M. Heger was born in 1809; and Charlotte Brontë in 1816. In +no dispute. M. Heger was born in 1809; and Charlotte Brontë in 1816. In 1844 Charlotte then was twenty-eight, and M. Heger thirty-five years of age, and given the fact that women lose their youth first, M. Heger had precisely the age that would render him most sympathetic to a woman who @@ -1071,8 +1060,8 @@ original genius with gifts or qualities of an order calculated to kindle intellectual hero-worship; and he was further a dictatorial and ingrained Professor, the very last person on earth to offer literary comradeship to a former pupil. The Director of the Pensionnat in the Rue -d'Isabelle, and the former <i>Préfet des Études</i> at the Brussels -<i>Athénée</i> (who had resigned this post when religious instruction, made a +d'Isabelle, and the former <i>Préfet des Études</i> at the Brussels +<i>Athénée</i> (who had resigned this post when religious instruction, made a free subject, was excluded, as a compulsory Catholic training from the college curriculum) was a man of talent, who had weight in Catholic circles, and was recognised in his character of a Professor as one with @@ -1086,7 +1075,7 @@ respectful remembrance of his family and personal friends.</p> <p>The method of testing the question of whether intellectual enthusiasm, or tragical romantic love is the sentiment revealed in these Letters is <i>to read the Letters themselves—in the light of a true impression of -the real relationships (when they were written) between Charlotte Brontë +the real relationships (when they were written) between Charlotte Brontë and M. Heger</i>, that is to say in the first twelve months that followed Charlotte's farewell to the Director and the Directress of the Pensionnat in the Rue d'Isabelle, in January 1844. And to obtain this @@ -1109,7 +1098,7 @@ the true history.</p> <h4>1842-43</h4> -<p>What were Charlotte Brontë's real relationships with Monsieur and Madame +<p>What were Charlotte Brontë's real relationships with Monsieur and Madame Heger when, in January 1844, she bade them, what was to prove, a final farewell? This is what has to be understood before we can read with a full sense of their true meaning the tragical impassioned Letters to M. @@ -1124,7 +1113,7 @@ themselves to her readers' imagination and sensibilities as feelings.</p> <p>We have always to remember that the relationships between Charlotte and her former Professor were not those that existed between Lucy Snowe and her 'Master.' Paul Emanuel was unmarried, and in love with Lucy, -although Madame Beck and the Jesuit, Père Silas,—and in the end +although Madame Beck and the Jesuit, Père Silas,—and in the end Destiny—prevented the love-story from reaching a happy ending.</p> <p>Nor were these relationships, as the facts of the case reveal them, @@ -1164,10 +1153,10 @@ cloud above the horizon. It is no bigger than 'a man's hand' as yet: but it is charged with electricity, and one knows the storm is gathering. This time Charlotte is writing to Emily, <i>who never liked M. Heger for her part</i>. 'Things wag on much as usual here, only Mlle. Blanche and -Mlle. Haussé are at present on a system of war without quarter. They -hate each other like two cats. Mlle. Blanche frightens Mlle. Haussé by -her white passions, for they quarrel venomously; Mlle. Haussé complains -that when Mlle. Blanche is in a fury "<i>elle n'a pas de lèvres</i>." I find +Mlle. Haussé are at present on a system of war without quarter. They +hate each other like two cats. Mlle. Blanche frightens Mlle. Haussé by +her white passions, for they quarrel venomously; Mlle. Haussé complains +that when Mlle. Blanche is in a fury "<i>elle n'a pas de lèvres</i>." I find also that Mlle. Sophie dislikes Mlle. Blanche extremely. She says she is heartless, insincere and vindictive, which epithets, I assure you, are richly deserved. <i>Also I find she is the regular spy of Madame Heger, @@ -1180,7 +1169,7 @@ are not to suppose by that expression that I am under the influence of why, I can't tell</i>. (O Charlotte!) <i>Nor do I think she herself has any definite reason for this aversion</i>.(!) But for one thing, she cannot understand why I do not make intimate friends of Mesdames Blanche, -Sophie and Haussé. M. Heger is wondrously influenced by Madame: and I +Sophie and Haussé. M. Heger is wondrously influenced by Madame: and I should not wonder if he disapproves very much of my unamiable want of sociability. He has already given me a brief lecture on universal <i>bienveillance</i>; and perceiving that I don't improve in consequence, I @@ -1204,7 +1193,7 @@ Heger says, 'Don't you think, "Mees Charlotte," who is lonely without her sister Emily, should be taken more notice of?' Madame Heger replies coldly: '<i>If "Mees" is lonely, it is her own fault. Why does she not make friends with her compeers, Mesdemoiselles Blanche, Sophie and -Haussé?</i> They are of her rank; they follow the same profession; no, this +Haussé?</i> They are of her rank; they follow the same profession; no, this young Englishwoman is full of the pride and narrowness of her race! She is without <i>bienveillance</i>: she esteems herself better than others, she makes her own unhappiness; <i>and it is not for her good to single her out @@ -1255,7 +1244,7 @@ sort of feeling that Madame Heger, in her double character of directress of a highly esteemed Pensionnat de Demoiselles, and of the wife of Monsieur Heger—esteems 'convenient,' in the case of an under-mistress in her establishment. It was not a question of ordinary jealousy at all. -Madame Heger, a much more attractive woman than Charlotte Brontë in so +Madame Heger, a much more attractive woman than Charlotte Brontë in so far as her personal appearance was concerned, was absolutely convinced of the affection and fidelity of her husband, and of the entirely and exclusively professorial interest he took in assisting this clever and @@ -1280,7 +1269,7 @@ existence even of a sentiment so inconvenient as this being brought to the knowledge of their young daughters? And confronted with these perils, Madame Heger's conclusion upon the only way of avoiding them, is really not a very unreasonable nor unkind one. It is that the sooner -'Mees Brontë' returns to her home in Yorkshire, the better for herself, +'Mees Brontë' returns to her home in Yorkshire, the better for herself, and for the interests and the tranquillity of the Director and the Directress of the Pensionnat in the Rue d'Isabelle: who wish to sever their relationships with her on friendly terms; who, in the future, @@ -1300,7 +1289,7 @@ and that the necessity has arisen to assert her claims and to establish the rules that must be observed in the ordering of the Pensionnat and of the staff of teachers for which she is responsible. Without discussions or recriminations in connection with the reasons for this decision, -these mere reasons, well known to Miss Brontë herself, convince her +these mere reasons, well known to Miss Brontë herself, convince her that it is not convenient 'Mees' should continue a teacher, or even an inmate, in her school any more; and surely this circumstance alone should point out to 'Mees' herself, what she ought to do? Let her do @@ -1346,14 +1335,14 @@ the same torments of cheated expectancy, suspense, thwarted hope, disappointments, that she has painted in <i>Villette</i>, and the <i>Professor</i>, as inflicted upon the hapless governesses Lucy Snowe and Frances Henri, by those two cruel, pitiless head-mistresses Madame Beck -and Mlle. Zoraïde Reuter. Yes:—but there was all the difference in the +and Mlle. Zoraïde Reuter. Yes:—but there was all the difference in the world between the circumstances arranged by the authoress in her two novels, and the circumstances as a mischievous destiny had entangled them in the true history.</p> <p>In the stories made to please her fancy by Charlotte, we have in <i>Villette</i> Paul Emanuel unmarried—and in love with Lucy Snowe; but by -the base contrivances of Madame Beck, a Jesuit priest, Père Silas, has +the base contrivances of Madame Beck, a Jesuit priest, Père Silas, has been called in, to stir up superstitious dread of allying himself with a heretic in the mind of the good Catholic that Paul was, and so prevent him from carrying through certain tentative indications of the state of @@ -1364,9 +1353,9 @@ trouble is being created, by a horrid, jealous, mischievous Madame Beck, who wants Paul Emanuel to marry her, although she knows he loves Lucy, and that Lucy is in love with him, but too little self-confident, too feeble, in her dependent position, to assert her claims. In the -<i>Professor</i> it is much the same case, only Mlle. Zoraïde Reuter is more +<i>Professor</i> it is much the same case, only Mlle. Zoraïde Reuter is more of a cat than Madame Beck, and less an evil genius, who demands -admiration for her cleverness whilst Mlle. Zoraïde, who makes coarse +admiration for her cleverness whilst Mlle. Zoraïde, who makes coarse love to the Professor, provokes contempt.