The Brontes

The Critical Heritage

Professor Miriam Allott, Miriam Allott, Professor Miriam Allott, Miriam Allott

• Publisher: Routledge
• Year: 2013
• Print ISBN:
  9780415134613
• eBook ISBN:
  9781136173882
• Topic: Literature
• Subtopic: Literary Criticism
• Index: Literature

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.

Part I

The critical reputation of the ‘brothers Bell’, 1846–53

Poems by Currer, Ellis and Acton Bell

May 1846

1. From an unsigned review, Critic

4 July 1846, 6–8

See Introduction, pp. 18–19. Charlotte described the review to W. S. Williams on 9 October 1847 as ‘unexpectedly and generously eulogistic’, while that in the Athenaeum was ‘more qualified, but still not discouraging’ (LL, ii, 147–8). The passage which particularly pleased the authors is indicated below.

No preface introduces these poems to the reader. Who are Currer, Ellis, and Acton Bell, we are nowhere informed. Whether the triumvirate have published in concert, or if their association be the work of an editor, viewing them as kindred spirits, is not recorded. If the poets be of a past or of the present age, if living or dead, whether English or American, where born, or where dwelling, what their ages or station – nay, what their Christian names, the publishers have not thought fit to reveal to the curious reader. Perhaps they desired that the poems should be tried and judged upon their own merits alone, apart from all extraneous circumstances, and if such was their intent, they have certainly displayed excellent taste in the selection of compositions that will endure the difficult ordeal.

Indeed, it is long since we have enjoyed a volume of such genuine poetry as this. Amid the heaps of trash and trumpery in the shape of verses, which lumber the table of the literary journalist, this small book of some 170 pages only has come like a ray of sunshine, gladdening the eye with present glory, and the heart with promise of bright hours in store. Here we have good, wholesome, refreshing, vigorous poetry – no sickly affectations, no namby-pamby, no tedious imitations of familiar strains, but original thoughts, expressed in the true language of poetry – not in its cant, as is the custom with mocking-bird poets. The triumvirate have not disdained sometimes to model after great masters, but then they are in the manner only, and not servile copies. We see, for instance, here and there traces of an admirer of Wordsworth, and perhaps of Tennyson; but for the most part the three poets are themselves alone; they have chosen subjects that have freshness in them, and their handling is after a fashion of their own. To those whose love of poetry is more a matter of education than of heart, it is probable that these poems may not prove attractive; they too much violate the conventionalities of poetry for such as look only to form, and not to substance; but they in whose hearts are chords strung by nature to sympathize with the beautiful and the true in the world without, and their embodiments by the gifted among their fellow men, will recognize in the compositions of Currer, Ellis and Acton Bell, the presence of more genius than it was supposed this utilitarian age had devoted to the loftier exercises of the intellect.¹

Being such, we make no apology for extracting from these poems more largely than is our custom, or, rather, than the worthlessness of most of the books of verses submitted to us will permit …

The first poem in the book is one of the most original and powerful in the collection, but, unfortunately, its length forbids its being transplanted entire… .

[quotes Charlotte’s ‘Pilate’s Wife’s Dream’ stanzas 1–6]

The next we take is Ellis. A trite topic, but how newly handled !

[quotes ‘The winter wind is loud and wild …’]

The following reminds us of some quaint but powerful productions of the close of the Elizabethan age.

[quotes Anne’s ‘Vanitas vanitatum, omnia vanitas’]

How sweet and pure is this by Ellis !

[quotes ‘The linnet in the rocky dells …’]

Currer has contributed the following exquisitely beautiful sketch – a picture in words as full of colour as any that ever came from the easel of an R. A.

[quotes ‘The Letter’]

Lastly, we extract, because it is short, some stanzas by Ellis, on ‘Sympathy’.

[gives both stanzas]

And we might copy twenty equally beautiful and original with the above, and they will, we are sure, recommend the volume that contains them to the regards of all lovers of true poetry.

2. From an unsigned notice, Athenaeum

4 July 1846, 682

From ‘Poetry of the Million’, which notices collections by S. and E. Hersee, E. J. Hughes, E. L. Harvey, C. E. Kennaway and Mrs Thomas. The reviewer turns to ‘the Bells’ after discussing S. and E. Hersee’s My Dream, and Other Poems. See Introduction, pp. 17, 18 and No. 1.

The second book on our list furnishes another example of a family in whom appears to run the instinct of song. It is shared, however, by the three brothers – as we suppose them to be – in very unequal proportions; requiring in the case of Acton Bell, the indulgences of affection … and rising, in that of Ellis, into an inspiration, which may yet find an audience in the outer world. A fine quaint spirit has the latter, which may have things to speak that men will be glad to hear, – and an evident power of wing that may reach heights not here attempted.

[quotes ‘The Philosopher’, stanzas 3–5]

How musical he can be, and how lightly and easily the music falls from his heart and pen, a verse or two from a ‘Song’ may testify.

