Miss Brontë’s handwriting was exceedingly small, nervous, and poor, but quite legible. Her first manuscript was a very small square book, or folding of paper, from which she copied, with extreme care. She was as much surprised to find that I never copy at all, as I was at her imposing on herself so much toil which seems to me unnecessary.
Harriet Martineau: ‘Autobiography.’
Charlotte’s pen-portrait of herself.
Those who would understand Charlotte, even more than those who would understand Emily, should study the difference of tenderness between the touch that drew Shirley Keeldar and the touch that drew Lucy Snowe. This latter figure, as Mr. Wemyss Reid has observed with indisputable accuracy of insight, was, doubtless, if never meant to win liking or made to find favor in the general reader’s eyes, yet none the less evidently on that account the faithful likeness of Charlotte Brontë, studied from the life, and painted by her own hand with the sharp austere precision of a photograph rather than a portrait. But it is herself with the consolation and support of her genius withdrawn, with the strength of her spiritual arm immeasurably shortened, the cunning of her right hand comparatively cancelled; and this it is that makes the main undertone and ultimate result of the book somewhat mournfuller even than the literal record of her mournful and glorious life.
A. C. Swinburne: ‘A Note on Charlotte Brontë.’ London: Chatto & Windus, 1877.
A chat with Mrs. Gaskell.
The parlor at Haworth in Charlotte’s last days.
We talked over the clear, bright fire; it is a cold country, and the fires were a pretty warm dancing light all over the house. The parlor has been evidently refurnished within the last few years, since Miss Brontë’s success has enabled her to have a little more money to spend. Everything fits into, and is in harmony with, the idea of a country parsonage, possessed by people of very moderate means. The prevailing color of the room is crimson, to make a warm setting for the cold, gray landscape without. There is her likeness by Richmond, and an engraving from Laurence’s picture of Thackeray; and two recesses on each side of the high, narrow, old-fashioned mantel-piece, filled with books—books given to her, books she has bought, and which tell of her individual pursuits and tastes; not standard books.