</p> <p>Well but now here is the real case. Madame Heger knows that here is the @@ -1456,7 +1445,7 @@ Lazarus; you grudge me even the crumbs that fall from your table.'</p> lasted up to the eve of Charlotte's return to England. But there are two events that vary the incessant conflict with Madame Heger; and that help to form the basis of real experiences, expressed in the portraits (that -are not historical pictures) of Zoraïde Reuter and of Madame Beck. These +are not historical pictures) of Zoraïde Reuter and of Madame Beck. These two events also re-appear, as scenes in <i>Villette, that did not take place in the way the authoress relates</i> them; but that put us in possession of the parallel facts in Charlotte's true career: where she @@ -1464,7 +1453,7 @@ felt the very same emotions she describes in the novel. The first event gives us the actual, the original history, of what in <i>Villette</i> reappears in the imaginary account of Lucy Snowe's Confession: and serves there to introduce us to the Jesuit who is half a spy and half a -saint—Père Silas. In Charlotte's life the event, as it is related by +saint—Père Silas. In Charlotte's life the event, as it is related by her in a letter to Emily, took place during that long and solitary vacation in the empty Pensionnat, where, from August to October 1843, Charlotte was left to face the position now made for her by Madame @@ -1473,7 +1462,7 @@ remain hidden from Charlotte herself.</p> <p>Charlotte's letter to Emily begins by describing the desolation of this large house, with its deserted class-rooms, and silent garden, and -galérie, and for her solitary companion only the repulsive-minded and +galérie, and for her solitary companion only the repulsive-minded and malicious Mademoiselle Blanche, whom she has described in an earlier letter as a spy of Madame Heger's.</p> @@ -1485,7 +1474,7 @@ such a repugnance to return to the house which contained nothing that I cared for, that I kept treading the narrow streets in the neighbourhood of the Rue d'Isabelle, and avoiding it. I found myself opposite to <i>Ste. Gudule</i>; and the bell, whose voice you know, began to toll for evening -<i>salût</i>. I went in quite alone (which procedure you will say is not much +<i>salût</i>. I went in quite alone (which procedure you will say is not much like me), wandered about the aisles (where a few old women were saying their prayers), till vespers. I stayed till they were over. Still I could not leave the church nor force myself to go home—to school, I @@ -1524,7 +1513,7 @@ will perhaps think I am going to turn Catholic.'</p> <p>Only 'a freak'?—an 'odd whim'? Even without the knowledge of the special facts we now possess, could any serious student of Charlotte -Brontë believe it? Given what we know of her seriousness, of her +Brontë believe it? Given what we know of her seriousness, of her religious temper, that cannot take spiritual things lightly, of her rational Protestant piety, of her antipathy to Catholic formulas—given all this as characteristic of her aspirations,—and as characteristics @@ -1565,7 +1554,7 @@ call in the Rue du Parc—next morning. In so far as the last recommendation went, we know Charlotte did not follow it. <i>The adventure</i>—as she says herself, <i>stopped there</i>. Nor is there anything in her own story to indicate the existence of any real Jesuit, taking -the place of the mischief-making Saint, Père Silas, familiar to readers +the place of the mischief-making Saint, Père Silas, familiar to readers of <i>Villette</i>. The Priest of Ste. Gudule comes to us as a more impressive personage just because Charlotte <i>never met him again.</i></p> @@ -1614,13 +1603,13 @@ goes forth to execution—all these feelings are painted in the wonderful pages, where the circumstances of the story nevertheless are legendary, and belong to the parable of Lucy Snowe: but where the sufferings Lucy endures on the eve of her separation from Paul Emanuel were facts stored -up in the experiences of Charlotte Brontë.</p> +up in the experiences of Charlotte Brontë.</p> <p>Like the incident of Lucy Snowe's 'Confession,' the passages that in -<i>Villette</i> describe the efforts made by Madame Beck and the Jesuit, Père +<i>Villette</i> describe the efforts made by Madame Beck and the Jesuit, Père Silas, to prevent Paul Emanuel from bidding Lucy farewell, before he starts for his voyage to Basseterres in Guadeloupe, are pages from the -spiritual life of Charlotte Brontë—taken out of their proper frame of +spiritual life of Charlotte Brontë—taken out of their proper frame of circumstances, and altered in some important details. But outside of these alterations, one recognises their truthfulness, in the vivid light they throw upon the facts told us in Charlotte's correspondence.</p> @@ -2009,7 +1998,7 @@ produced by this creation</i>, could not have said, '<i>My heart will break,' before her treacherous rival Madame Beck, in Paul Emanuel's presence</i>. I admit this, because Lucy Snowe, Madame Beck and Paul Emanuel, if not absolutely 'creations,' in the sense of being imaginary characters, are -nevertheless different people from Charlotte Brontë, Madame Heger and +nevertheless different people from Charlotte Brontë, Madame Heger and Monsieur Heger, and their relationships to each other are different. Thus, in the novel Lucy Snowe is not only in love with Paul Emanuel, but she has a perfect right to be in love with him, not only because he is @@ -2018,13 +2007,13 @@ believe he is in love with her: and Madame Beck has no sort of right to interfere with the lover of her English governess, and her cousin the Professor; and all her schemes to keep these two sympathetic creatures apart are absolutely unjustifiable, and the results of jealousy and -selfishness. In other words, Lucy has the <i>beau rôle</i> in the piece,—she +selfishness. In other words, Lucy has the <i>beau rôle</i> in the piece,—she has no reason to say, 'My heart will break,' because Madame Beck intrudes upon her interview with Paul Emanuel.</p> -<p>But Charlotte had not the <i>beau rôle</i>, but the tragic one, in the real +<p>But Charlotte had not the <i>beau rôle</i>, but the tragic one, in the real drama. The Directress, who stands between her and the beloved Professor, -is not her rival, but the Professor's wife. And the <i>beau rôle</i>, in the +is not her rival, but the Professor's wife. And the <i>beau rôle</i>, in the sense of having the right to stand in the way, and also in being the woman preferred by the man whom both women love, is Madame Heger's in every way, for Madame Heger is charming to look at, and Charlotte plain. @@ -2062,7 +2051,7 @@ caressed to pity, because absence interposes her barrier.</p> <p>It was the <i>Feast of the Assumption</i><a name="FNanchor_1_3" id="FNanchor_1_3"></a><a href="#Footnote_1_3" class="fnanchor">[1]</a>; no school was held. The boarders and teachers, after attending mass in the morning, were gone a long walk into the country to take -their <i>goûter</i>, or afternoon meal, at some farmhouse. I did +their <i>goûter</i>, or afternoon meal, at some farmhouse. I did not go with them, for now but two days remained ere the <i>Paul et Virginie</i> must sail, and I was clinging to my last chance, as the living waif of a wreck clings to his last @@ -2169,11 +2158,11 @@ facial muscles all quivering as he spoke.</p> <p>'Sortez d'ici!'</p> -<p>'I will send for Père Silas; on the spot I will send for +<p>'I will send for Père Silas; on the spot I will send for him,' she threatened pertinaciously.</p> <p>'Femme!' cried the professor, not now in his deep tones, but -in his highest and most excited key—'femme! sortez à +in his highest and most excited key—'femme! sortez à l'instant!'</p> <p>He was roused, and I loved him in his wrath with a passion @@ -2268,7 +2257,7 @@ three weeks after her return to Haworth.</p> shall not forget what the parting with M. Heger cost me: it grieved me so much to grieve him, who had been so true, kind and disinterested a friend. At parting, he gave me a kind of diploma certifying my abilities -as a teacher sealed with the seal of the Athenée Royal of which he is a +as a teacher sealed with the seal of the Athenée Royal of which he is a professor.... I do not know whether you feel as I do, but there are times when it appears to me as if all my ideas and feelings, except a few friendships and affections, are changed from what they used to be. @@ -2337,10 +2326,10 @@ personal and immortal in the soul and heart of man, helping him '<i>to gild his dross thereby</i>.'