FRANCIS A. LEYLAND. (continued 4)

My copy of the poem is illustrated with a portrait, by J. B. Leyland, in pen-and-ink, of the ideal Percy. The drawing is bold and effective; and, though not intended for an exact portrait of Branwell, bears some resemblance to him in general character. The sketch is signed, 'Northangerland,' at the top; and, at the bottom, 'Alexander Percy, Esq.;' while the artist's name is discerned among the shadows which fall from the figure of Percy.

CHAPTER XIV.

FAME AT HAWORTH.

Charlotte Corresponds on Literary Subjects‌—‌Novels‌—‌Confession of Authorship‌—‌Branwell's Failing Health‌—‌He Writes to Leyland‌—‌Branwell and Mr. George Searle Phillips‌—‌Branwell's Intellect Retains its Power‌—‌His Description of 'Professor Leonidas Lyon'‌—‌The latter Gentleman's Account of his Reading of 'Jane Eyre'‌—‌Branwell's Remarks on Charlotte and the Work.

The early months of the year 1848 proved a severe trial for the Brontë family, as they did to the whole of the Haworth villagers. Influenza and other ailments were prevalent, and the sisters did not escape the former: Anne, indeed, suffered from a severe cough, with some fever, and her friends became alarmed. The position of the parsonage in relation to the churchyard rendered it unhealthy; but, at the instance of Mr. Brontë, a new grave-yard was opened in another place. He did not, however, succeed in his attempt to get a good supply of water laid on to each house.

Charlotte, at the time, was still in correspondence with Mr. Lewes and Mr. Williams, about the review of 'Jane Eyre' in 'Fraser's Magazine,' and about other literary subjects. She was still keeping the secret of the authorship of her book from her friends, putting off 'E.' with evasive letters, and wishing her to 'laugh or scold A—— out of the publishing notion.' 'Wuthering Heights' had not been received by the public with much favour, and we do not hear of any further literary work by Emily. But Charlotte was writing 'Shirley,' and Anne was going on with 'The Tenant of Wildfell Hall,' despite a consumptive listlessness that was upon her, such as Branwell describes in the wife of 'Percy;' and, in her letter written in January, Anne told 'E.' that they had done nothing 'to speak of' since she was at Haworth; yet they contrived to be busy from morning till night. In the spring, however, when this friend visited the Brontës again, full confession of authorship was made, and the poems and novels were shown to her. The identity of Mr. Brontë's daughters with the 'Messrs. Bell,' had, however, been known to some, in connection with the poems, at an earlier date, and was occasionally spoken of, though the fact was not made public. Branwell himself was at home, quieter, but still failing in health and strength, for the constitutional taint, aided by his low spirits, and a bronchitis which had become chronic, was telling upon him.

'The Tenant of Wildfell Hall,' was submitted to the publisher of 'Wuthering Heights' and 'Agnes Grey,' and accepted by him in the June of this year. If the first works of Ellis and Acton Bell were undervalued because they were believed to be the earlier productions of the author of 'Jane Eyre,' Acton's new volume derived enhanced importance from being thought to be a production of the same hand. 'Jane Eyre' had had a great run in America, and a publisher there had offered Messrs. Smith and Elder a high price for early sheets of the next work of its author, which they accepted. But the publishers of 'The Tenant of Wildfell Hall,' believing that Acton Bell was but a second name assumed by Currer Bell, made a similar offer to another American house. This circumstance led to questions and explanations; and Charlotte and Anne determined to visit London, in order to assure Messrs. Smith and Elder that they were indeed distinct persons. The publishers were very much astonished to see the two delicate ladies, and they made them very welcome. Charlotte and Anne went to the Opera, they went to the Royal Academy and the National Gallery, and they visited Mr. Smith and Mr. Williams before returning to Haworth.

