Tag Archives: Penistone Hill

Ruins of the Elizabethan farm of Top Withens, Haworth Moor

Haworth, Chapter 3: Top Withens

With a heavy heart I left the sanitised materialism of the Parsonage Museum gift shop, a packet of Brontë Rum and Raisin fudge stuffed in my the pocket of my rucksack, and wandered into the anarchic anthology of gravestones in the churchyard, each moss covered stone a remembrance of a family internment from before 1856, when due to public health concerns, the cemetery was closed. The horse chestnut, Scots pines and birch trees, so evocative of a windy afternoon in Haworth, were planted in 1864, long after the departure of the Brontë family, to help disperse the estimated forty-four thousand corpses contained within an acre of land. A photograph of the old church and churchyard, taken around 1860, shows only a few small trees in the Parsonage garden, tall enough barely to reach the first-floor windows and in the meadow to the south what appears to be a drinking trough, or possibly even an old bath, indicating that then, as now, the meadow was used for keeping livestock[i].

The churchyard of St Michael & All Angels, Haworth
The churchyard of St Michael & All Angels, Haworth

A well-marked footpath led beside the meadow then dog-legged towards Penistone Hill, where the overflow cemetery for Haworth was built in 1856 and where a slim finger of the Haworth Moor extends from Wether Hill to touch the skirts of the town. It was onto the moors here that the young Brontës would take their daily afternoon exercise, often accompanied by the family servants Sarah and Nancy Garrs, whilst Patrick attended to parish business. As the children grew older they were allowed to venture out on their own to explore the countryside. Ellen Nussey recalled in her memoires that Emily’s favourite walk was along Sladen Beck to a place known by Emily as ‘The meeting of the waters’[ii]. The Ordnance Survey 1:25,000 scale map of the South Pennines, published in 2008, shows Sladen Beck as emanating from the foot of the earth and clay dam of Lower Laithe Reservoir, built in 1925. Upstream of the reservoir, the beck extends to a point now known as the Brontë Bridge and the Brontë Waterfall. It is safe to assume that this is the location to which Ellen Nussey referred, where a tributary tumbles over gritstone boulders into the afore mentioned beck from the south, although, the Ordnance Survey mark the beck to the west of here as South Dean Beck. Here the children would sit in the sunshine and play in the russet waters that fell from the heather clad moors.

The moors, however, were not always so benign. In the September of 1824, during a long period of hot weather, whilst the eldest three Brontë children, Maria, Elizabeth and Charlotte, were away from home at the Clergy Daughters’ School in Cowan Bridge, Branwell, Emily and Anne had, as was their daily routine, ventured out onto the moors in the company of Sarah and Nancy Garrs. On this particular Thursday afternoon, the little group was late in returning and Patrick had become concerned. He went to a first floor bedroom window to gain a vantage point from which to look for the children returning and was surprised to see that the skies above the moors to the west had turned black with heavy cloud. Timpani of thunder and shock of lightning soon followed as the whole moor was engulfed in a tempest of biblical proportions. Patrick later recalled in a sermon given to the congregation of St. Michael and All Angels how he heard a “deep, distant explosion” whilst feeling the house about him tremble. Distressed with worry, Patrick set out into the storm to search for his young family and eventually found them, cowering under Sarah’s cloak in the porch of a house.

Boundary Stone on Haworth Moor

Patrick was a pious man and believed the occurrence to have been an earthquake brought about by the electrical discharge of the storm and the recent hot weather, which of itself he believed to be a “solemn visitation”, a warning from God himself to the inhabitants of moor and town, calling them to repentance. In fact the earth tremor Patrick had experienced was the result of the collapse of a large area of bog between Middle Moor Hill and Crow Hill. The resulting deluge of liquefied peat, mud and moorland vegetation, which Patrick himself described as being up to sixty yards wide and between five to six yards deep, coursed down from the moor into Ponden Kirk and thus into the River Worth, flattening just about everything in its path, including trees, stone walls and a number of bridges. The wheels of mills along the length of the Worth were clogged with mire. At Horsforth, a good eight miles downstream from Haworth, over a thousand kilogrammes of dead fish, mostly trout and perch, were removed from the river Aire, having been suffocated by the quantity of mud and silt in the water system[iii].

