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Am I wrong—or, were you hasty in what you said? If you have time, I should be glad to hear further on this subject; if not, or if you think the questions frivolous, do not trouble yourself to reply.

The argument continued

18 Jan. 1848.

Dear Sir,

I must write you one more note, though I had not intended to trouble you again so soon. I have to agree with you, and to differ from you.

You correct my crude remarks on the subject of the 'influence'; well, I accept your definition of what the effects of that influence should be; I recognize the wisdom of your rules for its regulation….

What a strange lecture comes next in your letter! You say I must familiarize my mind with the fact, that 'Miss Austen is not a poetess, has no "sentiment"' (you scornfully enclose the word in inverted commas), 'no eloquence, none of the ravishing enthusiasm of poetry',—and then you add, I must 'learn to acknowledge her as one of the greatest artists, of the greatest painters of human character, and one of the writers with the nicest sense of means to an end that ever lived'.

The last point only will I ever acknowledge.

Can there be a great artist without poetry?

What I call—what I will bend to, as a great artist then—cannot be destitute of the divine gift. But by poetry, I am sure, you understand something different to what I do, as you do by 'sentiment'. It is poetry, as I comprehend the word, which elevates that masculine George Sand, and makes out of something coarse, something Godlike. It is 'sentiment', in my sense of the term—sentiment jealously hidden, but genuine, which extracts the venom from that formidable Thackeray, and converts what might be corrosive poison into purifying elixir.

If Thackeray did not cherish in his large heart deep feeling for his kind, he would delight to exterminate; as it is, I believe, he wishes only to reform. Miss Austen being, as you say, without 'sentiment', without poetry, maybe is sensible, real (more real than true), but she cannot be great.

I submit to your anger, which I have now excited (for have I not questioned the perfection of your darling?); the storm may pass over me. Nevertheless, I will, when I can (I do not know when that will be, as I have no access to a circulating library), diligently peruse all Miss Austen's works, as you recommend…. You must forgive me for not always being able to think as you do, and still believe me, Yours gratefully.

Illness and death of Emily Brontë

23 Nov. 1848.

I told you Emily was ill, in my last letter. She has not rallied yet. She is very ill. I believe, if you were to see her, your impression would be that there is no hope. A more hollow, wasted, pallid aspect I have not beheld. The deep tight cough continues; the breathing after the least exertion is a rapid pant; and these symptoms are accompanied by pains in the chest and side. Her pulse, the only time she allowed it to be felt, was found to beat 115 per minute. In this state she resolutely refuses to see a doctor; she will give no explanation of her feelings, she will scarcely allow her feelings to be alluded to. Our position is, and has been for some weeks, exquisitely painful. God only knows how all this is to terminate. More than once, I have been forced boldly to regard the terrible event of her loss as possible, and even probable. But nature shrinks from such thoughts. I think Emily seems the nearest thing to my heart in the world.

* * * * *

10 Dec.

I hardly know what to say to you about the subject which now interests me the most keenly of anything in this world, for, in truth, I hardly know what to think myself. Hope and fear fluctuate daily. The pain in her side and chest is better; the cough, the shortness of breath, the extreme emaciation, continue. I have endured, however, such tortures of uncertainty on this subject that, at length, I could endure it no longer; and as her repugnance to seeing a medical man continues immutable,—as she declares 'no poisoning doctor' shall come near her,—I have written, unknown to her, to an eminent physician in London, giving as minute a statement of her case and symptoms as I could draw up, and requesting an opinion. I expect an answer in a day or two. I am thankful to say that my own health at present is very tolerable. It is well such is the case; for Anne, with the best will in the world to be useful, is really too delicate to do or bear much. She too, at present, has frequent pains in the side. Papa is also pretty well, though Emily's state renders him very anxious.

* * * * *

[Tuesday.]

I should have written to you before, if I had had one word of hope to say; but I have not. She grows daily weaker. The physician's opinion was expressed too obscurely to be of use. He sent some medicine, which she would not take. Moments so dark as these I have never known. I pray for God's support to us all. Hitherto He has granted it.

* * * * *

21 Dec. 1848.

Emily suffers no more from pain or weakness now. She never will suffer more in this world. She is gone, after a hard, short conflict. She died on Tuesday, the very day I wrote to you. I thought it very possible she might be with us still for weeks; and a few hours afterwards, she was in eternity. Yes; there is no Emily in time or on earth now. Yesterday we put her poor, wasted, mortal frame quietly under the church pavement. We are very calm at present. Why should we be otherwise? The anguish of seeing her suffer is over; the spectacle of the pains of death is gone by; the funeral day is past. We feel she is at peace. No need now to tremble for the hard frost and the keen wind. Emily does not feel them. She died in a time of promise. We saw her taken from life in its prime. But it is God's will, and the place where she is gone is better than that she has left.