They found Branwell at home, physically the same as when they left him, gradually failing from the chronic bronchitis which had lasted through the summer, and with the perceptible wasting away of decline. Writing to his friend Leyland on July 22nd, he speaks of 'five months of utter sleeplessness, violent cough, and frightful agony of mind.' 'Long have I resolved,' he continues, 'to write to you a letter of five or six pages, but intolerable mental wretchedness and corporeal weakness have utterly prevented me.' The letter is signed, 'Yours sincerely, but nearly worn out, P. B. Brontë.' Charlotte attributed his illness to indulgence solely, and she had no suspicion that the end was but two months away. She writes on July 28th: 'Branwell is the same in conduct as ever. His constitution seems much shattered. Papa, and sometimes all of us, have sad nights with him. He sleeps most of the day, and consequently will lie awake at night. But has not every house its trial?' [46] But Branwell's condition of health was not such as to keep him within doors, and there were revivals, as in Anne's case also, which permitted him to visit his friends. I spoke to him once in Halifax at the time, and he was often seen in the village of Haworth.

An interesting episode occurred in August or September, for an account of which we are indebted to Mr. George Searle Phillips. [47] We learn from it that, in the midst of physical decay and mental distress, Branwell's intellect retained its power to the last; and we learn also what pride he took in the works of his sisters, and in the reputation they had made. I can myself, from personal knowledge, endorse all that Mr. Phillips says as to Branwell's brilliancy of intellect at this time. When Charlotte and Anne went to London, they had assumed the name of Brown; but their real name and the place of their residence were communicated to some people, and it was not long before it became quietly known. Then began the stream of pilgrims to the shrine of genius at Haworth, which has continued from that day to this, and will for many more. One gentleman, indeed, at the time, stayed three days at Haworth, maintaining a close intimacy with Branwell, and we know, from Mr. Phillips' narrative, in what light Branwell looked upon the first-comers.

'Branwell,' says his friend, 'during the latter part of my acquaintance with him, was much altered for the worse, in his personal appearance; but if he had altered in the same direction mentally, as his biographer says he had, then he must have been a man of immense and brilliant intellect. For I have rarely heard more eloquent and thoughtful discourse, flashing so brightly with random jewels of wit, and made more sunny and musical with poetry, than that which flowed from his lips during the evenings I passed with him at the "Black Bull," in the village of Haworth. His figure was very slight, and he had, like his sister Charlotte, a superb forehead. But, even when pretty deep in his cups, he had not the slightest appearance of the sot that Mrs. Gaskell says he was. "His great tawny mane"—meaning thereby the hair of his head—was, it is true, somewhat dishevelled; but, apart from this, he gave no sign of intoxication. His eye was as bright, and his features were as animated, as they very well could be; and, moreover, his whole manner gave indications of intense enjoyment.'

Branwell described some of the characters in the novels, and talked much about his sisters, and especially about Charlotte, whose celebrity, he said, had already attracted more strangers to the village than had been known before; and Mr. Phillips gives the following account of the visit of one gentleman, an enthusiastic admirer of 'Jane Eyre,' whose somewhat eccentric personality he has veiled under the style and title of 'Leonidas Lyon, Professor of Greek in the London University':—

'One evening, as we sat together in the little parlour of the Inn, the landlord entered, and asked Branwell if he would see a gentleman who wanted to make his acquaintance.

'"He's a funny fellow," said the landlord; "and is somebody, I dare swear, with lots of money."

'As the landlord spoke, a squat little dapper fellow, with a white fur hat on his head, an umbrella under his arm, and a pair of blue spectacles on his nose, strutted into the room sans cérémonie. He approached the table in a very fussy and excited manner, exclaiming:

'"Landlord, bring us some brandy. I must have the pleasure of drinking a glass with the brother of that distinguished lady, who wrote the great book that made London blaze. Three glasses,—landlord—do you hear? And you, sir, are the great lady's brother, I presume? Professor Leonidas Lyon, sir, has the honour of introducing himself to your distinguished notice."

'Branwell responded, gravely:

'"Patrick Branwell Brontë, sir, has the honour of welcoming you to Haworth, and begging you to be seated."

'Whereupon the little man bowed and scraped, and laughed a good-humoured laugh all over his good, round face, and said it was an honour he could not have hoped for, to sit as a guest at the same board, as he might say, "with the brother, the very flesh and blood, of the great lady who wrote the book."