<a name="FNanchor_4_8" id="FNanchor_4_8"></a><a href="#Footnote_4_8" class="fnanchor">[4]</a> Something sovereign, that, quite independently of forms of belief, or fashions of opinion, '<i>rules by every school, till love and longing die</i>.' Something indestructible, -confined to no epoch, ancient, mediæval or modern, but, '<i>that was, or +confined to no epoch, ancient, mediæval or modern, but, '<i>that was, or yet the lights were set, a whisper in the void; that will be sung in planets young when this is clean destroyed</i>.' In other words, I esteem -human nature honoured in Charlotte Brontë, and Charlotte Brontë honoured +human nature honoured in Charlotte Brontë, and Charlotte Brontë honoured in these Letters, <i>because they are love-letters of a rare and wonderful sort amongst the most beautiful, although they are the most sad ever written</i>. If they were <i>not</i> love-letters, but expressed the enthusiasm @@ -2405,7 +2394,7 @@ written ten months after Charlotte's return to England. This opinion seems to me established by the contents of the Letter, and by the account it gives of the conditions of affairs at Haworth, which were those that we find (if we consult Mrs. Gaskell's <i>Life of Charlotte -Brontë</i>) did prevail in November 1844, but not in November 1845, and +Brontë</i>) did prevail in November 1844, but not in November 1845, and still less in November 1846.</p> <blockquote><p>My father (she writes) is in good health, but his eyesight @@ -2431,7 +2420,7 @@ the assistance of a daughter from whom he had exacted complete submission heretofore and from her childhood upwards, is confirmed in Mrs. Gaskell's biography by the testimony of other letters belonging to the first year of her return from Belgium. But by November 1845 Mr. -Brontë's philosophy, before his own unmerited misfortune, had been +Brontë's philosophy, before his own unmerited misfortune, had been troubled and transformed into acute misery and anxious forebodings by the downfall, both moral and physical, of his favourite amongst his children, Bramwell, the unhappy son—the only one—in this family of @@ -2446,7 +2435,7 @@ say 'Dear Ellen, come and see us.' But the place is given to another person. Bramwell still remains at home, and whilst <i>he</i> is here, <i>you</i> shall not come.'</p></blockquote> -<p>Here is Mrs. Gaskell's account of Mr. Brontë's experiences in this +<p>Here is Mrs. Gaskell's account of Mr. Brontë's experiences in this period, that are not to be reconciled with the account given of his good health and philosophical patience and resignation to dependence upon Charlotte given by her a year earlier:</p> @@ -2457,14 +2446,14 @@ moreover, whenever he could get the opportunity.... He slept in his father's room; and he would sometimes declare that either he or his father would be dead before the morning! The trembling sisters, sick with fright, would implore their -father not to expose himself to this danger. But Mr. Brontë +father not to expose himself to this danger. But Mr. Brontë was no timid man; and perhaps he felt that he could possibly influence his son to some self-restraint more by showing trust in him than by showing fear. The sisters often listened for the report of a pistol in the dead of night, till watchful eye and hearkening ear grew heavy and dull with the perpetual strain upon their nerves. In the -mornings, young Brontë would saunter out saying, with a +mornings, young Brontë would saunter out saying, with a drunkard's incontinence of speech, 'The poor old man and I have had a terrible night of it; he does his best, the poor old man, but it's all over with me.'</p></blockquote> @@ -2472,7 +2461,7 @@ old man, but it's all over with me.'</p></blockquote> <p>One may safely affirm that if Charlotte had been writing in November 1845 it would not have been only his patience under the trial of loss of sight that she would have found to admire in her father. In November -1846 Mr. Brontë had successfully undergone the operation for cataract +1846 Mr. Brontë had successfully undergone the operation for cataract that saved him from blindness: and Charlotte herself, ten months after the overwhelming evidence of her 'master's estrangement,' given in his silence after her Letter of the 8th January, had saved her own soul @@ -2486,7 +2475,7 @@ Letters.</p> <div class="figcenter" style="width: 440px;"> <a name="ill004" id="ill004"></a> -<img src="images/secret004.jpg" width="440" alt="REDUCED FROM A DRAWING BY CHARLOTTE BRONTË OF ASHBURNHAM +<img src="images/secret004.jpg" width="440" alt="REDUCED FROM A DRAWING BY CHARLOTTE BRONTË OF ASHBURNHAM CHURCH SENT TO M. HEGER" title="" /> </div> @@ -2516,7 +2505,7 @@ never mind how long she might live,' was a very short-lived affair on his side; merely the transient regret of a teacher who will miss a favourite pupil from his class.</p> -<p>'<i>Que ne puis-je avoir pour vous juste autant d'amitié que vous avez +<p>'<i>Que ne puis-je avoir pour vous juste autant d'amitié que vous avez pour moi</i>,' she writes to him, '<i>ni plus, ni moins? Je serais alors si tranquille, si libre: je pourrais garder le silence pendant six mois sans effort</i>.'</p> @@ -2662,7 +2651,7 @@ there entombed, but raising it, not clogged with the pollution of mortality.</i></p> <p>All this, that the wise Diotima related, is a true parable of Charlotte -Brontë. And the proof that Diotima was a good psychologist, and had +Brontë. And the proof that Diotima was a good psychologist, and had based her opinions upon the study of facts, is found in the assertion that Love, although an immortal spirit, is <i>not a god</i>. Because a god sees clearly, and does not make mistakes: whereas Love, as every one @@ -2716,7 +2705,7 @@ knowledge of him, in the character of my own Professor, I am allowed to testify to: <i>he was before all things a born teacher, and one who saw the world as his class-room, and his fellow-creatures in the light of pupils</i>. Applying this knowledge of him to the criticism of what we know -about his relations with Charlotte Brontë, we arrive at entirely +about his relations with Charlotte Brontë, we arrive at entirely different opinions to those formed by people who either see M. Heger through the medium of Charlotte's passion for him and as she painted him in <i>Villette</i>; or outside of any personal knowledge of him at all, as he @@ -2748,7 +2737,7 @@ cold-blooded than particularly warm-hearted, where his pupils' feelings interfered with their good style in writing; or good accent when speaking; or with their sense of the first importance of a warm appreciation of the beauties of literature. If one reversed directly the -description of Charlotte Brontë herself, as a writer whose <i>words became +description of Charlotte Brontë herself, as a writer whose <i>words became feelings</i>, one might justly say of M. Heger that for him, feelings were chiefly good with reference to their effects upon words, and the creation of beautiful language—so that Charlotte's love-letters to him @@ -2757,7 +2746,7 @@ him for criticism. The shoemaker's address may have been jotted down by accident, when he was running his eye down the page? If the further notes signified by Mr. Spielmann on this page, where poor Charlotte's heart's Secret lay exposed and quivering, had been '<i>Bon—mais un peu -trop d'exaltation—la Ponctuation n'est pas soignée</i>,' no one who knew +trop d'exaltation—la Ponctuation n'est pas soignée</i>,' no one who knew M. Heger would blame him for <i>voluntary</i> unkindness. But upon this matter no more must be said at present: we have to return to Charlotte, and her Letters.</p> @@ -2796,12 +2785,12 @@ wish to dedicate a book to him—she even sends a message to Madame!—< <blockquote><p><i>Please present to Madame the assurance of my esteem</i>. I fear that Maria, Louise and Claire will have forgotten me. -Prospère and Victorine never knew me, but I remember all +Prospère and Victorine never knew me, but I remember all five of them, and especially Louise. There was so much -character, so much naïveté expressed in her little face. +character, so much naïveté expressed in her little face. Farewell, Monsieur—Your grateful pupil,</p> -<p>C. Brontë.</p></blockquote> +<p>C. Brontë.</p></blockquote> <blockquote><p><i>July</i> 24.—I have not begged you to write to me soon, @@ -2906,7 +2895,7 @@ prosperity.</p> <p>Haworth, Bradford, Yorkshire, 8<i>th January</i>.