Patrick had clearly been deeply shaken by the event, emotionally as well as physically, and by his frantic concern for his children. He concluded his sermon with the following prognostication:

“We have just seen something of the mighty power of God: he has unsheathed his sword, and brandished it over our heads, but still the blow is suspended in mercy – it has not yet fallen upon us. As well might he have shaken and sunk all Haworth, as those parts of the uninhabited moors on which the bolts of his vengeance have fallen. – Despise not this merciful, but monitoring voice of Divine Wisdom.[iv]

Merciful indeed, for if a report in the Leeds Mercury was to be believed the young Brontës came closer to catastrophe than was originally perceived.

“The torrent was seen coming down the glen before it reached the hamlet, by a person who gave the alarm and thereby saved the lives of several children who would otherwise have been swept away.[v]

It isn’t clear if the children referred to in the report were the Brontë children, but it is possible. How utterly different the course of English literature might have been, if not for the timely intervention of that unnamed person.

Rather than follow the indicated route along the Brontë Way (there is little here which does not now have the epithet ‘Brontë’ applied to it) I turned south from Penistone Hill and followed the line of a dry stone wall above Leeshaw Reservoir, where in the depression of Spa Hill Clough were patches of ink black bog deeper even than a fully extended walking pole, an thus to be avoided at all cost. Above Spa Hill began the exhausting climb through sodden purple moor grass and large patches of lime green sphagnum moss, to Oxenhope Stoop Hill, where I came upon a tall boundary stone, hewn from the local gritstone and carved with a large letter ‘H’. I considered for a moment if the ‘H’ stood for a certain misanthropic character in Wuthering Heights, but having consulted my map found I was standing on the invisible boundary between the county parish of Haworth, in the borough of Keighley and Hepton in the borough of Calderdale.

Boundary Stone between Haworth and Hepton
H for Heathcliff? Boundary Stone between Haworth and Hepton

Following the line of this boundary roughly west for a mile or so I came upon the Pennine Way as it climbed from Walshaw Dean to the gap between Round Hill and Dick Delf Hill, before falling into the valley to the north, where beneath the bows of two sycamore trees stand the quartered ruins of a small Pennine farm, the rough hewn blocks of millstone grit weathered and encrusted with lichen and mosses, the inhabitants having long departed, home now only to half a dozen Swaledale ewes with piercing stares.

Top Withens is about as far as it is possible to be from the sea in the north of England and although the distances involved are by no means great in the age of the internal combustion engine, a hundred and fifty years ago they were considerable. From the crook of Delph Hill, beneath which the ruins sit, it is over seventy miles eastwards to Hornsea and the algid waters of the North Sea. To the west the Fylde coast lies somewhat closer at forty miles distance, none-the-less a journey of at least two days on foot in 1824. The former Ordnance Survey triangulation pillar on Withins Heights stands at 444m above sea level and has line of sight along a ridge north-west via Crow Hill, across the gap at Coombe Hill Cross to Great Wolf stones, surveyed at just a metre in height below the Heights, for this is the backbone of the north of England, the watershed east and west, in the 18thCentury given the sobriquet ‘Apennine’ in deference to the Italian mountains of the same name and now more commonly referred to as the Pennines.

A view of Top Withens from Delf Hill
A view of Top Withens from Delf Hill

In 1567 an area of sixteen acres of land upon the Pennine hills known as ‘Wythens’ was sold by Thomas Crawshaye and his sister Anne to a George Bentley, who subsequently passed the ‘Wythens’ on to his descendant William Bentley. Bentley had three sons; Luke, Martyn and John between whom the land was divided into three farms known as Top, Middle and Near Withens. The change in spelling of the name is a common feature of the farms throughout their history, the original deeds to the land having given the name as ‘Wythens’, but the 1852 six inch to one mile map of the Haworth gives the name as ‘Withins’, as does the current Ordnance Survey map, last printed in 2008. However, ‘Withens’ is also in common usage as indicated on William Edmondson’s photograph of ‘Top Withens’ dated 1895 which shows the moor top dwelling as a working farm, complete with a gaggle of white geese. Such variations of spelling are indicative of the transition of a pre-literate culture where oral tradition held primacy, into a culture dominated by administrative literacy.