'Here the brandy and water came in, and the little man grew merrier still, and more communicative. He was a Professor of Greek at the London University, and, chancing to be at Smith's, the London publisher's, whose friend Williams was a "wonderful man of letters—a very wonderful man indeed!"—Williams asked the Professor if he had seen the book of the season—"the immense book," he called it—which was going to make one good reputation, and half a dozen fortunes. Mr. Williams praised it so highly that he (the Professor) grew wild about it, and asked where it could be got. Upon this, he threw a sovereign to pay for it, and ran home without his change, to read it. "It was prodigious, sir," he exclaimed.'

The Professor went on in high praise of 'Jane Eyre,' and told Branwell and Mr. Phillips that his bed-time was ten o'clock, but that, when reading the book, he had sat on, completely absorbed, until six o'clock in the morning, when the housemaid came. Then he had retired to his own room, but, instead of going to bed, had sat on the edge of it, until he finished the story at ten A.M. Branwell said this history of a Professor's reading of 'Jane Eyre' made him laugh 'as if he would split his sides.' And when he told Charlotte about it the next day, she laughed heartily, too, as did the other sisters, when she went up stairs to tell them, and their laughter moved Branwell to renewed merriment.

'When the Professor's story was ended,' continues Mr. Phillips, 'he tried to cajole Branwell into introducing him to the "great lady" who wrote the book. He was dying to see her, he said, and had come all the way down into Yorkshire, from London, in the fond hope of getting a glimpse of her, and perhaps of touching the hem of her garment. When he found that Branwell fought shy of the proposition he actually offered him a large sum of money, and then, taking from his fob a valuable gold watch, laid it on the table, and said he would throw that in to boot, if he would only let him see her and shake hands with her….

'Poor Branwell spoke of his sister in most affectionate terms, such as none but a man of deep feeling could utter. He knew her power, and what tremendous depths of passion and pathos lay hid in her great surging heart, long before she gave expression to them in "Jane Eyre." When she wrote the first chapters of her Richardsonian novel, he condemned the work as in opposition to her genius—which is good proof of his discrimination and critical judgment. But when "The Professor" was written, he said that was better, but that she could do better still; and, although it is not equal to "Jane Eyre," yet it is a work of great originality and dramatic interest.

'"I know," said Branwell, after speaking of Charlotte's talents, "that I also had stuff enough in me to make popular stories; but the failure of the Academy plan ruined me. I was felled, like a tree in the forest, by a sudden and strong wind, to rise no more. Fancy me, with my education, and those early dreams, which had almost ripened into realities, turning counter-jumper, or a clerk in a railway-office, which last was, you know, my occupation for some time. It simply degraded me in my own eyes, and broke my heart."

'It was useless,' says Mr. Phillips, 'to remonstrate with him, and yet I could not help it, and did my best to rouse the sleeping energies within him to noble action once more.

'"It is too late," he said; "and you would say so, too, if you knew all." He used to be the oracle of the secluded household in earlier days—before the love of drink mastered him. His opinion was invariably sought for upon the literary performances of his sisters; but at the time I am now speaking of, he was a cipher in the house.'

Such is the account given by Mr. Phillips of his friend; so different in its character from that which Mr. Grundy, and, following him, Miss Robinson, offer, in the incredible episode of the carving-knife and the slaying of the devil, unless we believe the incident—which that gentleman states to have taken place at this period, how erroneously we have seen—to have been acted, as is most probable, in grotesque humour.

During the last two months of his life, Branwell became the object of much interest and received some homage; for, his sisters living secluded lives, he was generally the only member of the family accessible to the public. When he met with strangers, he invariably comported himself with becoming dignity, and did not lay himself open to the effects of their curiosity. Those who made his acquaintance were impressed, as Mr. Phillips was, with his great mental calibre, and with the grace and wit of his conversation. One gentleman—himself at the present time in the first place in one of the professions—who knew Branwell intimately, declares to me that he always believed the abilities of Charlotte's brother were such as might have placed him in the very front rank of literature.

CHAPTER XV.

DEATH OF BRANWELL.

Branwell's failing Health‌—‌Chronic Bronchitis and Marasmus‌—‌His Death‌—‌Charlotte's allusions to it‌—‌Correction of some Statements relating to it‌—‌Summary of the subsequent History of the Brontë Family.

