The Three Brontës

by May Sinclair

Finally, there are two poems in Mr. Shorter's collection that, verse for prose, might have come straight out of Wuthering Heights. One (inspired by Byron) certainly belongs to the Zamorna legend of the Gondal cycle.

And now the house-dog stretched once more
His limbs upon the glowing floor;
The children half resume their play,
Though from the warm hearth scared away;
The good-wife left her spinning-wheel
And spread with smiles the evening meal;
The shepherd placed a seat and pressed
To their poor fare the unknown guest,
And he unclasped his mantle now,
And raised the covering from his brow,
Said, voyagers by land and sea
Were seldom feasted daintily,
And cheered his host by adding stern
He'd no refinement to unlearn.

Which is what Heathcliff would have said sternly. Observe the effect of him.

A silence settled on the room,
The cheerful welcome sank to gloom;
But not those words, though cold or high,
So froze their hospitable joy.
No—there was something in his face,
Some nameless thing which hid not grace,
And something in his voice's tone
Which turned their blood as chill as stone.
The ringlets of his long black hair
Fell o'er a cheek most ghastly fair.
Youthful he seemed—but worn as they
Who spend too soon their youthful day.
When his glance dropped, 'twas hard to quell
Unbidden feelings' hidden swell;
And Pity scarce her tears could hide,
So sweet that brow with all its pride.
But when upraised his eye would dart
An icy shudder through the heart,
Compassion changed to horror then,
And fear to meet that gaze again.

It was not hatred's tiger-glare,
Nor the wild anguish of despair;
It was not either misery
Which quickens friendship's sympathy;
No—lightning all unearthly shone
Deep in that dark eye's circling zone,
Such withering lightning as we deem
None but a spirit's look may beam;
And glad were all when he turned away
And wrapt him in his mantle grey,
And hid his head upon his arm,
And veiled from view his basilisk charm.

That, I take it, is Zamorna, that Byronic hero, again; but it is also uncommonly like Heathcliff, with "his basilisk eyes". And it is dated July 1839, seven years before Wuthering Heights was written.

The other crucial instance is a nameless poem to the Earth.

I see around me piteous tombstones grey
Stretching their shadows far away.
Beneath the turf my footsteps tread
Lie low and lone the silent dead;
Beneath the turf, beneath the mould,
For ever dark, for ever cold.
And my eyes cannot hold the tears
That memory hoards from vanished years.
For Time and Death and mortal pain
Give wounds that will not heal again.
Let me remember half the woe
I've seen and heard and felt below,
And heaven itself, so pure and blest,
Could never give my spirit rest.
Sweet land of light! Thy children fair
Know nought akin to our despair;
Nor have they felt, nor can they tell
What tenants haunt each mortal cell,
What gloomy guests we hold within,
Torments and madness, fear and sin!
Well, may they live in ecstasy
Their long eternity of joy;
At least we would not bring them down
With us to weep, with us to groan.
No, Earth would wish no other sphere
To taste her cup of suffering drear;
She turns from heaven a tearless eye
And only mourns that we must die!
Ah mother! what shall comfort thee
In all this boundless misery?
To cheer our eager eyes awhile,
We see thee smile, how fondly smile!
But who reads not through the tender glow
Thy deep, unutterable woe?
Indeed no darling hand above
Can cheat thee of thy children's love.
We all, in life's departing shine,
Our last dear longings blend with thine,
And struggle still, and strive to trace
With clouded gaze thy darling face.
We would not leave our nature home
For any world beyond the tomb.
No, mother, on thy kindly breast
Let us be laid in lasting rest,
Or waken but to share with thee
A mutual immortality.

There is the whole spirit of Wuthering Heights; the spirit of Catherine Earnshaw's dream; the spirit that in the last page broods over the moorland graveyard. It is instinct with a more than pagan adoration of the tragic earth, adored because of her tragedy.

It would be dangerous to assert positively that "Remembrance" belongs to the same song-cycle; but it undoubtedly belongs to the same cycle, or rather cyclone, of passion; the cyclone that rages in the hearts of Heathcliff and of Catherine. The genius of Emily Brontë was so far dramatic that, if you could divide her poems into the personal and impersonal, the impersonal would be found in a mass out of all proportion to the other. But, with very few exceptions, you cannot so divide them; for in her continuous and sustaining dream, the vision that lasted for at least eleven years of her life, from eighteen-thirty-four, the earliest date of any known Gondal poem, to eighteen-forty-five, the last appearance of the legend, she was these people; she lived, indistinguishably and interchangeably, their tumultuous and passionate life. Sometimes she is the lonely spirit that looks on in immortal irony, raised above good and evil. More often she is a happy god, immanent in his restless and manifold creations, rejoicing in this multiplication of himself. It is she who fights and rides, who loves and hates, and suffers and defies. She heads one poem naïvely: "To the Horse Black Eagle that I rode at the Battle of Zamorna." The horse I rode! If it were not glorious, it would be (when you think what her life was in that Parsonage) most mortally pathetic.