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Authors: Catherine Reef

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BOOK: The Bronte Sisters
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The children escaped from the parsonage whenever they could to ramble on the moor. In winter they clambered over hills of snow, and in warmer months they ran through banks of brown and purple heather. They learned the calls of grouse, swallows, and golden plovers, and at a favorite spot they plunged their hands into a cold, clear stream to fish for tadpoles. Anne and Emily named this place “The Meeting of the Waters,” after a lyric that Anne loved by Thomas Moore, an Irish poet and songwriter.

Childhood felt as vast as the moor, but the youngsters’ father saw its boundary. Patrick Brontë looked ahead to a time when his daughters might need to make their way in the world. Women with money enjoyed an advantage in the marriage market, and the Brontë girls had none. Like other fathers of his time, Patrick hoped to see his daughters marry, but he wanted to equip them for life in case they stayed single. The only profession open to respectable single women was teaching, so in July 1824, he sent the two oldest girls, Maria and Elizabeth, to the Clergy Daughters’ School at Cowan Bridge, northwest of Haworth, to be suitably prepared. Charlotte joined them in August, and Emily followed in November. Someone wrote in the school’s register book that Charlotte, age eight, was “altogether clever of her age.” Emily, at six, “read prettily.”
But at Cowan Bridge, the Brontë girls soon learned lessons that were far different from the ones they expected.

Founded as a charity institution for the daughters of poor ministers, the school at Cowan Bridge was a place of suffering and abuse. The school’s founder, the Reverend William Carus Wilson, saw sin wherever he looked, even in the faces of children. “Sin, like a full-blown weed,
lies all before us, ready for the knife,” he wrote. “In childhood, the seeds of inbred corruption spring up like luxuriant vegetation.” Carus Wilson believed that the girls in his care would grow up to be sinners unless he intervened. As women, they would tempt men to do evil unless he set them on the right path. He employed cruel methods to teach Christian humility and stifle the students’ emerging sexuality. The girls’ hair symbolized beauty, so the school’s staff cut it short. They kept the damp building cold in winter and fed the pupils small meals of burned porridge, stale bread, and rancid meat that turned even the emptiest stomach.

Any girl who was untidy had to wear a badge of public shame. This proved to be a big problem for Maria Brontë, who never could keep her nails clean or wash her face properly in the few drops of icy water she was given. Because of this shortcoming, a sadistic schoolmistress named Miss Andrews singled her out for punishment. Charlotte never forgot the day when Miss Andrews sent Maria to fetch a bundle of sticks. As Charlotte and the other girls looked on, she ordered the child to loosen the pinafore that covered her thin body. She then whipped Maria fiercely across the back of the neck with one of the sticks.

It soon became clear that Maria was sick, but at Cowan Bridge, illness was no reason for pampering the body. One morning, Miss Andrews yanked the suffering girl from her bed, flung her to the middle of the dormitory, and scolded her for being dirty. Moving slowly and weakly, Maria got dressed, only to have Miss Andrews punish her for tardiness.

Her sister’s mistreatment made Charlotte furious, but she had no power to stop it. Maria, however, believed it was her Christian duty to submit. “God waits only the separation
of spirit from flesh to crown us with a full reward,” she told Charlotte. “Why, then, should we ever sink overwhelmed with distress, when life is so soon over, and death is so certain an entrance to happiness?”

Before long, she passed through that entrance. In February 1825, the school’s managers sent Maria home with an advanced case of the “graveyard cough”
: tuberculosis. This fearsome disease usually attacked the lungs, but it could spread to other organs as well. It was passed along when an infected person sneezed or coughed and sent tiny droplets into the air for someone else to inhale. People who contracted tuberculosis wasted away and died. They coughed up blood and soaked their bedding in perspiration. They ran a fever and exhausted themselves gasping for breath. They lost so much weight that the illness seemed to be eating up their bodies. This is why tuberculosis had another name: consumption. It was a relentless disease that would be blamed for a third of all deaths among English laborers in the 1830s.


William Wordsworth stated famously that poetry is “emotion recollected in tranquility.”


All her siblings grieved when the eleven-year-old died in May, but Branwell and Charlotte felt the loss profoundly. Seven-year-old Branwell pored over lines in
Blackwood’s Magazine
that mirrored his own sorrow:


Long, long, long ago,
the time when we danced along, hand in hand with our golden-haired sister, whom all who looked on loved!—long, long, long ago, the day on which she died—the hour, so far more dismal than any hour that can now darken us on earth, when she—her coffin—and that velvet pall descended—and descended—slowly, slowly into the horrid clay, and we were borne deathlike, and wishing to die, out of the churchyard, that, from that moment, we thought we could enter never more!


Branwell read this passage so many times that he could repeat it nearly word for word ten years later. As a teenager and young adult, Charlotte would tell her new friends about Maria’s mistreatment, illness, and death.