The spring and summer of the year 1848 were wild, wet, and unfavourable, and the fine weather in August was of little benefit to Branwell. His appetite was diminished, and he was weaker. He was suffering, in addition to his chronic bronchitis, from marasmus, a consumptive wasting away, arising from hereditary tendency, as well as from mental agony and the effects of irregular life. However, neither himself nor his family, nor his medical attendants had any anticipation of immediate danger.

He was not, indeed, altogether confined to the house, and he was in the village only two days before his death; but, on that occasion, his strength failed before he reached his home. William Brown, the sexton's brother, found him in the lane which leads up to the parsonage, quite exhausted, panting for breath, and unable to proceed. He was helped to the house, which he never again left alive.

In the last few days of his life, Branwell was more reconciled, more subdued, and better feelings filled his mind. The affection of his family returned undiminished, and they watched with intense anxiety the end of their cherished brother. The strange madness that had clouded his mind for so many months, left him now, and the simple thoughts and feelings of his early years came back to him again. He died on the morning of Sunday, September the 24th. He had talked through the night of his mis-spent life, his wasted youth, and his shame, with compunction. He was also filled with the

His natural love likewise came out in beautiful and touching words, that consoled and satisfied those he was about to leave for ever.

Some time before the end, John Brown entered Branwell's room, and they were alone. The young man, though faint and dying, spoke of the life they had led together. He took a short retrospect of his past excesses, in which the grave-digger had often partaken; but in it he made no mention of the lady whose image had distracted his brain. He appeared, in the calmness of approaching death, and the self-possession that preceded it, to be unconscious that he had ever loved any but the members of his family, for the depth and tenderness of which affection he could find no language to express. But, presently, seizing Brown's hand, he uttered the words: 'Oh, John, I am dying!' then, turning, as if within himself, he murmured: 'In all my past life I have done nothing either great or good.' Conscious that the last moment was near, the sexton summoned the household; and retreated to the belfry. It was about nine in the morning when the agony began. Branwell's struggles and convulsions were great, and continued for some time: in the last gasp, he started convulsively, almost to his feet, and fell dead into his father's arms.

Mrs. Gaskell says, of this event: 'I have heard, from one who attended Branwell in his last illness, that he resolved on standing up to die. He had repeatedly said, that as long as there was life, there was strength of will to do what it chose; and, when the last agony began, he insisted on assuming the position just mentioned.' This account does not accord with that given to me by the Browns, and, perhaps, it arose from some exaggeration of what actually took place.

On October the 9th, Charlotte writes thus of her brother's end: 'The past three weeks have been a dark interval in our humble home. Branwell's constitution has been failing fast all the summer; but still neither the doctors nor himself thought him so near his end as he was. He was entirely confined to his bed but for one single day, and was in the village two days before his death. He died, after twenty minutes' struggle, on Sunday morning, September 24th. He was perfectly conscious till the last agony came on. His mind had undergone the peculiar change which frequently precedes death, two days previously; the calm of better feelings filled it; a return of natural affection marked his last moments. He is in God's hands now; and the All-Powerful is likewise the All-Merciful. A deep conviction that he rests at last—rests well after his brief, erring, suffering, feverish life—fills and quiets my mind now. The final separation, the spectacle of his pale corpse, gave me more acute, bitter pain than I could have imagined. Till the last hour comes, we never know how much we can forgive, pity, regret a near relative. All his vices were and are nothing now. We remember only his woes. Papa was acutely distressed at first, but, on the whole, has borne the event well. [48]

A few days later she wrote to another friend, speaking of her brother's death. 'The event to which you allude came upon us indeed with startling suddenness, and was a severe shock to us all…. I thank you for your kind sympathy. Many, under the circumstances, would think our loss rather a relief than otherwise; in truth, we must acknowledge, in all humility and gratitude, that God has greatly tempered judgment with mercy; but, yet, as you doubtless know from experience, the last earthly separation cannot take place between near relations without the keenest pangs on the part of the survivors. Every wrong and sin is forgotten then; pity and grief share the hearts and the memory between them. Yet we are not without comfort in our affliction. A most propitious change marked the last few days of poor Branwell's life … and this change could not be owing to the fear of death, for within half-an-hour of his decease he seemed unconscious of danger.'