God has sustained me, in a way that I marvel at, through such agony as I had not conceived. I now look at Anne, and wish she were well and strong; but she is neither; nor is papa. Could you now come to us for a few days? I would not ask you to stay long. Write and tell me if you could come next week, and by what train. I would try to send a gig for you to Keighley. You will, I trust, find us tranquil. Try to come. I never so much needed the consolation of a friend's presence. Pleasure, of course, there would be none for you in the visit, except what your kind heart would teach you to find in doing good to others.

To MR. G. SMITH

Thackeray and 'Esmond'

14 Feb. 1852.

It has been a great delight to me to read Mr. Thackeray's work; and I so seldom now express my sense of kindness that, for once, you must permit me, without rebuke, to thank you for a pleasure so rare and special. Yet I am not going to praise either Mr. Thackeray or his book. I have read, enjoyed, been interested, and after all, feel full as much ire and sorrow as gratitude and admiration. And still one can never lay down a book of his without the two last feelings having their part, be the subject or treatment what it may. In the first half of the book, what chiefly struck me was the wonderful manner in which the writer throws himself into the spirit and letters of the times whereof he treats; the allusions, the illustrations, the style, all seem to me so masterly in their exact keeping, their harmonious consistency, their nice, natural truth, their pure exemption from exaggeration. No second-rate imitator can write in that way; no coarse scene-painter can charm us with an allusion so delicate and perfect. But what bitter satire, what relentless dissection of diseased subjects! Well, and this, too, is right, or would be right, if the savage surgeon did not seem so fiercely pleased with his work. Thackeray likes to dissect an ulcer or an aneurism; he has pleasure in putting his cruel knife or probe into quivering, living flesh. Thackeray would not like all the world to be good; no great satirist would like society to be perfect.

As usual, he is unjust to women; quite unjust. There is hardly any punishment he does not deserve for making Lady Castlewood peep through a keyhole, listen at a door, and be jealous of a boy and a milkmaid. Many other things I noticed that, for my part, grieved and exasperated me as I read; but then, again, came passages so true, so deeply thought, so tenderly felt, one could not help forgiving and admiring….

But I wish he could be told not to care much for dwelling on the political or religious intrigues of the times. Thackeray, in his heart, does not value political or religious intrigues of any age or date. He likes to show us human nature at home, as he himself daily sees it; his wonderful observant faculty likes to be in action. In him this faculty is a sort of captain and leader; and if ever any passage in his writings lacks interest, it is when this master-faculty is for a time thrust into a subordinate position. I think such is the case in the former half of the present volume. Towards the middle, he throws off restraint, becomes himself, and is strong to the close. Everything now depends on the second and third volumes. If, in pith and interest, they fall short of the first, a true success cannot ensue. If the continuation be an improvement upon the commencement, if the stream gather force as it rolls, Thackeray will triumph. Some people have been in the habit of terming him the second writer of the day; it just depends on himself whether or not these critics shall be justified in their award. He need not be the second. God made him second to no man. If I were he, I would show myself as I am, not as critics report me; at any rate, I would do my best. Mr. Thackeray is easy and indolent, and seldom cares to do his best. Thank you once more; and believe me—&c.

'Esmond' again

10 Nov. 1852.

… I have read the third volume of Esmond. I found it both entertaining and exciting to me; it seems to possess an impetus and excitement beyond the other two,—that movement and brilliancy its predecessors sometimes wanted, never fails here. In certain passages, I thought Thackeray used all his powers; their grand, serious force yielded a profound satisfaction. 'At last he puts forth his strength,' I could not help saying to myself. No character in the book strikes me as more masterly than that of Beatrix; its conception is fresh, and its delineation vivid. It is peculiar; it has impressions of a new kind—new at least, to me. Beatrix is not, in herself, all bad. So much does she sometimes reveal of what is good and great as to suggest this feeling—you would think she was urged by a Fate. You would think that some antique doom presses on her house, and that once in so many generations its brightest ornament was to become its greatest disgrace. At times, what is good in her struggles against this terrible destiny, but the Fate conquers. Beatrix cannot be an honest woman and a good man's wife. She 'tries, and she cannot'. Proud, beautiful,