The etymology of the name ‘Wythens’ holds particular interest for me because the particularly homogenous council estate to the south of Manchester on which I grew up was known as Wythenshawe[vi], so named after the 16thCentury timber framed house and associated parkland, once home to the Tatton family and now owned by Manchester City Council. The teachers of my primary school, which bore the emblem of a weeping willow, would often instruct that the etymology of ‘Wythen-shawe’ is old English, meaning a coppice of willow trees[vii]. The implication here is that the correct form is indeed ‘Wythens’ as indicated by the original deeds, but whether or not there is any association between the three Pennine farms of the Sladen Valley and the growth of willow, is unknown. The two remaining trees which have stood faithfully beside Top Withens throughout the twentieth century, loyal partners isolated in a sea of moorland grasses and heather, are in fact Sycamores.

The ruins of Top Withens from the Pennine Way
The ruins of Top Withens from the Pennine Way

By 1813 Top Withens was owned by a John Crabtree, who leased the farm to Jonas Sunderland, who eventually bought the property and passed it on to his son, also Jonas. During the time of the Brontë sister’s excursions onto Haworth Moor, Jonas had married and had three children: John, James and Ann. The income of the farm came from livestock on pasture, the associated dairy produce and was also supplemented by handloom weaving, as the income from such a small holding alone was unlikely to be sufficient to keep the family. It is tempting then to imagine the Brontë sisters calling upon the Sunderlands as they took their daily perambulations upon the moor. The author Glen Hughes in his fictionalised biography Brontë took this idea a step further and imagined the Brontë children taking refuge from that September Storm and its associated landslip in the relative safety of Top Withens.

“The darkened cottage – the firelight and rushlights flickering – with its flagged floor, its rough, stone fireplace under the rack of drying oatcakes, was bare and severe; no rugs, but a scrubbed table, wooden chairs, crude pots and wooden spoons. Pat Wainwright and Nancy were sitting by the fire, with Tom and Mary Sunderland, and their two smaller children. At one side of the fireplace, Mrs Sunderland was praying, the huge shut bible, with its brass clasp fastened, on her lap.”[viii]

It was Ellen Nussey who, as far as is recorded, first intimated the connection between Top Withens and Wuthering Heights, the family home of the Earnshaw family. In 1872 the publishers Smith, Elder & Co had undertaken a re-print of both Jane Eyre and Wuthering Heights and had employed the artist Edward Morrison Wimperis to provide engravings to illustrate the works. George Smith wrote to Ellen asking if she might know the identity of some of the places described in the novels. Although her reply to Smith is not extant, it is clear from the resulting engravings and from a letter Smith wrote to Ellen thanking her for the information that Ellen had responded to the request. The most famous image produced by the artist is a dark and brooding, moonlit scene of the view from below Scar Hill showing the three Withens farms, the third, most elevated and most remote having been transformed into the “large jutting stones” of Wuthering Heights. Thus established, the association began to burrow its way into the popular consciousness. 

Wuthering Heights
Lithograph of Wuthering Heights by Edward Wimperis 1872, suggestive of the location of the Top, Middle and Lower Withens farms.