Charlotte concludes by referring to her own health, which had given way under the strain. [49]

Branwell was buried in the grave in which the remains of his sisters Maria and Elizabeth lay, and his name is placed next after theirs on the tablet. Thus, after twenty-three years, he joined in the dust those from whom in life he had never been separated in affection.

It would have been well if, when the grave closed over his mortal remains, it had buried in oblivion the memory of his failings and his sorrows. Charlotte, as we have seen, when her brother was gone, remembered nothing but his woes; and, if the biographers of herself and her sister Emily had consulted the feelings of those on whom they wrote—which have been so touchingly and tearfully expressed by Charlotte—they would have drawn the veil over whatever offences Branwell, as mortal, might have committed. But, amongst Mrs. Gaskell's other statements regarding him, there is one, relating even to his death, which cannot be passed over in silence here, since, though she had been compelled to omit it, with her other charges, from the second edition of her work, Miss Robinson has reproduced it recently in her 'Emily Brontë.' The statement was to the effect that, when Branwell died, his pockets were filled with the letters of the lady whom he had admired. [50] To this bold statement Martha Brown gave to me a flat contradiction, declaring that she was employed in the sick-room at the time, and had personal knowledge that not one letter, nor a vestige of one, from the lady in question was so found. The letters were mostly from a gentleman of Branwell's acquaintance, then living near the place of his former employment. Martha was indignant at the misrepresentation.

It may not be amiss here, in the briefest possible way, to give an outline of the subsequent history of the Brontë family. Emily's health began rapidly to fail after Branwell's death, which was a great shock to her, and she never left the house alive after the Sunday succeeding it. Her cough was very obstinate, and she was troubled with shortness of breath. Charlotte saw the danger, but could do nothing to ward it off, for Emily was silent and reserved, gave no answers to questions, and took no remedies that were prescribed. She grew weaker daily, and the end came on Tuesday, December the 19th. At the same time Anne was slowly failing, but she lingered longer. 'Anne's decline,' said Charlotte, 'is gradual and fluctuating; but its nature is not doubtful.' Unlike Emily, she looked for sympathy, took medicines, and did her best to get well. It was arranged at last that Charlotte and she should go to Scarborough, hoping the change of air might invigorate her, and they left the parsonage on May the 24th, 1849. But the change had no beneficial effect, and Anne died on May the 28th, at Scarborough, where she was buried.

After this the more purely literary portion of Charlotte's life commenced. She completed 'Shirley' early in September, 1849, and it was published on October the 26th. Her real name, and the neighbourhood in which she resided, became now generally known. The reviews showered rapidly; but Charlotte thought that one the best by Eugène Forçade, in the 'Revue des deux Mondes.' The cloud now passed away from her, and she visited London, made the acquaintance of Thackeray, Miss Martineau, and others, and entered eagerly into the occupations of literary life. 'Villette' was completed in November, 1852. Charlotte married the Rev. Arthur Bell Nicholls, who had long been her father's curate, on June the 29th, 1854, and she died on Saturday, March the 31st, 1855. The Rev. Patrick Brontë, whom I knew, a fine, tall, grey-haired, and venerable old man, survived all his children, and died at Haworth on January 7th, 1861.

CHAPTER XVI.

BRANWELL'S CHARACTER.

Branwell's Character in his Poetry‌—‌The Pious and Tender Tone of Mind which it Displays‌—‌Branwell's Tendency to Dwell on the Past rather than on the Future‌—‌Illustrated‌—‌The Sad Tone of his Mind ‌—‌He is Inclined to be Morbid‌—‌The Way in which Branwell regarded Nature‌—‌Observations on the Character Displayed in his Works.