[quotes ‘The linnet in the rocky dells…’, stanzas 1–2, 5–7]

The little poem that follows, which we give complete, furnishes a hint as to the writer’s moods; yet he is no copyist. There is not in this volume enough to judge him by – but, to our mind, an impression of originality is conveyed, beyond what his contributions to these pages embody.

[quotes ‘Hope was but a timid friend …’]

The Muse of Currer Bell walks half way betwixt the level of Acton’s and the elevation attained by Ellis. It is rarely that the whole of one of his poems is up to the scale registered by parts. A bit here and there from the ‘Monologue of the Teacher’ in his lonely schoolroom, away from the friends and fields of happier and less toilsome days, may give the tone and manner of his singing.

[quotes ‘The Teacher’s Monologue’, ll. 41–70, 79–82]

And a few lines from the dying words of the apostate lady to the pleading priest.

[quotes ‘Apostasy’, ll. 65–76]

3. W. A. Butler, from an unsigned notice, Dublin University Magazine

October 1846, xxviii, 383–91

William Archer Butler (1814–48), Professor of Moral Philosophy at Dublin (1837–48), besides contributing to this periodical, published his Sermons (1855–6) and Lectures (1856). He visited Wordsworth in 1844. Charlotte wrote to the editor on 6 October 1846:

I thank you in my own name and that of my brothers… for the indulgent notice… of our first humble efforts in literature; but I thank you far more for the essay on Modem poetry which preceded that notice – an essay in which seems … to be condensed the very spirit of truth and beauty (LL, ii, 112).

See Introduction, p. 19.

Of the triad of versemen, who style themselves ‘Currer, Ellis and Acton Bell’, we know nothing beyond the little volume in which, without preface or comment, they assume the grave simplicity of title, void of proenomen or agnomen … Whether … there be indeed ‘a man behind’ each of these representative titles; or whether it be in truth but one master spirit – for the book is, after all, not beyond the utmost powers of a single human intelligence – that has been pleased to project itself into three imaginary poets, – we are wholly unable to conjecture … The tone of all these little poems is certainly uniform; this, however, is no unpardonable offence, if they be, as in truth they are, uniform in a sort of Cowperian amiability and sweetness, no-wise unfragrant to our critical nostrils. The fairest course may, perhaps, be, to present a little specimen from each of the three.

The following pretty stanzas are from Currer’s pen.

[quotes ‘The Wife’s Will’]

Ellis contributes this touching ‘Death-Scene.’

[quotes ‘O Day! he cannot die …’]

And now loquitur Acton Bell.

[quotes ‘A Reminiscence’]

There are pleasing thoughts, too, in Ellis’s poem about the ‘Stars’ [‘Ah! why, because the dazzling sun …’]; and his ‘Prisoner’ [‘In the dungeon-crypts idly did I stray …’]; and Currer’s ‘Gilbert’ is impressively told. Altogether, we are disposed to approve of the efforts of ‘these three gentlemen aforesaid’… their verses are full of unobtrusive feeling; and their tone of thought seems unaffected and sincere.

4. From an unsigned notice, Spectator

11 November 1848, xxi, 1094–5

The second issue of the Poems, now under Smith, Elder’s imprint, appeared early in November 1848 (see Introduction, p. 9).

To those who think the subject worth attention, this volume will furnish data for examining the resemblances that have been observed and the differences detected in the prose fictions published separately under the names of Currer, Ellis, and Acton Bell. We do not know that it will settle the question as to whether the writers are identical or merely akin. The mass of the poems in this volume are occasional, and often on such common subjects as are usually found in ‘miscellanies’: the more peculiar pieces (as far as subject is concerned) are chiefly by Currer Bell, but furnish little means of judging; since all the Bells selected incidents and persons of a singular character, produced by circumstances of a rare kind, or arising from isolated modes of life. In the prose works, the story, however strange and coarse, was consistent with itself and distinct in its purpose. In the larger narrative poems by Currer Bell, both these qualities are wanting: there is often neither head nor tail; or, when the story is distinctly told, it is not only unlikely, but inconsistent with itself. As far as execution is concerned, the poems under the signature of Currer are entitled to the preeminence. They exhibit more power and possess a greater interest: but this is not conclusive as to difference of authorship. Part of the comparative inferiority of the others may arise from the greater quietness of a small or the triteness of a common subject; it may be accident, or even art.