</p></blockquote> <p>The Letter obtained no answer. And thus the end was reached. We now know -where in Charlotte Brontë's life lay her experiences that formed her +where in Charlotte Brontë's life lay her experiences that formed her genius and made her the great Romantic—whose quality was that she saw all events and personages through the medium of one passion—the passion of a predestined tragical and unrequited love.</p> @@ -2917,7 +2906,7 @@ of a predestined tragical and unrequited love.</p> <div class="footnote"><p><a name="Footnote_1_5" id="Footnote_1_5"></a><a href="#FNanchor_1_5"><span class="label">[1]</span></a> I have to thank Mr. Clement Shorter, who has purchased the -copyright of Charlotte Brontë's manuscripts, for his generous permission +copyright of Charlotte Brontë's manuscripts, for his generous permission to quote from these letters freely for the purposes of my criticism.—(F.M.)</p></div> @@ -2977,7 +2966,7 @@ REAL MONSIEUR AND MADAME HEGER</h4> THIS SECOND PART IS<br /> DEDICATED TO<br /> MY BROTHER<br /> -THE LATE ABBÉ AUSTIN RICHARDSON<br /> +THE LATE ABBÉ AUSTIN RICHARDSON<br /> WHO DIED SUDDENLY, 20TH AUG. 1913</p> @@ -3005,9 +2994,9 @@ FROM FICTION</h4> <p>The purpose of the First Part of this study was to show that with the -knowledge of the Secret of Charlotte Brontë, brought to us by Dr. Paul +knowledge of the Secret of Charlotte Brontë, brought to us by Dr. Paul Heger's generous gift of these pathetic and beautiful Love-letters, the -'Problem of Charlotte Brontë,' as so many very clever but inattentive +'Problem of Charlotte Brontë,' as so many very clever but inattentive psychological critics have stated it, has lost all claim to serious attention.</p> @@ -3028,14 +3017,14 @@ genius forth to life: so that it rose as an immortal spirit from the grave of personal hopes.</p> <p>Understanding this, we know that there is no 'Problem' of Charlotte -Brontë: but that her personality and her genius and her life and her +Brontë: but that her personality and her genius and her life and her books were all those of a Romantic. But although there is no psychological Problem, a difficulty that concerns the historical criticism of Charlotte's life and her books does remain. And this difficulty has to be faced and conquered, not by speculations nor arguments, but by methods of enquiry.</p> -<p>When we study Charlotte Brontë's masterpiece <i>Villette</i> in comparison +<p>When we study Charlotte Brontë's masterpiece <i>Villette</i> in comparison with what we now know about the romance in her own life, we recognise two facts: the first is that, <i>in this work especially</i>, she has painted with such power the emotions she has undergone that her words become @@ -3063,10 +3052,10 @@ withdrawing them into the region of ideal sentiments':—'an effort to throw off the clutch of cruel and humiliating facts by translating them into the imaginative realm, where the artist, the author, the dreamer even, has things as he wills, because the hold of outward things</i>' (such -a stern and merciless one in the case of Charlotte Brontë!) '<i>is thrown +a stern and merciless one in the case of Charlotte Brontë!) '<i>is thrown off at pleasure</i>.'</p> -<p>But, judged as a literary and historical method, was Charlotte Brontë's +<p>But, judged as a literary and historical method, was Charlotte Brontë's manner of treating the real Director and Directress of the Pensionnat in the Rue d'Isabelle a justifiable or fair one? Can she be held without fault in this; that in Paul Emanuel and in Madame Beck she painted @@ -3169,7 +3158,7 @@ else could have happened, and whether poor Charlotte was not bound to break her heart?</p> <p>So that the purpose of the Second Part of this study of the 'Secret of -Charlotte Brontë' really lies outside of the 'Secret' itself, and +Charlotte Brontë' really lies outside of the 'Secret' itself, and becomes an effort to know 'as in themselves they really were,' and independently of their relationships with Charlotte, the Professor whom she loved (probably much more than he deserved), and the Directress of @@ -3206,7 +3195,7 @@ school, the class-rooms, the walled garden, with its ancient pear-trees that still 'faithfully renewed their perfumed snow in spring and honey-sweet pendants in autumn,' remain—as they were planted vivid images and visions in my memory half a century ago, when, as a -schoolgirl, I knew nothing about Charlotte Brontë nor <i>Villette</i>: but +schoolgirl, I knew nothing about Charlotte Brontë nor <i>Villette</i>: but when I sat, twenty years after Charlotte, in the class-rooms where she had waited for M. Heger, on the eve of her departure from Bruxelles, myself an attentive pupil of her Professor, and a witness, half @@ -3219,7 +3208,7 @@ sudden recurrent gusts of nerve-disturbing storms.</p> <p>And I would point out that the value of my testimony about the personal impressions I derived, quite independently of any knowledge of Charlotte -Brontë's residence in what was for me <i>my</i> school, and of her +Brontë's residence in what was for me <i>my</i> school, and of her enthusiasm for <i>my</i> Professor, or her dislike of <i>my</i> schoolmistress, is enhanced both by the resemblances and by the differences of our several points of view. Thus—like Charlotte—I was an English pupil and a @@ -3320,12 +3309,12 @@ introduce an English word, which nearly plucks the eyes out of his head when he sees it. Emily and he don't draw well together at all.'</p> <p>I am quoting this view of M. Heger's personality, taken by Charlotte -Brontë before she became a partial witness, because, by and by, when I +Brontë before she became a partial witness, because, by and by, when I am giving my own reminiscences, it will be found that in 1842 M. Heger was very much the same Professor whom I knew in 1861.</p> <p>And Madame Heger? Here too my impressions are obtained from a point of -view unquestionably more impartial than Charlotte Brontë's. And it will +view unquestionably more impartial than Charlotte Brontë's. And it will be found that, when the alteration of clear power of vision that personal prejudices make has been realised, my opposite judgment of the Directress of the Pensionnat to the judgment of the authoress of @@ -3350,15 +3339,15 @@ for a remote perfection, that, though unattainable, it did one good to know existed somewhere; just as it does one good, with feet planted on the earth, to see the stars. The qualities I saw in Madame Heger were serene sweetness, a kindness without preferences, covering her little -world of pupils and teachers with a watchful care. <i>Tranquillité, -Douceur, Bonté:</i> the French words express better than English ones the +world of pupils and teachers with a watchful care. <i>Tranquillité, +Douceur, Bonté:</i> the French words express better than English ones the commingled qualities I felt existed in Madame Heger as she moved -noiselessly (as Charlotte Brontë has described), whilst the more +noiselessly (as Charlotte Brontë has described), whilst the more brilliant and gifted Professor's movements were always stormy.</p> <p>When relating these reminiscences of Monsieur and Madame Heger and of the old school and garden, as I myself treasure them, and quite -independently of their associations with Charlotte Brontë, I shall not +independently of their associations with Charlotte Brontë, I shall not be losing sight of the purpose that justifies this record (as an endeavour to disentangle fact from fiction) if, in so far as the facts that concern my own experiences are concerned, I ask now to be allowed @@ -3376,7 +3365,7 @@ alive these scenes have become 'as it were a tale that is told.'</p> <hr style="width: 65%;" /> <h3><a name="CHAPTER_IIb" id="CHAPTER_IIb"></a>CHAPTER II</h3> -<h4>MY FIRST INTRODUCTION TO CHARLOTTE BRONTË'S PROFESSOR</h4> +<h4>MY FIRST INTRODUCTION TO CHARLOTTE BRONTË'S PROFESSOR</h4> <p><a name="FNanchor_1_12" id="FNanchor_1_12"></a><a href="#Footnote_1_12" class="fnanchor">[1]</a></p> <blockquote><p>'Madame,—quelquefois, donner, c'est semer'—<i>Speech @@ -3412,7 +3401,7 @@ and upon enquiry my mother found out that she had been educated at a school in Brussels, <i>situated in the Rue d'Isabelle, and kept by a certain Madame Heger</i>. How it came to pass that, only four years after the publication of <i>Villette</i>, and two years after Mrs. Gaskell's <i>Life -of Charlotte Brontë</i>, it did not occur to my mother to identify this +of Charlotte Brontë</i>, it did not occur to my mother to identify this particular Brussels school with the one where the Director was the fiery and perilously attractive 'Professor Paul Emanuel' and where the Directress was painted as the crafty and treacherous 'Madame Beck,' I @@ -3445,7 +3434,7 @@ then, whatever you do, don't show off.'