[Footnote A:  The Key to the Bronte Works, by J. Malham-Dembleby.  See Appendix I.]

If this were the only line he took, this amusing theorist might be left alone.  The publication of the Complete Poems settles him.  The value, the really priceless value, of his undertaking is in the long array of parallel passages from the prose of Charlotte and of Emily with which he endeavours to support it.  For, so far from supporting it, these columns are the most convincing, the most direct and palpable refutation of his theory.  If any uncritical reader should desire to see for himself wherein Charlotte and Emily Bronte differed; in what manner, with what incompatible qualities and to what an immeasurable degree the younger sister was pre-eminent, he cannot do better than study those parallel passages.  If ever there was a voice, a quality, an air absolutely apart and distinct, not to be approached by, or confounded with any other, it is Emily Bronte’s.

It was the glare of Charlotte’s fame that caused in her lifetime that blindness and confusion.  And Emily, between pride and a superb indifference, suffered it.  She withdrew, with what seemed an obstinate perversity, into her own magnificent obscurity.  She never raised a hand to help herself.  She left no record, not a note or a word to prove her authorship of Wuthering Heights.  Until the appearance in 1910 of her Complete Poems the world had no proof of it but Charlotte’s statement.  It was considered enough, in Charlotte’s lifetime.  The world accepted her disclaimer.

But the trouble began again after Charlotte’s death.  Emily herself had no legend; but her genius was perpetually the prey of rumours that left her personality untouched.  Among the many provoked by Mrs. Gaskell’s Life, there was one attributing Wuthering Heights to her brother Branwell.[A] Mr. Francis Grundy said that Branwell told him he had written Wuthering Heights.  Mr. Leyland believed Mr. Grundy.  He believed that Branwell was a great poet and a great novelist, and he wrote two solid volumes of his own in support of his belief.

[Footnote A:  The curious will find a note on this point in Appendix II.]

Nobody believes in Mr. Grundy, or in Mr. Leyland and his belief in Branwell now.  All that can be said of Branwell, in understanding and extenuation, is that he would have been a great poet and a greater novelist if he could have had his own way.

This having of your own way, unconsciously, undeliberately, would seem to be the supreme test of genius.  Having your own way in the teeth of circumstances, of fathers and of brothers, and of aunts, of school-mistresses,[A] and of French professors, of the parish, of poverty, of public opinion and hereditary disease; in the teeth of the most disastrous of all hindrances, duty, not neglected, but fulfilled.  By this test the genius of Emily Bronte fairly flames; Charlotte’s stands beside it with a face hidden at times behind bruised and darkened wings.  By this test even Anne’s pale talent shows here and there a flicker as of fire.  In all three the having of their own way was, after all, the great submission, the ultimate obedience to destiny.