The essence of poetry – that quality so difficult to define yet so easy to recognize – is rare in the volume. Of the formal and secondary properties there is a good deal. The poems have frequently much strength of thought and vigour of diction, with a manner which, though degenerating into mannerism, is very far removed from commonplace; while in the poorest ‘stanzas,’ without a subject at all, there is still a style which separates them from the effusions of poetasters. The effect of the volume, however, is by no means proportioned to the abilities possessed by the authors. The novels of the Bells have stopped short of an excellence that seemed attainable, from ill-chosen subjects, alike singular and coarse. This defect is visible enough in the poems; but a greater cause of ill success is a disregard of the nature of poetical composition. Where the knack or gift exists, verse can possibly be written with as much certainty as prose, if with less readiness and in less abundance: but the result is the kind of poetry which is not endured by gods, men, or bookstalls. If the structure of the piece does not require more thought than in prose, it requires as much; and, most assuredly, an incident or a narrative that would never be ventured in plain prose, is not from its excess of incongruity adapted to verse. Yet ‘Pilate’s Wife’s Dream,’ ‘Gilbert,’ and perhaps nearly all the story pieces by Currer Bell, are really in this predicament. As regards the sentiments and ‘composition’ of poetry, there is no doubt but that a careful selection of the thoughts and the exercise of the labor limœ are more essential than in prose. Few persons who write down any sudden thoughts that strike them would dream of publishing them in prose; and wherefore in verse? A promising idea rises in the poet’s mind, and he commits it to paper; but time is needed to test its value – careful labour to elicit its full proportion, and to clothe it in the most apt language; after all, it may be doomed to the flames, as falling short of necessary excellence. We suspect such kind of care has not been bestowed upon this volume: the indispensable arts of selection and of blotting are yet to be learned by the Bells. If, as seems not unlikely, they are infected with a rage for literary experiment and an itch of writing, they will by no means fulfil the expectation which some have formed of them, or even hold their ground; especially as their experience or their taste seems limited to one kind of life, and that both peculiar and extreme.

One merit belonging to the Bells, especially to Currer, is occasionally found in these pieces, – an easy naturalness, that imparts strength to common things without impairing their homely truth. Such are these lines; which, however, open a tale without intelligible drift.

[quotes ‘Mementos’, ll. 1–36]

The following verses, under the signature of ‘Ellis,’ are called a song, though without any lyric quality: they are nearer the short ballad. But we quote them as exhibiting a specimen of the taste which the works of these writers show for local manners, or singular feelings, thoughts, and actions.

[quotes ‘The linnet in the rocky dells …’]

¹ Charlotte suggested that the passage ‘they in whose hearts… exercises of the intellect’ should be used in advertising the Poems (LL, ii, 102; see headnote).

The Novels of ‘Currer Bell’ 1847–53

Jane Eyre

October 1847

5. From an unsigned review, Atlas

23 October 1847, 719

The Atlas was attentive to the Brontës (see Nos 25, 63) and gave them substantial space in its review columns. The omitted passages here include further details of the story with quotations from chapter 9 to illustrate ‘the character of the little governess as sketched by Rochester … in the guise of a gipsy hag’, and from chapter 27 to give ‘a sample of the dialogue from a long scene of absorbing interest’ after the wedding ‘has been broken off at the very altar foot’.

This is not merely a work of great promise; it is one of absolute performance. It is one of the most powerful domestic romances which have been published for many years. It has little or nothing of the old conventional stamp upon it; none of the jaded, exhausted attributes of a worn-out vein of imagination, reproducing old incidents and old characters in new combinations; but is full of youthful vigour, of freshness and originality, of nervous diction and concentrated interest. The incidents are sometimes melo-dramatic, and, it might be added, improbable; but these incidents, though striking, are subordinate to the main purpose of the piece, which depends not upon incident, but on the development of character; it is a tale of passion, not of intensity which is almost sublime. It is a book to make the pulses gallop and the heart beat, and to fill the eyes with tears.

Jane Eyre tells her own story. She is an orphan child, outwardly adopted but inwardly repudiated by a hard, unfeeling woman, her aunt, who outrages the affections of the child, and would fain crush her spirit. The little girl turns at times against her oppressor; and resistance strengthens the hatred and stimulates the cruelty of the bad woman. Jane is sent to a charitable institution, where she spends eight years of her life, emerging thence, at the age of eighteen, in the character of a governess. Here the interest of the story commences. The history of Jane’s life at the Lowood institution is, perhaps, unnecessarily lengthened out. There is an air of truth about it; and we do not doub...

Table of contents

• Cover Page
• Half Title page
• Series page
• Title Page
• Copyright Page
• Dedication
• General Editor's Preface
• Contents
• Preface
• Acknowledgments
• Abbreviations
• Chronological Table
• Introduction
• Note on the Text
• Part I The critical reputation of the ‘brothers Bell', 1846–53
• The Novels of ‘Currer Bell' 1947–53 October 1847
• Shirley October 1849
• Villette January 1853
• The Novels of ‘Ellis and Acton Bell', 1847–8
• The Tenant of Wildfell Hall Summer 1848
• Part II The Brontës in the 1850s
• Wuthering Heights and Agnes Grey 1850 edition
• Mrs Gaskell's the Life of Charlotte Brontë (1857)
• Part III Judgments and opinions, 1858–99
• Bibliography
• Index