</p> <p>Keeping these counsels in mind, after M. Heger's arrival, I sat upon the extreme edge of the rickety sofa that filled the darkest corner in the -little salle-à-manger of our Ostend apartments over the Patissier's shop +little salle-à -manger of our Ostend apartments over the Patissier's shop in the Rue de la Chapelle—I remember the very name of the Patissier; it was Dubois—watching and listening eagerly to the conversation of the Professor with my mother, who, strange to say, did not seem to be in the @@ -3503,7 +3492,7 @@ very fact that lends some general interest to my mother's first impressions and my own about M. Heger is chiefly this: that it expresses observations made from a purely personal standpoint; out of sight of any literary views about 'Paul Emanuel,' or historical judgments upon his -relations with Charlotte Brontë. The perfectly simple purpose we had in +relations with Charlotte Brontë. The perfectly simple purpose we had in view was to see clearly what sort of a Professor M. Heger was going to prove, and whether I was going to do well as his pupil, and get on satisfactorily, amongst these foreign surroundings.</p> @@ -3549,7 +3538,7 @@ other propositions. (I have heard M. Heger use it in a sense where it became a different formula for expressing a fundamental doctrine of Rousseau, thus, '<i>Instruire, ce n'est pas donner, c'est semer</i>,' but I never heard the words without going back to the first impression, and to -the vision it called up. I would see again the little <i>salle-à-manger</i> +the vision it called up. I would see again the little <i>salle-à -manger</i> in the Rue de la Chapelle at Ostend, I would watch the masterly gesture of the Professor's hand when he delivered his triumphant sentence, that is not an argument, but is worth more; I would see the look of @@ -3612,9 +3601,9 @@ an irritating look of amusement as his penetrating eyes searched my doleful face. '<i>Aa-ah</i>,' he said, in a half-playful, but as it sounded to me, more mocking, than kindly tone, '<i>Aa-ah</i>' (another nod of the head), 'so this is the little Savage I have to discipline and vanquish, -is it? And she is headstrong (<i>têtue</i>). Tell me, Mees, am I to be too -indulgent? or too severe? (<i>Dois-je être trop indulgent? ou trop -sévère?</i>') Now, if only I had made the natural reply, the one obviously +is it? And she is headstrong (<i>têtue</i>). Tell me, Mees, am I to be too +indulgent? or too severe? (<i>Dois-je être trop indulgent? ou trop +sévère?</i>') Now, if only I had made the natural reply, the one obviously expected from me—the one any girl in my position would have made, and which I myself should have made if I hadn't been addressed as 'a little savage,' and if I hadn't been smarting under the sense that he must have @@ -3627,7 +3616,7 @@ Heger would have continued to smile; we should have exchanged amiable glances and parted the best of friends.... But of what use are these speculations? What I <i>did</i> reply to his question of whether he was to be too indulgent or too severe was—'<i>Ni l'un ni l'autre, Monsieur; soyez -juste, celà suffit</i>' ... and I listened to the broadness of my own +juste, celà suffit</i>' ... and I listened to the broadness of my own British accent, whilst I said it, in despairing wonder! M. Heger's smiles vanished; there came what I took to be a 'look of undying hatred' into his face—it was not perhaps so bad as all that, but ... well, I @@ -3736,7 +3725,7 @@ to cry in public: and although I was tender-hearted and emotional, I was not in the least hysterical; and except under the stress of extreme distress, it cost me very little self-control not to weep, as my Belgian schoolfellows did, very often, at the smallest scolding; or even without -a scolding, and simply because they were bored—'<i>ennuyée</i>.' I remember +a scolding, and simply because they were bored—'<i>ennuyée</i>.' I remember now my surprise, at first hearing the reply to my question to a sobbing schoolfellow: '<i>Pourquoi pleures-tu?</i> '<i>Parce que je m'ennuie.</i>' 'Why?' '<i>Mais je te le dis parce que je m'ennuie</i>.' Well, but M. Heger liked @@ -3784,8 +3773,8 @@ for, or rather love of, all the inhabitants of the little world she governed: a world that extended beyond the boundaries of the actual walls of the Pensionnat, in any stated year; a world, made up of all the girls who, before that year, and afterwards, through several -generations, had been and ever would be, her 'dear pupils'; '<i>mes chères -élèves</i>';—terms that, uttered by her, were no mere formula, but +generations, had been and ever would be, her 'dear pupils'; '<i>mes chères +élèves</i>';—terms that, uttered by her, were no mere formula, but expressed a true sentiment, and a serious and, so it seems to me, a beautiful and sweet idealism. This idealism in Madame Heger, this constant love and care and watchfulness for the community of girls, who, @@ -3898,7 +3887,7 @@ lived the rest of her life in Yorkshire.</p> <p>As for the hundred (or more perhaps than a hundred) schoolgirls that made up in my day the little world ruled by Madame Heger as the -administrator of a system based on the authority of <i>Douceur, Bonté</i>, +administrator of a system based on the authority of <i>Douceur, Bonté</i>, and <i>les Convenances</i> (in the sense of what was seemly, and opposed to violence and ugliness), amongst them were many girls whom I only knew by name and sight; many of whom I knew slightly better, and whom I rather @@ -3923,7 +3912,7 @@ beautiful old walled garden and time-honoured pear-trees, that to the end of their lives 'renewed their perfumed snowy blossom every spring.'</p> <p>I am told a handsome building now replaces the long, plain straggling -façade of the historic school—but I have no wish to see it.</p> +façade of the historic school—but I have no wish to see it.</p> <div class="footnote"><p><a name="Footnote_1_13" id="Footnote_1_13"></a><a href="#FNanchor_1_13"><span class="label">[1]</span></a> <i>Villette</i>, chapter viii.</p></div> @@ -3942,7 +3931,7 @@ LESSON IN ARITHMETIC</h4> <p>I had been an inmate of the school in the Rue d'Isabelle a fortnight. In this interval I had lived through a great deal. Thanks to attentive -self-doctoring and a strict <i>régime</i>, where no luxuries in the way of +self-doctoring and a strict <i>régime</i>, where no luxuries in the way of private crying were allowed, I had pulled myself through the first acute stage of the sort of sickness that attacks every 'new' girl, as the result of being plunged into the cold atmosphere of a strange, and @@ -4018,7 +4007,7 @@ self it became (and must always be for me exclusively) my own beautiful, well-enclosed, flower-scented, turf-carpeted, Eden where the spirit of my youth had its home before any worldly influences, or any knowledge of evil, had come between it and the poetry of its aspirations and its -dreams, yet for every one <i>but</i> myself, it is Charlotte Brontë's Garden +dreams, yet for every one <i>but</i> myself, it is Charlotte Brontë's Garden of Imagination, where <i>she</i> used to '<i>stray down the pleasant alleys and hear the bells of St. Jean Baptiste peal out with their sweet, soft, exalted sound.</i><a name="FNanchor_1_15" id="FNanchor_1_15"></a><a href="#Footnote_1_15" class="fnanchor">[1]</a></p> @@ -4029,8 +4018,8 @@ old trees, and made the old historical garden in the Rue d'Isabelle a place of stones—can drive me out of <i>my</i> garden of memories where still (and more often than before as the day darkens) I walk 'in the cool of the evening' with the spirit of my youth; yet, for English readers, it -is not I, but Charlotte Brontë who must describe, what I could never -dare nor desire to paint after her, the famous <i>Allée défendue</i> that +is not I, but Charlotte Brontë who must describe, what I could never +dare nor desire to paint after her, the famous <i>Allée défendue</i> that holds such a romantic place in her novel of Lucy Snowe, and that was also the scene of my second meeting with M. Heger.</p> @@ -4041,9 +4030,9 @@ high and grey wall and gathered their tendrils in a knot of beauty; and hung their clusters in loving profusion about the favoured spot, where jasmine and ivy met and married them ... this alley, which ran parallel with the very high wall on that side of the garden, was forbidden to be -entered by the pupils; it was called indeed l'Allée défendue.</i>'</p> +entered by the pupils; it was called indeed l'Allée défendue.</i>'</p> -<p>In my day there was no prohibition of the <i>Allée défendue</i>, although the +<p>In my day there was no prohibition of the <i>Allée défendue</i>, although the name survived. It was only forbidden to play noisy or disturbing games there; as it was to be reserved for studious pupils, or for the mistresses who wished to read or converse there in quietude.