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214 such a nature are not qualities which touch the world when it finds them in an obscure and homely woman. Even now, very many will not love a heroine so independent of their esteem. They will resent the frank imperiousness, caring not to please, the unyielding strength, the absence of trivial submissive tendernesses, for which she makes amends by such large humane and generous compassion. "In Emily's nature," says her sister, "the extremes of vigour and simplicity seemed to meet. Under an unsophisticated culture, inartificial taste and an unpretending outside, lay a power and fire that might have informed the brain and kindled the veins of a hero; but she had no worldly wisdom—her powers were unadapted to the practical business of life—she would fail to defend her most manifest rights, to consult her legitimate advantage. An interpreter ought always to have stood between her and the world. Her will was not very flexible and it generally opposed her interest. Her temper was magnanimous, but warm and sudden; her spirit altogether unbending."

So speaks Emily's inspired interpreter, whose genius has not made her sister popular. 'Shirley' is not a favourite with a modern public. Emily Brontë was born out of date. Athene, leading the nymphs in their head-long chase down the rocky spurs of Olympus, and stopping in full career to lift in her arms the weanlings, tender as dew, or the chance-hurt cubs of the mountain, might have chosen her as her hunt-fellow. Or Brunhilda, the strong Valkyr, dreading the love of man, whose delight is battle and the wild summits of hills, forfeiting her immortality to shield the helpless and the weak; she would have recognised the kinship of this last-born sister. But we moderns care not for these.