Barely a month had passed since Maria’s burial when a carriage pulled up to the Haworth parsonage. A servant from Cowan Bridge was bringing Elizabeth home because she, too, had advanced tuberculosis. Seeing Elizabeth’s wasted condition, her frightened father removed Charlotte and Emily from the Clergy Daughters’ School immediately, possibly saving their lives. The change came too late for Elizabeth, though. She died in June, at age ten. The family grieved, and Aunt Branwell drew close to little Anne.


A building that housed the Clergy Daughters' School still stands beside a road in Lancashire, England.


The surviving girls continued their learning in the safety of home. Under their father’s direction, they memorized passages from the Bible and studied grammar, geography, and history. The Reverend Brontë offered them classics from the past, like Shakespeare’s plays and
Paradise Lost,
John Milton’s epic poem on the story of Adam and Eve. His shelves also held works by the Romantic poets of his own time, writers like William Wordsworth and George Gordon, Lord Byron. These poets let nature ignite their imaginations, and they valued feeling over logic and reasoning. When the Romantic poets spoke, the Brontë girls understood. Children who had known so much loss felt comforted thinking of nature as a steadfast friend.


Lord Byron’s colorful life and his wandering hero Childe Harold strongly influenced the Brontë children.


“Nature never did betray / The heart that loved her,”
wrote Wordsworth, who lived in the scenic Lake District of northwest England:


tis her privilege,

Through all the years of this our life, to lead

From joy to joy. . . .


The girls also enjoyed the verses of handsome Lord Byron, who died in 1824, having lived life to its fullest. He had traveled widely, had many love affairs, and fought in wars in Italy and Greece. In nature, he wrote, a person could “mingle with the Universe”


There is a pleasure in the pathless woods,

There is rapture on the lonely shore,

There is society where none intrudes,

By the deep sea, and music in its roar.


None of the children loved nature more than tall, quiet, independent Emily. On the moor, with a dog at her side, she found greater beauty and freedom than the others could see or feel. For Emily alone, “Flowers brighter than the rose
bloomed in the blackest of the heath,” Charlotte said. “She found in the bleak solitude many and dear delights.” At home, Emily felt drawn to the kitchen, where she helped Tabby Aykroyd, the paid housekeeper, cook meals and bake bread.

Some of Lord Byron’s poems told stories of moody, brooding young men, characters like the world-weary Childe Harold, who travels in foreign lands. Misunderstood, these figures live in exile from their homes, sometimes growing cynical and self-destructive. These Byronic heroes appealed to Branwell, who liked to imagine himself as a long-suffering outcast.

Diligent Charlotte was often reading, but she held books close to her face to aid her weak eyes. Charlotte was small for her age and had brown hair, like her sisters. A large forehead and a crooked mouth made her plain rather than pretty. Smart but not a showoff, Charlotte said “very little about herself”
and was “averse from making any display of what she knew,” her father noted. A passionate heart beat in Charlotte’s chest, but she kept that hidden, too. She wanted to be a writer.

Tender Anne, the youngest, was Aunt Branwell’s darling. She was petite like Charlotte and the only one with curls. She was a delicate child who suffered from asthma. As an adult, Anne described herself in childhood, in a poem titled “Self-Communion”:


I see, far back,
a helpless child,

Feeble and full of causeless fears,


More timid than the wild wood-dove

Yet trusting to another’s care,

And finding in protecting love

Its only refuge from despair.


The four children were their own playmates, because their father had forbidden them to mix with the unwashed village youngsters. They liked to write and then read what one another had written. The girls wrote “diary papers” that were like snapshots of family life. In 1829, thirteen-year-old Charlotte put this scene on paper:


I am in the kitchen
of the Parsonage, Haworth; Tabby, the servant, is washing up the breakfast things, and Anne, my youngest sister . . . is kneeling on a chair, looking at some cakes which Tabby has been baking for us. Emily is in the parlour, brushing the carpet. Papa and Branwell are gone to Keighley [the nearest large town]. Aunt is upstairs in her room, and I am sitting by the table writing this.


Emily recorded people’s actions as they were happening in one of her diary papers. She also captured a trace of Tabby’s rustic accent:


Anne and I have been peeling apples
for Charlotte to make an apple pudding. . . . Aunt has come into the kitchen just now and said where are your feet Anne[?] Anne answered On the floor Aunt[.] Papa opened the parlour door and gave Branwell a letter saying here Branwell read this and show it to your Aunt and Charlotte. . . . Tabby said on my putting a pen in her face Ya pitter pottering there instead of pilling [peeling] a potate[.] I answered O Dear, O Dear, O dear I will directly with that I get up, take a knife and begin pilling.

BOOK: The Bronte Sisters
5.88Mb size Format: txt, pdf, ePub

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