</p> @@ -4051,12 +4040,12 @@ mistresses who wished to read or converse there in quietude.</p> <div class="figcenter" style="width: 600px;"> <a name="ill006" id="ill006"></a> -<img src="images/secret006.jpg" width="600" alt="THE "ALLÉE DÉFENDUE"" title="" /> +<img src="images/secret006.jpg" width="600" alt="THE "ALLÉE DÉFENDUE"" title="" /> </div> -<p>If I had a lesson to learn, it was to the <i>Allée défendue</i> that I took -my book; and in this <i>allée</i> I had already discovered and appropriated a +<p>If I had a lesson to learn, it was to the <i>Allée défendue</i> that I took +my book; and in this <i>allée</i> I had already discovered and appropriated a sheltered nook, at the furthest end of the <i>berceau</i>, where one was nearly hidden oneself in the vine's curtain, but had a delightful view of the garden. Before reaching this low bench, I had noticed, when @@ -4065,7 +4054,7 @@ of view in so far as his head went, a man, in his shirt sleeves, was clipping and thinning the vines. I took it for granted he was a gardener, and paid no attention to him; but, in a quite happy frame of mind, sat down to learn some poetry by heart. My impression is that it -was Lamartine's <i>Chûte des Feuilles</i>. Shutting my eyes, whilst repeating +was Lamartine's <i>Chûte des Feuilles</i>. Shutting my eyes, whilst repeating the verses out aloud (a trick I had), I opened them, <i>to see M. Heger</i>. He it was who had been thinning the vine; it was a favourite occupation of his (had I read <i>Villette</i> I should have known it).<a name="FNanchor_2_16" id="FNanchor_2_16"></a><a href="#Footnote_2_16" class="fnanchor">[2]</a> Once again he @@ -4111,7 +4100,7 @@ and docile submission to spiritual direction, to any philosophy, especially in the case of women. But he quoted to me and wrote down for me, and exhorted me to learn by heart and repeat aloud (as I actually did), a definition of the philosophy of life of an Eighteenth-century -Woman, as '<i>Une façon de tirer parti de sa raison pour son bonheur</i>.' I +Woman, as '<i>Une façon de tirer parti de sa raison pour son bonheur</i>.' I discovered this sentence a great many years afterwards in a book of the de Goncourts. But M. Heger first gave it to me in my girlhood.</p> @@ -4178,7 +4167,7 @@ matter? Let him sit up at night, let him get up early, let him spend all his days in thinking how he can serve <i>us</i>, make difficulties light, and dark things clear to <i>us. We</i> are not going to take any trouble on our side, not we! why should we? Indeed, it amuses us to see him -<i>navré</i>—for us, it is a good farce."'</p> +<i>navré</i>—for us, it is a good farce."'</p> <p>The wail rose up—'<i>Mais non, Monsieur, ce n'est pas vrai, cela ne nous amuse pas; nous sommes tristes, nous pleurons, voyez.</i>'</p> @@ -4191,12 +4180,12 @@ adorned with gifts of the mind, will think of his lessons, and wish they had been more attentive. Foolish old thing! not at all," they say, "as if <i>we</i> had any care for him or his lessons."'</p> -<p>The wail rose up—'<i>Ce n'est pas gentil ce que vous dites là, Monsieur: -nous avons beaucoup de respect pour vous, nous aimons vos leçons; oui, +<p>The wail rose up—'<i>Ce n'est pas gentil ce que vous dites là , Monsieur: +nous avons beaucoup de respect pour vous, nous aimons vos leçons; oui, nous travaillerons bien, vous allez voir, pardonnez-nous</i>.'</p> <p>'Frankly, now, does that touch you?' I heard behind me. 'It is not -reasonable! I find it even stupid (<i>je le trouve même bête</i>).' Marie +reasonable! I find it even stupid (<i>je le trouve même bête</i>).' Marie Hazard, of course. I made a mistake when I said <i>my</i> eyes were the only dry ones. Here was my philosopher-friend, amongst the pupils in the Galerie, and her eyes were quite as dry as mine.</p> @@ -4227,7 +4216,7 @@ an hour.</i></p> <p>On the table before us he had a bag of macaroon biscuits, and half a Brioche cake. He presented me with a macaroon. There you have one whole -macaroon (<i>intègre</i>): well, but let us be generous. Suppose I multiply +macaroon (<i>intègre</i>): well, but let us be generous. Suppose I multiply my gift, by eight: now you have eight whole macaroons and <i>are eight times richer</i>, hein? But that's too many; <i>eight</i> whole macaroons! I divide them between you and me. As the result, you have half the eight. @@ -4285,8 +4274,8 @@ the Professor of Literature appeared to me without any of the dislikable qualities of the everyday M. Heger.</p> <p>Another maxim of M. Heger's was certainly borrowed from Voltaire: That -one must give one's soul as many forms as possible. <i>Il faut donner à -son âme toutes les formes possibles</i>. Again, that every sort of +one must give one's soul as many forms as possible. <i>Il faut donner à +son âme toutes les formes possibles</i>. Again, that every sort of literature and literary style has its merits, <i>except the literature that is not literary and the style that is bad:</i> here again, one has, of course, Voltaire's well-known phrases: <i>J'admets tous les genres, hors @@ -4332,7 +4321,7 @@ it hard to imagine that any gift of original thought, or personal power of expressing his own thoughts, could have placed M. Heger's pupils under the same obligations as did his knowledge of beautiful ideas, beautifully expressed, gathered from north, south, east and west, in -classical, mediæval and modern times. To be given these precious and +classical, mediæval and modern times. To be given these precious and luminous thoughts in one's youth, when they have a special power to 'rouse, incite and gladden one,' is a supreme boon:—and in my own case my gratitude to M. Heger has never been in the least disturbed by the @@ -4345,19 +4334,19 @@ d'Isabelle.</p> <div class="footnote"><p><a name="Footnote_1_15" id="Footnote_1_15"></a><a href="#FNanchor_1_15"><span class="label">[1]</span></a> From Mlle. Louise Heger I have this note: '<i>Les cloches de -St. Jacques et non pas St. Jean Baptiste, église qui se trouve à l'autre -côté de la ville près du canal: quartier du Père Silas dans +St. Jacques et non pas St. Jean Baptiste, église qui se trouve à l'autre +côté de la ville près du canal: quartier du Père Silas dans "Villette."</i>'</p></div> <div class="footnote"><p><a name="Footnote_2_16" id="Footnote_2_16"></a><a href="#FNanchor_2_16"><span class="label">[2]</span></a> <i>Villette</i>, chapter xii.</p></div> <div class="footnote"><p><a name="Footnote_3_17" id="Footnote_3_17"></a><a href="#FNanchor_3_17"><span class="label">[3]</span></a> Esprit de Sagesse, conduisez-nous:<br /> -Esprit de Vérité, enseignez-nous:<br /> -Esprit de Charité, vivifiez-nous:<br /> -Esprit de Prudence, préservez-nous:<br /> -Esprit de Force, défendez-nous:<br /> -Esprit de Justice, éclairez-nous:<br /> +Esprit de Vérité, enseignez-nous:<br /> +Esprit de Charité, vivifiez-nous:<br /> +Esprit de Prudence, préservez-nous:<br /> +Esprit de Force, défendez-nous:<br /> +Esprit de Justice, éclairez-nous:<br /> Esprit Consolateur, apaisez-nous.<br /> </p><p> Here is the invocation, sent me by Mlle. Heger; who has, with extreme @@ -4373,10 +4362,10 @@ kindness, endeavoured to recover it for me.</p></div> <p>In connection with the particular Belgian schoolgirls whom I knew, who still, in 1860, learnt their lessons in the class-rooms where Charlotte -Brontë once taught, and who were still taught by M. Heger, and still +Brontë once taught, and who were still taught by M. Heger, and still surrounded with the benign and serene influences of Madame Heger, let me prove that these schoolgirls had not the characteristics of the -<i>Lesbassecouriennes</i>; and that Charlotte Brontë displayed insular +<i>Lesbassecouriennes</i>; and that Charlotte Brontë displayed insular prejudice, as well as an imagination coloured by the distress of an unhappy passion, when she said of them, '<i>The Continental female is quite a different being to the insular female of the same age and @@ -4417,7 +4406,7 @@ this uniform was to be was made quite an important question: and the girls were invited to choose a committee to decide it, in consultation with their head-mistress. And to this consultation Madame Heger brought a large spirit of indulgence, especially where the Sunday Bonnet was -concerned. The Sunday Dress had to be black silk—about the <i>façon</i> +concerned. The Sunday Dress had to be black silk—about the <i>façon</i> there might be discussion, but not about the colour or material. On the other hand, about the Bonnet, everything was left an open question. It might be fashionable: it might be becoming: and even serviceableness was @@ -4469,7 +4458,7 @@ made by my mother, my brother called at the Rue d'Isabelle to take me to the English Church, which in those days was a sort of hall, known as the '<i>Temple Anglican</i>,' situated in a passage near the Bruxelles Museum. The service was generally over by noon; but it was too late for me to -return to school in time for the déjeuner at mid-day, and this +return to school in time for the déjeuner at mid-day, and this authorised the custom of my taking lunch with my brother and enjoying a short walk afterwards; so that I was taken back by him to the Rue d'Isabelle before four o'clock. Now it will be easily understood that @@ -4616,10 +4605,10 @@ was, '<i>Je ne sais pas, Monsieur</i>' (a bad French accent too).