It has often been observed that the life of a poet may best be learned from the works he has left behind him. We may fall into error in dealing with the circumstances of his external life, and may make mistakes as to chronology or facts, and, in this way, may be led often to form a false estimate of his character; but, if we discover the personality concealed in his writings, if we can grasp the hidden spirit by which they are informed, we shall be enabled to follow his heart in its cherished affections, to understand the characteristic tendency of his thoughts, and to comprehend even the very psychology of his soul. This enquiry, it is true, is often difficult in the extreme; one cannot always unravel the tangled mysteries in which natural expression is wrapped up, nor fully pierce the cloudy medium of conventionality or affectation through which it may be dimly revealed; it is especially difficult, also, to follow it in the works of a writer of a school like that of the Euphuists, or of Pope, where the medium is one of exaggerated refinement, or of classical and formal preciseness.

But, with the writings of Branwell Brontë, the case is entirely different; and for a very simple reason, viz., that everything he wrote proceeded from a personal inspiration, and was the direct expression of the fulness of emotion, and of vivid thoughts or feelings which could scarcely be hidden; because, in short, he wrote in the true artistic spirit of having something to say.

If Branwell's affectionate nature led him to dwell upon the memories of his earlier years, and upon the thoughts of those dead sisters whom he had loved so much, he spoke in the voice of Harriet weeping for the departed Caroline; it needed but his remembrance of the fell disease that had deprived him of his sisters, and the fearful havoc which it was yet to work in his family, to inspire him with the sad fancy of his 'Percy Hall.' If he sank into the depths of morbid melancholy, and was filled with a consciousness of the worthlessness of ambition, the folly of pride, and the universality of sorrow, his sonnets were a natural expression, in which he found both relief and consolation.

In his case it requires no Pheidian hand to bring out the statue from the marble, but only a sympathetic spirit, a heart filled with the affections of humanity, and a mind attuned to thoughts somewhat sad, to enable one to enter into every mood in which Branwell wrote, and to understand the moral and tender pathos that fills his works. It is because Branwell's poems are so fully expressive of his feelings at the time when they were written that they are so separately placed in this work. But, before we conclude it, it will be well to sum up, in a slight sketch, a few of the most characteristic features of his writings, and, in so doing, we shall arrive at a correct estimate of his disposition and of his poetry together.

The first thing, then, that strikes one in Branwell's verse, beginning at its youthful period, is the tone of piety that distinguishes it. The simple stanzas which he sent to Wordsworth, even, however worthless as poetry, are valuable, because they show us the early bent of his mind; and the beautiful lines which he wrote a year later, in 1838, where he first manifests that consciousness of the vanity of earthly things, which his sister Anne also versified, tell us of the hope of a heavenly future, which is contrasted, in its serenity, with the evils of mortal life. The poem entitled 'Caroline's Prayer,' and the one 'On Caroline' also, simple though they are, are evidence of a devotional turn of mind; and mark again, in the longer poem of 'Caroline,' how Harriet finds divine consolation in the calm of Nature:

and how tenderly she remembers the pious lessons which her dead sister had drawn from the sufferings of the Saviour of man, a recollection, let it be remembered, which Branwell himself preserved. A little later, we find Branwell occupied upon a long poem, of which we possess only a fragment, wholly sacred in its character, and moral in its purpose,—'Noah's Warning over Methusaleh's Grave.' Here Noah, before the universal Deluge, in the presence even of the cloudy wall 'piled boding round the firmament,' harangues the people, bidding them withdraw from sin, ere it be too late. It is true, however, that in the later poems, when Branwell's mind is cast into its deepest gloom, this disposition is not so prominent, and, perhaps, can be gathered only from an abundance of tender touches, which could proceed from nothing but a devotional spirit; and thus we may infer that, though he might have lost some of his early piety, he never lost the effect of it. There is, besides, throughout Branwell's work, the evidence of a justly balanced morality, in that he nowhere exalts depraved passions, or manifests impiety, or, more than all, corrupts his readers with the painting of sensuous ideas, or the description of sensuous incidents. And I would ask the reader, in connection with this admirable characteristic of his poetry, to remember that he has never been charged with indulgence of the kind that has lured away too many men of genius and mental power.

