The tale of "Shirley" had been begun soon after the publication of "Jane Eyre." If the reader will refer to the account I have given of Miss Bronte's schooldays at Roe Head, he will there see how every place surrounding that house was connected with the Luddite riots, and will learn how stories and anecdotes of that time were rife among the inhabitants of the neighbouring villages; how Miss Wooler herself, and the elder relations of most of her schoolfellows, must have known the actors in those grim disturbances. What Charlotte had heard there as a girl came up in her mind when, as a woman, she sought a subject for her next work; and she sent to Leeds for a file of the Mercuries of 1812, '13, and '14; in order to understand the spirit of those eventful times. She was anxious to write of things she had known and seen; and among the number was the West Yorkshire character, for which any tale laid among the Luddites would afford full scope. In "Shirley" she took the idea of most of her characters from life, although the incidents and situations were, of course, fictitious. She thought that if these last were purely imaginary, she might draw from the real without detection, but in this she was mistaken; her studies were too closely accurate. This occasionally led her into difficulties. People recognised themselves, or were recognised by others, in her graphic descriptions of their personal appearance, and modes of action and turns of thought; though they were placed in new positions, and figured away in scenes far different to those in which their actual life had been passed. Miss Bronte was struck by the force or peculiarity of the character of some one whom she knew; she studied it, and analysed it with subtle power; and having traced it to its germ, she took that germ as the nucleus of an imaginary character, and worked outwards;--thus reversing the process of analysation, and unconsciously reproducing the same external development. The "three curates" were real living men, haunting Haworth and the neighbouring district; and so obtuse in perception that, after the first burst of anger at having their ways and habits chronicled was over, they rather enjoyed the joke of calling each other by the names she had given them. "Mrs.
Pryor" was well known to many who loved the original dearly. The whole family of the Yorkes were, I have been assured, almost daguerreotypes. Indeed Miss Bronte told me that, before publication, she had sent those parts of the novel in which these remarkable persons are introduced, to one of the sons; and his reply, after reading it, was simply that "she had not drawn them strong enough." From those many-sided sons, I suspect, she drew all that there was of truth in the characters of the heroes in her first two works. They, indeed, were almost the only young men she knew intimately, besides her brother. There was much friendship, and still more confidence between the Bronte family and them,--although their intercourse was often broken and irregular. There was never any warmer feeling on either side.
The character of Shirley herself, is Charlotte's representation of Emily. I mention this, because all that I, a stranger, have been able to learn about her has not tended to give either me, or my readers, a pleasant impression of her. But we must remember how little we are acquainted with her, compared to that sister, who, out of her more intimate knowledge, says that she "was genuinely good, and truly great," and who tried to depict her character in Shirley Keeldar, as what Emily Bronte would have been, had she been placed in health and prosperity.
Miss Bronte took extreme pains with "Shirley." She felt that the fame she had acquired imposed upon her a double responsibility.
She tried to make her novel like a piece of actual life,--feeling sure that, if she but represented the product of personal experience and observation truly, good would come out of it in the long run. She carefully studied the different reviews and criticisms that had appeared on "Jane Eyre," in hopes of extracting precepts and advice from which to profit.
Down into the very midst of her writing came the bolts of death.
She had nearly finished the second volume of her tale when Branwell died,--after him Emily,--after her Anne;--the pen, laid down when there were three sisters living and loving, was taken up when one alone remained. Well might she call the first chapter that she wrote after this, "The Valley of the Shadow of Death."I knew in part what the unknown author of "Shirley" must have suffered, when I read those pathetic words which occur at the end of this and the beginning of the succeeding chapter:--"Till break of day, she wrestled with God in earnest prayer.
"Not always do those who dare such divine conflict prevail. Night after night the sweat of agony may burst dark on the forehead;the supplicant may cry for mercy with that soundless voice the soul utters when its appeal is to the Invisible. 'Spare my beloved,' it may implore. 'Heal my life's life. Rend not from me what long affection entwines with my whole nature. God of Heaven--bend--hear--be clement!' And after this cry and strife, the sun may rise and see him worsted. That opening morn, which used to salute him with the whispers of zephyrs, the carol of skylarks, may breathe, as its first accents, from the dear lips which colour and heat have quitted,--'Oh! I have had a suffering night. This morning I am worse. I have tried to rise. I cannot.
Dreams I am unused to have troubled me.'
"Then the watcher approaches the patient's pillow, and sees a new and strange moulding of the familiar features, feels at once that the insufferable moment draws nigh, knows that it is God's will his idol should be broken, and bends his head, and subdues his soul to the sentence he cannot avert, and scarce can bear. . . .