</p> <p>'A-ah,' he repeated, tightening his mouth, 'now I should like to see whether you profit by the instructions of your Minister: Thus I shall be -glad if you will write me a <i>résumé</i> in French of the sermon you heard +glad if you will write me a <i>résumé</i> in French of the sermon you heard to-day at the Temple. It will be a good exercise for you in the French language. And also I shall enjoy the happiness of knowing this wise -Minister's advice. It is understood, you will give me the <i>résumé</i> of +Minister's advice. It is understood, you will give me the <i>résumé</i> of this sermon to-morrow.'</p> <p>'<i>Oui, Monsieur</i>.'</p> @@ -4629,7 +4618,7 @@ against sleepiness in my bed, I worked over the composition of that sermon. It is true that I did fall asleep in the middle of it myself; but that does not prove it was a dull sermon, for I took it up again in the morning with renewed zest. I gave up my whole recreation hour after -<i>déjeuner</i> to writing it out. And I believed it to be as good a sermon +<i>déjeuner</i> to writing it out. And I believed it to be as good a sermon as was ever preached. And there was no vanity in this belief: because it was not my own sermon, but one I had originally heard preached in my childhood in an old village church, and the arguments in favour of being @@ -4663,7 +4652,7 @@ of fifteen years, not only, what was of great moral importance to me, my first lesson in the philosophy of refusing to torment oneself in order to punish one's tormentors, but also the incident that revealed to me a secret sorrow hidden away under Madame Heger's serenity; and that -convinces me, now, that the tragical romance of Charlotte Brontë was not +convinces me, now, that the tragical romance of Charlotte Brontë was not to her, as it must have been to M. Heger, misunderstood, and regarded as an event of small importance; but that it 'entered into her life,' and was to her a very serious trouble.</p> @@ -4672,7 +4661,7 @@ was to her a very serious trouble.</p> occasion, nor in honour of what event, all the school was given an entire holiday: and, for its better enjoyment, the girls were invited by a former pupil in the Rue d'Isabelle, who had married and possessed a -fine château and a large garden within walking distance of Bruxelles, to +fine château and a large garden within walking distance of Bruxelles, to spend the whole day in her house and garden, where a mid-day collation was prepared for them. I remember very little about the day's enjoyments—the cruel impressions that followed the pleasant holiday @@ -4689,8 +4678,8 @@ gooseberry-bushes also, and came in flocks: so we three withdrew, and sat down under some shady tree, and were very happy and at peace. Near us, on a low cane chair, sat one of the under-mistresses, a Frenchwoman, whom I liked extremely, and who also liked me: her name was Mlle. -Zélie—she was too young to have been one of the mistresses known to -Charlotte Brontë twenty years before. She may have been twenty-six: or +Zélie—she was too young to have been one of the mistresses known to +Charlotte Brontë twenty years before. She may have been twenty-six: or she may have been thirty.</p> <p>As she sat there, doing embroidery, and watching all the time a swarm of @@ -4699,7 +4688,7 @@ were at rest upon the grass,—there came, suddenly, a servant in great haste sent from the Rue d'Isabelle by Madame Heger, with a letter: neither Monsieur nor Madame had arrived yet, they were to be there in time for the collation in the afternoon. The letter was an urgent order -to Mlle. Zélie that the girls were not to <i>touch the fruit in the +to Mlle. Zélie that the girls were not to <i>touch the fruit in the kitchen garden</i>—this stipulation had been made by the generous hostess, who had invited all this company to a feast of cakes and cream and good things of every description, but who wanted her gooseberries and @@ -4712,7 +4701,7 @@ read aloud. I am convinced from that moment onwards no one touched any fruit:—still the mischief had been done; it was obvious to the naked eye that the gooseberry-bushes had been attacked.</p> -<p>The person who seemed most distressed was poor Mlle. Zélie: she blamed +<p>The person who seemed most distressed was poor Mlle. Zélie: she blamed no one, but repeated constantly, 'Why then did not Madame warn me? Never should I have permitted it, had I not supposed that it was understood that these gooseberries, without value for that matter, were intended @@ -4726,7 +4715,7 @@ would we have touched a gooseberry had we understood.'</p> of fact all the gooseberries in the garden could have been purchased for five francs in Bruxelles. No harm had been done the bushes: it was a <i>mal entendu</i>—what would you have? The only person who seemed to take -it to heart was poor Mlle. Zélie.</p> +it to heart was poor Mlle. Zélie.</p> <p>'Quel malheur,' she kept repeating. 'Quel malheur! mais aussi, pourquoi Madame ne m'a-t-elle rien dit?'</p> @@ -4741,10 +4730,10 @@ changed to one black as night: he had seen the tell-tale signs of the depredations inflicted on the gooseberry-bushes.</p> <p>'Who is responsible for this?' he asked, '<i>c'est une bassesse!</i> Mlle. -Zélie, what does this signify? Were you not told the fruit was to be +Zélie, what does this signify? Were you not told the fruit was to be respected?'</p> -<p>Poor Mlle. Zélie stood there quivering with terror.</p> +<p>Poor Mlle. Zélie stood there quivering with terror.</p> <p>'Unhappily,' she said, 'Madame's letter arrived too late: without bad intention, these young girls imagined themselves free to eat @@ -4765,7 +4754,7 @@ guilty ones? It is you two, and you alone in the entire Pension, who have been capable of this indignity? And see what ruin you have made! Are you not ashamed—what gluttony!'</p> -<p>'Mais non, Monsieur, non,' pleaded Mademoiselle Zélie, 'these young +<p>'Mais non, Monsieur, non,' pleaded Mademoiselle Zélie, 'these young girls are not alone responsible; many others also took the fruit; you must not blame them for everything.'</p> @@ -4774,12 +4763,12 @@ must not blame them for everything.'</p> <p>'Il ne faut pas nous demander cela,' said I, with my usual bad accent in agitated moments. 'C'est aux autres qu'il faut le demander.'</p> -<p>'Mais oui,' he said, 'and this is what I intend to do; Mlle. Zélie, do -me this pleasure: fetch me the <i>élèves</i> who were here just now: call +<p>'Mais oui,' he said, 'and this is what I intend to do; Mlle. Zélie, do +me this pleasure: fetch me the <i>élèves</i> who were here just now: call them together. I must get to the bottom of this. Je dois approfondir cela.'</p> -<p>Mlle. Zélie was some time about it: but in the end, she returned with a +<p>Mlle. Zélie was some time about it: but in the end, she returned with a good company of girls, forty or fifty at least; amongst them nearly all of those who had been most busy amongst the gooseberry bushes. They stood round us in a sort of circle; Marie Hazard, myself, and M. Heger.</p> @@ -4803,7 +4792,7 @@ pupils, outside of these two, who I know are guilty, that I ask it, and with confidence—amongst you all, have any of you been guilty of this indignity?'</p> -<p>Dead silence. Mlle. Zélie was fidgeting about, snapping her fingers +<p>Dead silence. Mlle. Zélie was fidgeting about, snapping her fingers nervously. But she said nothing.</p> <p>M. Heger again addressed the girls round him, and there was a note of @@ -4815,7 +4804,7 @@ for you to do. For me, I believe, and I love to believe, that the only pupil in this school capable of this unworthy conduct is a foreigner.'</p> <p>'Pardon, Monsieur,' said a voice at my elbow, 'je suis Belge; et moi -aussi j'ai mangé des groseilles.'</p> +aussi j'ai mangé des groseilles.'</p> <p>M. Heger bowed towards her profoundly.