Part 38

When the demand for the work had assured success, her sisters urged Charlotte to tell their father of its publication. She accordingly went into his study one afternoon, carrying with her a copy of the book and two or three reviews, taking care to include a notice adverse to it, and the following conversation took place.

"Papa, I've been writing a book."

"Have you, my dear?"

"Yes; and I want you to read it."

"I am afraid it will try my eyes too much."

"But it is not in manuscript; it is printed."

"My dear, you've never thought of the expense it will be! It will be almost sure to be a loss; for how can you get a book sold? No one knows you or your name."

"But, papa, I don't think it will be a loss. No more will you if you will just let me read you a review or two, and tell you more about it."

So she sat down and read some of the reviews to her father, and then, giving him the copy of "Jane Eyre" that she intended for him, she left him to read it. When he came in to tea he said: "Girls, do you know Charlotte has been writing a book, and it is much better than likely?"

Soon the whole reading world of England was in a ferment to discover the unknown author. Even the publishers were ignorant whether "Currer Bell" was a real or an assumed name till a flood of public opinion had lifted the book from obscurity and had laid it high on the everlasting hills of fame.

The authorship was kept a close secret in the Brontë family, and not even the friend who was all but a sister--Ellen Nussey--knew more about it than the rest of the world. It was indeed through an attempt at sharp practice by another firm that Messrs. Smith & Elder became aware of the identity of the author with Miss Brontë. In the June of 1848, "The Tenant of Wildfell Hall," a second novel by Anne Brontë--"Acton Bell"--was submitted for publication to the firm which had previously published "Wuthering Heights" and "Agnes Grey," and this firm announced the new book in America as by the author of "Jane Eyre," although Messrs. Smith, Elder & Co. had entered into an agreement with an American house for the publication of "Currer Bell's" next tale. On hearing of this, the sisters, Charlotte and Anne, set off instantly for London to prove personally that they were two and not one; and women, not men.

On reaching Mr. Smith's office, Charlotte put his own letter into his hand as an introduction.

"Where did you get this?" said he, as if he could not believe that the two young ladies dressed in black, of slight figures and diminutive stature, looking pleased yet agitated, could be the embodied Currer and Acton Bell for whom curiosity had been hunting so eagerly in vain.

An explanation ensued, and the publisher at once began to form plans for the amusement of the visitors during their three days' stay in London.

In September, 1848, her brother Branwell died. After the Sunday succeeding Branwell's death, Emily Brontë never went out of doors, and in less than three months she, too, was dead. To the last she adhered tenaciously to her habits of independence. She would suffer no one to assist her. On the day of her death she arose, dressed herself, and tried to take up her sewing.

Anne Brontë, too, drooped and sickened from this time in a similar consumption, and on May 28, 1849, died peacefully at Scarborough, pathetically appealing to Charlotte with her ebbing breath: "Take courage, Charlotte; take courage."

VI.--Charlotte Brontë's Closing Years

"Shirley" had been begun soon after the publication of "Jane Eyre." Shirley herself is Charlotte's representation of Emily as she would have been if placed in health and prosperity. It was published five months after Anne's death. The reviews, Charlotte admitted, were "superb."

Visits to London made Miss Brontë acquainted with many of the literary celebrities of the day, including Thackeray and Miss Martineau. In Yorkshire her success caused great excitement. She tells herself how "Martha came in yesterday puffing and blowing, and much excited. 'Please, ma'am, you've been and written two books--the grandest books that ever was seen. They are going to have a meeting at the Mechanics' Institute to settle about ordering them.' When they got the volumes at the Mechanics' Institute, all the members wanted them. They cast lots, and whoever got a volume was allowed to keep it two days, and was to be fined a shilling per diem for longer detention."

In the spring of 1850, Charlotte Brontë paid another visit to London, and later to Scotland, where she found Edinburgh "compared to London like a vivid page of history compared to a dull treatise on political economy; as a lyric, brief, bright, clean, and vital as a flash of lightning, compared to a great rumbling, rambling, heavy epic."

She was in London again in 1851, and was dismayed by the attempts to lionise her. "Villette," written in a constant fight against ill-health, was published in 1853, and was received with one burst of acclamation. This brought to a close the publication of Charlotte's life-time.

The personal interest of the two last years of Charlotte Brontë's life centres on her relations with her father's curate, the Rev. A.B. Nicholls. In 1853, he asked her hand in marriage. He was the fourth man who had ventured on the same proposal. Her father disapproved, and Mr. Nicholls resigned his curacy. Next year, however, her father relented. Mr. Nicholls again took up the curacy, and the marriage was celebrated on June 29, 1854. Henceforward the doors of home are closed upon her married life.

On March 31, 1855, she died before she had attained to motherhood, her last recorded words to her husband being: "We have been so happy." Her life appeals to that large and solemn public who know how to admire generously extraordinary genius, and how to reverence all noble virtue.

* * * * *

EDWARD GIBBON

Memoirs

Gibbon's autobiography was published in 1796, two years after his death, by his friend, Lord Sheffield, under the title "Miscellaneous Works of Edward Gibbon, Esq., with Memoirs of His Life and Writings, Composed by Himself." "After completing his history," says Mr. Birrell, "Gibbon had but one thing left him to do in order to discharge his duty to the universe. He had written a magnificent history of the Roman Empire; it remained to write the history of the historian. It is a most studied performance, and may be boldly pronounced perfect. It is our best, and best known, autobiography." That the writing was studied is shown by the fact that six different sketches were left in Gibbon's handwriting, and from all these the published memoirs were selected and put together. The memoir was briefly completed by Lord Sheffield. Bagehot described the book as "the most imposing of domestic narratives." Truly, it was impossible for Gibbon to doff his dignity, but through the cadenced formality of his style the reader can detect a happy candour, careful sincerity, complacent temper, and a loyalty to friendship that recommend the man as truly as the writer. (See also HISTORY.)

I.--Birth and Education