And set the world aside,
To see upon her ebon throne
The Moon in glory ride.'
Branwell's letter to Wordsworth is, for the most part, well written, and breathes an eager spirit, which shows the anxiety he was under to know the opinion of a high and competent judge as to how he stood with the Nine. It tells us the ardour with which he read and wrote, the ambitious turn of his mind, and the special aims which he then had in the literary world. But the verses, although imbued with a fervent spirit of early piety, were such as Wordsworth could not justly review without giving discouragement, and it seems probable he preferred to keep silence rather than, by an open avowal, to give pain—if pain must be given—as the lesser evil of the two. Or, perhaps, he took amiss the ready frankness and apparent self-esteem which, notwithstanding the disavowal, would probably seem present to him in the letter of the young stranger who addressed him, without sending any evidence of the powers of which he expressed himself so confidently. But, at any rate, Mrs. Gaskell informs us that the letter and verses were preserved by the poet till the Brontës became celebrated, and that he gave the communication to his friend, Mr. Quillinan, in 1850, when the real name of 'Currer Bell' became known.
It must not be overlooked that, in the verses which Mrs. Gaskell has printed, we have no opportunity of studying Branwell's dramatic powers, which apparently found scope in the poem he had written. In them is no development of the effect of the passionate feelings which Branwell describes: 'struggling with a high imagination and acute feelings,' and ending 'in mental misery and bodily ruin.'
However, discouraged by long waiting, or assisted by friendly advice and criticism, he toiled on in silence at his literary work, as he did at art. The year 1837 turned out an important one for Charlotte. In March, she at last received the answer from Southey, which she considered a 'little stringent,' and from which she declared she had derived good. She says, in her reply to the Laureate, 'I trust I shall never more feel ambitious to see my name in print…. That letter is consecrated; no one shall ever see it, but papa, and my brother and my sisters.'
It would seem that Branwell, notwithstanding the failure of his first venture with Wordsworth, tried again, at a later date, with some other, and more matured, compositions, which he submitted to that poet and to Hartley Coleridge, 'who both,' says Mrs. Gaskell, 'expressed kind and laudatory opinions.' But, perhaps, the fact that, to the letter quoted above, Wordsworth sent no answer, and did not tell him whether he should 'write on, or write no more,' discouraged Branwell for a time; and he may have been led to suspect that his productions were worthless, and that time might 'henceforth be too precious to be wasted upon them.' In this way, perhaps, he was induced to turn with greater energy to his profession of art, as a means of getting on, of which I spoke in a former chapter, though we shall see that he did not abandon his literary work.
Branwell also now found opportunities of making himself acquainted with the grand and wild scenery of the mountainous borders of the counties of York and Lancaster, a wider district than his sisters could well survey.
The Manchester and Leeds Railway was, at the time, in course of construction below Littleborough, passing through the picturesque and romantic vale of Todmorden. Branwell became greatly interested in the work; and as stores, and other things for the completion of the line to Hebden Bridge, were forwarded from Littleborough by canal, having been previously sent to that place from Manchester by train, he soon ingratiated himself with the boatmen, and was frequently seen in their boats. It was on one of these occasions that Mr. Woolven, previously mentioned, who was officially employed on the works, recognized at once the clever young man who had surprised the company at the 'Castle Tavern,' Holborn, and entered into conversation with him. These incidents led to a friendly intercourse between them, which continued for some years.
Among his Bradford acquaintances, Branwell numbered, in addition to Geller, the mezzotinto-engraver, previously mentioned, Wilson Anderson, an admirable landscape-painter, whose productions are valued as truthful pictures of the places they represent, and on account of the skilfulness of their manipulation and colouring; and also Richard Waller, a well-known and excellent portrait-painter. To these may be added Edward Collinson, a local poet; Robert Story; and John James, the future historian of Bradford. All these were personal acquaintances of Branwell, as well as of Leyland, and the intercourse between them was frequent. For more than twenty years a party of these friends was accustomed to meet, from time to time, at the 'George Hotel,' Bradford, under the auspices of Miss Rennie, who greatly prided herself on seeing at her house, in their hours of leisure, the artistic and literary celebrities of the neighbourhood. Leyland was at Halifax, being there to erect certain monuments, which he had executed in London for various patrons in his native town. While there, he modelled, in the upper room of an ancient house, his colossal group of 'African Bloodhounds,' his model being a living specimen of the breed; and the group, which was exhibited in London, was favourably noticed. Landseer regarded it as the 'noblest modern work of its kind.' It is now in the Salford Museum. The progress of this group intensely interested Branwell and his Bradford friends; and they frequently visited Leyland's temporary studio. It also formed the subject of a poem by Dearden.[ [27] Finding this studio of insufficient height for a great work he contemplated—a colossal group of 'Thracian Falconers'—Leyland afterwards took a suitable place in another part of the town, which, likewise, became a meeting-place of the local literati. The new work was to consist of three figures, the centre one being seated, and having upon his right fore-finger a hawk; while his left hand rested on the shoulder of a youth just roused, as if by some sudden sound; and, on his right, was a similar youth, half-recumbent, and also in a listening attitude. The centre figure was alone completed, and is now in the Salford Museum.