The next thing that strikes me in Branwell's poetry is the strong love that he manifests for the past, which he seems to value more than the present, and whose pleasures he deems sweeter and purer than any the future can have in store. This tone of thought could be very well understood if we had regard to circumstances of the later period of his life, when despair had cut off hope; but it is just as prominent in the earliest poems he wrote. It would seem that, to the pensive mind of Branwell, all the thoughts of childhood, all the joys of youth and its affections, became, as years passed on, hallowed and exalted in the golden halo of recollection. There were places in the sanctity of the past where the roses of Bendemeer grew, unchanging ever; places to which he turned for the joys of memory, when solitude inclined him to reflection. These pleasures of memory were often of a pensive order, for they were connected with sorrowful events, or they were joys turned sorrowful, as joys will turn, when they have been long enough departed. In Branwell's letter to Wordsworth, and in his other letters, he expresses plenty of honest ambition, and talks bravely of work in the future; and he spoke in the same way also. But I have received from his poems the impression that this ambition grew from the requirements of circumstances, and from literary emulation; that, in fact, the constitution of Branwell's mind was of the gentle reflective nature to which the pleasures of ambition appear hollow and insufficient in themselves. At least it is clear that he dwelt with more satisfaction on the past than on the future. So far, indeed, as his poetry is concerned, we saw, in 'The End of All,' that it was only when loss made the past too painful for thought, that he turned to the stony joys of solitary ambition and personal fame. This seems to me to be a very tender trait in his character, however little it might fit him to fight the battle of life with those who looked for the joys of the future, rather than turned to pleasures they could actually taste no more.

In Branwell's thoughtful moods, it required but the woodland sunshine, perhaps, or the sound of the distant bells, to bring back memories to him, as they brought back to Harriet, in the poem of 'Caroline,' many a scene of bygone days, opening the fount of tears, and waking memory to the thought

Thus, under the pensive influence, there passed over her

It called up in her, also, the hours when Caroline, too, listening to the wild storms of winter, had filled the nights with pictures and feelings

These treasures of memory, to which Branwell refers in many of his poems, were to him of a sacred nature, and might not be profaned. He tells us, indeed, in one of his sonnets, that the tears of affection are dried up by the growth of honours, and by the interests and pursuits of life, which

For the past was thus hallowed by Branwell, because in it lay his earliest affections, and his most poignant sorrows. I have had occasion, in speaking of several of the poems in this volume, to point out the love which he shows for his dead sisters, Maria and Elizabeth, and how he mourned them up to the last year of his life. For his disposition was of a deeply affectionate order. He has, indeed, painted for us too vividly, in both the poems of 'Caroline' and 'Percy Hall,' the pangs of separation, and the cheerless void that remains when the loved one has departed, to leave us any doubt as to the sensitiveness of his nature.

It will not have escaped the reader's attention that Branwell's muse sings often morbidly enough, and that,—like some spirit that cannot forsake the scene of its mortal sorrows, and haunts the place of its affliction—he dwells frequently upon details of a painful kind, that others would gladly have relegated to oblivion. In the poem of 'Caroline,' the picture of his mother, clad in black, is still before his eyes; he remembers even the grave-clothes of his sister in her coffin, and

the closing of the coffin lid, and the lowering of it into its narrow bed are yet before his eyes; and painfully he remembers his feeling at the grave-side:

Later, though he was occupied with different subjects, Branwell could not entirely free himself from a morbid and painful analysis of the physical effects of the disease he dreaded so much; and very beautifully does he suggest the picture of consumptive decline and early decay.

This tone of thought, and the many misfortunes and gloomy forebodings that attended Branwell's later years, had a natural effect in giving a mournful cast to almost every emanation of his muse; and we find, in effect, throughout the poems here collected, that, save in one instance—'The Epicurean's Song'—which we feel to be the production of a moment of elation, there is scarcely a line that does not breathe a consciousness of sad regret, or of cruel and bitter sorrow.

He was filled with the sense of the futility of human joy, and the abiding presence of woe:

These sorrows, as years went by, grew so terrible in their crushing weight, that the mind could barely withstand them, and Branwell felt, in that period when his cry was for peace in death, that, when the light of life is gone,

With Branwell, indeed, as with Mary in his poem of 'Percy Hall,' 'thought felt irksome to the heated brain.'