Commentators draw on at least two other contenders for the inspiration of Wuthering Heights. The first is High Sunderland Hall, a large manor house, which until the 1950’s stood in parkland to the north of Halifax and which Emily is thought to have visited during her time as a teacher at Law Hill School. The description of Wuthering Heights at the opening of the novel in which Mr Lockwood sees “a quantity of grotesque carvings lavished over the front” and “a wilderness of crumbling griffins, and shameless little boys” is thought to have been inspired by the seventeenth century stately home. However, an examination of the text shows that the descriptions of the interior of Wuthering Heights in the novel are not those of a large ancestral manor house, but rather of a less substantial farm building. Indeed, ‘the Heights’ are often referred to in the text as being a farmhouse. In the letter Isabella Linton sends to Ellen Dean following her elopement with Heathcliff, she writes:

“The sun set behind the Grange, as we turned on to the moors; by that, I judged it to be six o’clock; and my companion halted half-an-hour, to inspect the park, and the gardens, and, probably, the place itself, as well as he could; so it was dark when we dismounted in the paved yard of the farmhouse, and your old fellow servant, Joseph, issued out to receive us by the light of a dip candle.”[ix]

Joseph, the acerbic servant is often described as retreating to his garret, a feature far likely to be found in the Pennine farms of the Sladen Valley than in a stately manor close to the centre of Halifax and, in the first chapter, as Lockwood enters the building he describes a single room reaching to the very roof.  

“One step brought us into the family sitting-room, without any introductory lobby, or passage; they call it here ‘the house’ pre-eminently.” Lockwood continues, “One end, indeed, reflecting splendidly both light and heat, from ranks of immense pewter dishes, interspersed with silver jugs and tankards, towering row after row, in a vast oak dresser, to the very roof. The latter had never been underdrawn, its entire anatomy laid bare to an inquiring eye, except where a frame of wood laden with oatcakes, and clusters of legs of beef, mutton, and ham, concealed it.”[x]

The above is no description of a manor house, but may be the description of Ponden Hall, a substantial farmhouse, also built in the seventeenth century, located below Ponden Clough on a spur of land that now extends into Ponden Reservoir. The Brontë children often visited Ponden Hall to make use of the extensive private library which was housed there and the oak beamed rooms of its interior may have fired Emily’s imagination. Certainly, it was here that Emily encountered an upper chamber with a small, latticed window, enclosed by the frame of a box bed[xi].

Ponden Hall
Ponden Hall

Perhaps most convincingly, again and again Emily Brontë, describes Wuthering Heights as a hilltop dwelling rather than the parkland setting of High Sunderland Hall.

“Pure, bracing ventilation they must have of it up there at all times, indeed: one may guess the power of the north wind, blowing over the edge, by the excessive slant of a few stunted firs at the end of the house;”[xii]

“On that bleak hill-top the earth was hard with black frost, and the air made me shiver through every limb.”[xiii]

“heaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung me out, into the middle of the heath on the top of Wuthering Heights, where I woke sobbing for joy.”[xiv]

The above powerful discourse given by Cathy to Nelly Dean makes apparent a factor that I believe is often overlooked. Wuthering Heights in not merely the dwelling in which the Earnshaws live, but the whole area of moorland about their farmhouse. This is also true of the Withens farms. The 1852 six inch to one mile map gives the name of the area of raised moorland immediately to the west of Delf Hill, below which Top Withens sits, as ‘Withens Heights’. This association of name is for me far more than coincidence, especially given that ‘Wuthering’ is a Yorkshire dialect variant of the Scottish dialect ‘Withering’. The novels of Sir Walter Scott were particular favourites of Emily’s, and Scott often used the devise of country dialect in his novels, particularly in the character of Andrew Fairservice in the novel Rob Roy. 

Withens – Withering – Wuthering!


[i]Barker, Juliet op. cit. plate section one, in the care of the Brontë Parsonage Museum

[ii]ibid, pp228

[iii]Barker, Juliet op. cit. pp152

[iv]‘A sermon preached in the Church of Haworth … in reference to an Earthquake’ (Bradford, T. Inkersley, 1824), in the care of the Brontë Parsonage Museum.

[v]Leeds Mercury, 11 September 1824, pp3, qu. in Atkins, William (2014) The Moor, pp176, Faber & Faber Limited.

[vi]‘was’ as the Wythenshawe estate has subsequently been divided up into numerous housing associations and private developments.

