The Greatest Essays of Virginia Woolf. Virginia Woolf

the clear panes of glass, protecting, but not separating me from the drear November day. At intervals, while turning over the leaves of my book, I studied the aspect of that winter afternoon.

      Afar, it offered a pale blank of mist and cloud; near, a scene of wet lawn and storm-beat shrub, with ceaseless rain sweeping away wildly before a long and lamentable blast.

      There is nothing there more perishable than the moor itself, or more subject to the sway of fashion than the “long and lamentable blast”. Nor is this exhilaration short-lived. It rushes us through the entire volume, without giving us time to think, without letting us lift our eyes from the page. So intense is our absorption that if some one moves in the room the movement seems to take place not there but up in Yorkshire. The writer has us by the hand, forces us along her road, makes us see what she sees, never leaves us for a moment or allows us to forget her. At the end we are steeped through and through with the genius, the vehemence, the indignation of Charlotte Bronte. Remarkable faces, figures of strong outline and gnarled feature have flashed upon us in passing; but it is through her eyes that we have seen them. Once she is gone, we seek for them in vain. Think of Rochester and we have to think of JAYNE EYRE. Think of the moor, and again there is JAYNE EYRE. Think of the drawing-room, [Note, below] even, those “white carpets on which seemed laid brilliant garlands of flowers”, that “pale Parian mantelpiece” with its Bohemia glass of “ruby red” and the “general blending of snow and fire”—what is all that except JAYNE EYRE?

      [Note: Charlotte and Emily Brontë had much the same sense of colour.

      “… we saw—ah! it was beautiful—a splendid place carpeted with crimson, and crimson-covered chairs and tables, and a pure white ceiling bordered by gold, a shower of glass drops hanging in silver chains from the centre, and shimmering with little soft tapers ” (WUTHERING HEIGHTS).

      “Yet it was merely a very pretty drawing-room, and within it a boudoir, both spread with white carpets, on which seemed laid brilliant garlands of flowers; both ceiled with snowy mouldings of white grapes and vine leaves, beneath which glowed in rich contrast crimson couches and ottomans; while the ornaments on the pale Parian mantelpiece were of sparkling Bohemia glass, ruby red; and between the windows large mirrors repeated the general blending of snow and fire” (JANE EYRE).]

      The drawbacks of being Jane Eyre are not far to seek. Always to be a governess and always to be in love is a serious limitation in a world which is full, after all, of people who are neither one nor the other.

      The characters of a Jane Austen or of a Tolstoi have a million facets compared with these. They live and are complex by means of their effect upon many different people who serve to mirror them in the round. They move hither and thither whether their creators watch them or not, and the world in which they live seems to us an independent world which we can visit, now that they have created it, by ourselves. Thomas Hardy is more akin to Charlotte Bronte in the power of his personality and the narrowness of his vision. But the differences are vast. As we read JUDE THE OBSCURE we are not rushed to a finish; we brood and ponder and drift away from the text in plethoric trains of thought which build up round the characters an atmosphere of question and suggestion of which they are themselves, as often as not, unconscious. Simple peasants as they are, we are forced to confront them with destinies and questionings of the hugest import, so that often it seems as if the most important characters in a Hardy novel are those which have no names. Of this power, of this speculative curiosity, Charlotte Brontë has no trace. She does not attempt to solve the problems of human life; she is even unaware that such problems exist; all her force, and it is the more tremendous for being constricted, goes into the assertion, “I love”, “I hate”, “I suffer”.

      For the self-centred and self-limited writers have a power denied the more catholic and broad-minded. Their impressions are close packed and strongly stamped between their narrow walls. Nothing issues from their minds which has not been marked with their own impress. They learn little from other writers, and what they adopt they cannot assimilate. Both Hardy and Charlotte Brontë appear to have founded their styles upon a stiff and decorous journalism. The staple of their prose is awkward and unyielding. But both with labour and the most obstinate integrity, by thinking every thought until it has subdued words to itself, have forged for themselves a prose which takes the mould of their minds entire; which has, into the bargain, a beauty, a power, a swiftness of its own.

      Charlotte Brontë, at least, owed nothing to the reading of many books.

      She never learnt the smoothness of the professional writer, or acquired his ability to stuff and sway his language as he chooses. “I could never rest in communication with strong, discreet, and refined minds, whether male or female”, she writes, as any leader-writer in a provincial journal might have written; but gathering fire and speed goes on in her own authentic voice “till I had passed the outworks of conventional reserve and crossed the threshold of confidence, and won a place by their hearts’

      very hearthstone”. It is there that she takes her seat; it is the red and fitful glow of the heart’s fire which illumines her page. In other words, we read Charlotte Brontë not for exquisite observation of character—her characters are vigorous and elementary; not for comedy—hers is grim and crude; not for a philosophic view of life—hers is that of a country parson’s daughter; but for her poetry. Probably that is so with all writers who have, as she has, an overpowering personality, so that, as we say in real life, they have only to open the door to make themselves felt. There is in them some untamed ferocity perpetually at war with the accepted order of things which makes them desire to create instantly rather than to observe patiently. This very ardour, rejecting half shades and other minor impediments, wings its way past the daily conduct of ordinary people and allies itself with their more inarticulate passions. It makes them poets, or, if they choose to write in prose, intolerant of its restrictions. Hence it is that both Emily and Charlotte are always invoking the help of nature. They both feel the need of some more powerful symbol of the vast and slumbering passions in human nature than words or actions can convey. It is with a description of a storm that Charlotte ends her finest novel VILLETTE. “The skies hang full and dark—a wrack sails from the west; the clouds cast themselves into strange forms.” So she calls in nature to describe a state of mind which could not otherwise be expressed. But neither of the sisters observed nature accurately as Dorothy Wordsworth observed it, or painted it minutely as Tennyson painted it. They seized those aspects of the earth which were most akin to what they themselves felt or imputed to their characters, and so their storms, their moors, their lovely spaces of summer weather are not ornaments applied to decorate a dull page or display the writer’s powers of observation-they carry on the emotion and light up the meaning of the book.

      The meaning of a book, which lies so often apart from what happens and what is said and consists rather in some connection which things in themselves different have had for the writer, is necessarily hard to grasp. Especially this is so when, like the Brontës, the writer is poetic, and his meaning inseparable from his language, and itself rather a mood than a particular observation. WUTHERING HEIGHTS is a more difficult book to understand than JAYNE EYRE, because Emily was a greater poet than Charlotte. When Charlotte wrote she said with eloquence and splendour and passion “I love “, “I hate”, “I suffer”. Her experience, though more intense, is on a level with our own. But there is no “I” in WUTHERING HEIGHTS. There are no governesses. There are no employers. There is love, but it is not the love of men and women. Emily was inspired by some more general conception. The impulse which urged her to create was not her own suffering or her own injuries. She looked out upon a world cleft into gigantic disorder and felt within her the power to unite it in a book. That gigantic ambition is to be felt throughout the novel—a struggle, half thwarted but of superb conviction, to say something through the mouths of her characters which is not merely “I love” or “I hate”, but “we, the whole human race ” and “you, the eternal powers …” the sentence remains unfinished. It is not strange that it should be so; rather it is astonishing that she can make us feel what she had it in her to say at all. It surges up in the half-articulate words of Catherine Earnshaw, “If all else perished and HE remained, I should still continue to be; and if all else remained and he were annihilated, the universe would turn to a mighty stranger; I should not seem part of it”. It breaks out again