Page:A note on Charlotte Brontë (IA note00swinoncharlottebrich).pdf/101

 Shirley Keeldar and Lucy Snowe, affords yet another point of contrast or distinction between the manner and motive of work respectively perceptible in the design of either sister. Emily Brontë, like William Blake, would probably have said, or at least would presumably have felt, that such study after the model was to her impossible—an attempt but too certain to diminish her imaginative insight and disable her creative hand; while Charlotte evidently never worked so well as when painting more or less directly from nature. Almost the only apparent exception, as far as we—the run of her readers—know, is the wonderful and incomparable figure of Rochester. For M. Paul she must have had some kind of model, however transfigured and dilated by the