It was then that oblivion became to him a coveted relief from immediate woe, and that he envied the dreamless head of the wandering, water-borne corpse, whose rolling bed seemed calmer than the turmoil of the world.

This figure of the body rocked by the waves of ocean, brings me to a consideration of the way in which Branwell regarded Nature, which had something very noteworthy in it. It was always remarked by his friends that the young poet was a great observer, and took an especial pleasure in the works of Nature. It is, therefore, somewhat surprising, at first sight, that, in his poems, he does not dwell upon them descriptively or in a marked manner, and that we have to infer, from certain suggestive touches and pictures—which do, indeed, speak more plainly than words could—that he observed them at all. But we learn that the works of Nature had for Branwell a deeper significance than for most people, that he conceived they had some mysterious sympathy or unspeakable connection with human affections, and were, in a manner, the expression or immediate reflection of the Deity. Wordsworth, Southey, and Coleridge had already looked upon Nature somewhat in this wise; but it would be a mistake to suppose that Branwell imitated them: his thoughts flow too swiftly and impetuously to admit of such a conclusion. It is possible that, if his life had passed calmly, he might have dwelt upon the simple beauties of Nature, and found in them a homely harmony with familiar ideas; Charlotte and Anne in their poetry scarcely get beyond this; but it was different with Emily and Branwell. Emily, with her reserved, passionate nature, had a sympathetic spell in the solitary moorland; and Branwell, labouring with his sorrows, found, in the wildest storms, a being with whom he must battle, or saw, in the mighty mountains, an image of unbroken strength and everlasting fortitude, such a power as he must strive after and make his own. But, in Branwell's earlier poems, this influence is not so marked, and his muse is simply attuned to the saddened thoughts in which Nature participates. Thus Wordsworth had sung:

And thus we see, in Branwell's 'Caroline,' how, even in its calmness, the beautifully suggested picture of eve—when the sunlight slants, and the waters cease their motion, and the calm and hush tell of rest from labour—is made to harmonize with the plaintive thoughts of Harriet. But then comes the more significant question:

What, in short, is the harmonious and sympathetic spell that breathes through Nature?

The wild places of the earth, mountains and moorlands, where the storms raged, and the great winds blew, were nearest akin to the Titanic genius of Branwell and Emily. Thus, in the sonnet, the everlasting majesty of Black Comb was held up by Branwell as an example to man, and as a contrast to human feebleness; and later, when his woe was most acute, he was drawn into a 'communion of vague unity' with Penmaenmawr, comparing the living, beating heart of man with the stony hill, and begging,

And, lastly, in the 'Epistle from a Father to a Child in her Grave,' we find him comparing himself with one in the midst of wild mountains:

It will be seen from this short inquiry that the poetry of Branwell Brontë was entirely introspective, having, almost to the last line, some direct reference to his own thoughts or feelings; and that it may thus be read as an actual part of the story of his life. The disposition it reveals, though often hidden, as the readers of this book know, through the effects of folly and indulgence, was one of a singularly gentle, affectionate, and sympathetic character; passionate and unstable, it is true, but a disposition, nevertheless, that has been frequently misunderstood, and not seldom wronged. One of the aims of this book has been to set Patrick Branwell Brontë right with the public; an attempt, not to clear him from follies and weaknesses that really were his—which the public, but for the mistakes of biographers, would never have known—but to show that, at any rate, his nature was one rather to be admired than condemned. It has aimed also, by the publication of his poetical writings, to demonstrate that his genius is not unworthy to be ranked with that which made his sisters famous. Yet it may, perhaps, be held that the poems here published contain more of rich promise than of real fulfilment, rather the earnest of literary success than the actual accomplishment of it. But, in reading the poetry of Branwell Brontë, which is so uniformly sad, it may be well to remember what Mr. Swinburne has said, in speaking of Mr. Browning, that 'to do justice to any book which deserves any other sort of justice than that of the fire or waste-paper basket, it is necessary to read it in a fit frame of mind.'

THE END.

LONDON: PRINTED BY DUNCAN MACDONALD, BLENHEIM HOUSE

Footnotes

[35] 'Pictures of the Past,' pp. 90-92.

[43] Itinerary, vol. 5, p. 83.