</p> @@ -4834,7 +4823,7 @@ because up to this date I had never known nor suffered from real injustice. Here was an entirely new experience. And at first it baffled me. I suppose I must have shown this desperation in my face: for M. Heger was no sooner out of sight than attempts were made to console me: -but I was beyond consolation. Mlle. Zélie came first; she laid a +but I was beyond consolation. Mlle. Zélie came first; she laid a soothing hand on my shoulder.</p> <p>'Do not afflict yourself, my child,' she said. 'This is a @@ -4842,7 +4831,7 @@ misunderstanding: I shall explain everything to Madame Heger.'</p> <p>Then several girls came bustling up, rather shamefacedly, assuring me that it was nothing: '<i>Quelle affaire</i>,' they ejaculated. '<i>Et tout cela -à propos de quelques groseilles!</i>'</p> +à propos de quelques groseilles!</i>'</p> <p>'It has nothing to do with the gooseberries,' I said; 'you are all cowards, and I detest you; why couldn't you say you took them too?'</p> @@ -4866,8 +4855,8 @@ out of ill-will to you, but because we were afraid of M. Heger, with whom one must not reason when he is in a bad humour, as every one knows. You and Marie Hazard, for instance, who must always be in the right with him, in what way does it serve you? Voyons: be frank; at least: <i>cela -vous réussit-il?</i> Listen then: we will make it all plain with Madame -Heger. Mlle. Zélie will tell her we knew nothing when we ate those +vous réussit-il?</i> Listen then: we will make it all plain with Madame +Heger. Mlle. Zélie will tell her we knew nothing when we ate those gooseberries; we thought they were there for us—that it belonged to the feast to eat this fruit: they were not so very good, these gooseberries after all: it was a politeness on our part, not greediness. Every one @@ -4891,11 +4880,11 @@ those gooseberries, do you truly imagine to yourself that the honour of England would have been affected by it?'</p> <p>Just <i>because</i> this was so reasonable and true, it stung me to the soul. -'<i>Ma chère et bonne amie</i>,' wrote Rousseau to Madame d'Epinay in the +'<i>Ma chère et bonne amie</i>,' wrote Rousseau to Madame d'Epinay in the days of their friendship, when explaining why he had burnt a letter to her that seemed to him more reasonable than kind: '<i>Pythagore disait -qu'il ne faut jamais attiser le feu avec une épée. Cette sentence me -paraît être la plus importante et la plus sacrée des lois de l'amitié</i>.' +qu'il ne faut jamais attiser le feu avec une épée. Cette sentence me +paraît être la plus importante et la plus sacrée des lois de l'amitié</i>.' I knew nothing about the sayings of Pythagoras, nor the writings of Rousseau in those days. But it did seem to me opposed to the sacred laws of friendship, to remind me, in this moment, that it was absurd in me to @@ -4919,7 +4908,7 @@ the walls, and two ranges of chairs on the opposite side of the tables facing the benches, where sat all the pupils. Having finished the 'reading,' M. Heger summed up in a few words the sentiments that 'he was sure all there must feel of gratitude to their hostess, once an inmate -of this school; and who had contrived this little fête for her +of this school; and who had contrived this little fête for her successors. He asked their consent to a message of thanks that was to be sent her; and he wound up his expression of confidence in the enjoyment every one had derived from this holiday, by stating the satisfaction of @@ -4930,7 +4919,7 @@ thrown open her house and garden to them, and this exception, he was, at any rate, pleased to recognise, was not amongst those brought up in the sentiments of religion and convenience cherished by almost all of them: and hence though one had to deplore the fault, in the case of a -foreigner (<i>une étrangère</i>) one was more disposed to regard it with +foreigner (<i>une étrangère</i>) one was more disposed to regard it with indulgence.'</p> <p>Marie Hazard rose from her seat:—but there really was no time for any @@ -4949,7 +4938,7 @@ for prayers: what <i>are</i> you doing?'</p> <p>I remained sitting there. She looked at me a moment; evidently didn't like my looks; shrugged her shoulders, agitated her hands, said—</p> -<p>'One cannot wait for you any longer mademoiselle, <i>vous êtes notée</i>,' +<p>'One cannot wait for you any longer mademoiselle, <i>vous êtes notée</i>,' and vanished.</p> <p>I do not know now, and I hardly think I knew then, what I meant by the @@ -4974,11 +4963,11 @@ my hands, <i>in the frame of mind in which Anarchists are made.</i></p> into the ideal socialism of Jean-Jacques Rousseau, where the bitter bitter rage of rebelliousness against the wrong done oneself becomes the generous sympathy with all injustice throughout the world: '<i>Ce premier -sentiment de l'injustice est resté si profondément gravé dans mon âme, -que toutes les idées qui s'y rapportent me rendent ma première émotion; -et ce sentiment, relatif à moi dans son origine, a pris une telle -consistance en lui-même, et s'est si bien détaché de tout intérêt -personnel, que mon coeur s'enflamme au spectacle ou au récit de toute +sentiment de l'injustice est resté si profondément gravé dans mon âme, +que toutes les idées qui s'y rapportent me rendent ma première émotion; +et ce sentiment, relatif à moi dans son origine, a pris une telle +consistance en lui-même, et s'est si bien détaché de tout intérêt +personnel, que mon coeur s'enflamme au spectacle ou au récit de toute action injuste, quel qu'en soit l'objet, et en quelque lieu qu'elle se commette, comme si l'effet en retomboit sur moi</i>.'</p> @@ -4995,7 +4984,7 @@ Madame Heger entered and approached me. She sat down on the chair opposite my bench on the opposite side of the table.</p> <p>'My child,' she said, 'you are wrong to take so seriously the reproach -addressed to you by M. Heger as the result of a mistake. Mlle. Zélie has +addressed to you by M. Heger as the result of a mistake. Mlle. Zélie has explained to M. Heger and to me the accident. It was a pity, no doubt, that this happened: but you have not any more blame than the others. All is forgotten and forgiven. But you, my child, are wrong in this. Why do @@ -5006,12 +4995,12 @@ You know well it is forbidden.'</p> obey rules when I was unjustly treated: I could bear anything else, but I could not support injustice.</p> -<p>'Pas l'injustice,' I protested, 'j'obéirais a tout, je supporterais +<p>'Pas l'injustice,' I protested, 'j'obéirais a tout, je supporterais tout: mais, pas l'injustice, non, madame, non, je ne saurais supporter l'injustice.'</p> <p>'Cependant, mon enfant, il faut savoir la supporter. Que faire? -<i>Seriez-vous la seule personne au monde qui ne connaîtrait pas +<i>Seriez-vous la seule personne au monde qui ne connaîtrait pas l'injustice?</i>'</p> <p>I shook my head obstinately: I made a show of resistance: but I was @@ -5063,7 +5052,7 @@ companions, and I will send Clothilde to you with some flower-of-orange water that will tranquillise this hot head. Good night, and be very wise in the future: and all will be well.'</p> -<p>Ever since I have known the story of Charlotte Brontë I have had the +<p>Ever since I have known the story of Charlotte Brontë I have had the firm conviction of what was in Madame Heger's mind when she spoke to me of one who had imagined enemies in friends, and who, complaining of injustice, had been unjust. But since I have read Charlotte's Letters, @@ -5089,10 +5078,10 @@ the portrait of Madame Beck. A strong and lifelike resemblance, between Paul Emanuel and M. Heger, up to the point when the Professor Paul falls in love with Lucy Snowe. After this event, a dwindling resemblance between the Professor in <i>Villette</i>, and the real Professor in the Rue -d'Isabelle, who was never in love with Charlotte Brontë, and who was the +d'Isabelle, who was never in love with Charlotte Brontë, and who was the lawful and attached husband of the Directress of the Pensionnat.</p> -<p>But when Professor Paul Emanuel becomes the docile disciple of Père +<p>But when Professor Paul Emanuel becomes the docile disciple of Père Silas, when he is caught in the 'Jesuitical cobwebs of mother Church,' then he ceases to resemble the real man in the very least. M. Heger's role in life was not that of a disciple but of a Master of other people, @@ -5107,360 +5096,6 @@ bumble-bee—but it is a disaster for the cobweb.</p> <p> </p> <p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK THE SECRET OF CHARLOTTE BRONTë***</p> -<p>******* This file should be named 41105-h.txt or 41105-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/4/1/1/0/41105">http://www.gutenberg.org/4/1/1/0/41105</a></p> -<p> -Updated editions will replace the previous one--the old editions -will be renamed.</p> - -<p> -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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