[vii]Deakin, Derick 1989 ‘Wythenshawe: the story of a garden city’pp.4

[viii]Hughes, Glyn 1996 ‘Brontë’, Bantam Press (Transworld Publications Ltd)

[ix]Brontë, Emily 1847 ‘Wuthering Heights’, published in Penguin Classics (1985), pp174.

[x]Ibid, pp46

[xi]which, incidentally, one can still see should one visit the property, although the box bed is sadly not the original.

[xii]Brontë, Emily op.cit. pp46

[xiii]Ibid, pp51

[xiv]Ibid, pp121

The Parsonage, Haworth

Haworth, Chaper 2: Emily

It took twenty-eight years for me to walk beyond the confines of the cemetery wall of Saint Michael and All Angels, Haworth. In the wake of a rather acrimonious divorce in 2005 I fell upon the mercy of a local “under 40’s” Rambler’s club, an incidental collection of divorcees, serial-singletons, misanthropists and social misfits (many of whom I have come to know and love as very good friends)[1]. The debt of gratitude I owe to this diverse band of characters is beyond measure, for they enabled me to re-discover my love of the British countryside, and vicariously, an essential part of me own being. It was in attending a walk organised by a member of this group that I found myself back in Haworth, where I found myself assailed by memories long locked away in the confines of my subconscious. The walk that day was from the Parsonage, across Penistone Hill and along Sladen Beck to the “Meeting of the Waters” from thence to the ruined Elizabethan farms below Withens Heights: lower, middle and top, returning via Ponden Clough and Hall. That was my first visit to Top Withens and the beginning of a fascination that persists to this day. 

On the chilly March morning I had taken the train to Haworth, I found the stone solidity of the Brontë Parsonage Museum a haven of tranquillity, peaceful in early spring when the chattering crowds of high season had been replaced by the ceaseless whispers of the wind echoing throughout the house, through the stone floored hallway, into the parlour where the flattering George Richmond portrait of Charlotte hangs above the fireplace and where the three sisters would make their evening perambulations around the mahogany dining table. It was at this table that from their early adolescence, the four Brontë siblings would indulge their favourite pastime of writing fictional accounts of their heroes. Characters at first taken from contemporary accounts the children had read in Blackwood’s Magazine, a satirical periodical of the time; Charlotte’s favourite the Duke of Wellington, Emily’s Sir Walter Scott, but later developing in imaginative complexity into the Angrian and Gondal Sagas, which would continue to be the foundation of the Brontë’s literary efforts into much later life[i]. In her acclaimed biography of the Brontës, Juliet Barker cautions against fuelling the myth of the Brontë’s nascent literary genius, preferring to see the ‘Juvenilia’ as the product of a mutual, creative endeavour; a means of expression for young, imaginative minds.

“It is easy also to over-emphasize the maturity of the young Brontës by drawing attention to the complexity of their childhood writings, the elaborate and exotic descriptive passages, the wide range of references and the rich vocabulary used. Less often mentioned is the highly imitative nature of much of the writing, in both style and subject matter. Their slap-dash writing, appalling spelling and non-existent punctuation well into their late teenage years is usually glossed over, as is the frequent immaturity of thought and characterisation.”[

Barker, Juliet, (2010) The Brontës, second edition, Abacus, pp178

What is undoubtedly much more fascinating than the literary merit and sheer volume of the writing produced, is the level of preoccupation exhibited by the Brontës in their imaginary worlds, an absorption that in the case of Emily would continue until her death in 1848 and which often proved a barrier to integration into everyday life.

The Parsonage, Haworth
The Parsonage, Haworth

The Brontë children were for the most part educated at home by their father. Apart from her brief, and by all accounts traumatic, sojourn of six months at the Cowan Bridge Clergy Daughters’ School, Emily had received no tuition at a place of formal education. Concerned by this Patrick arranged for Emily to be sent at the age of seventeen to Roe Head School, near Mirfield, where another of his daughters, Charlotte had attended as a pupil in 1831[iii]. Patrick no doubt thought it provident that Charlotte had recently been made the offer of a teaching position at the school by her former mistress, Miss Wooler. His two eldest daughters would then move to Roe Head together. Unfortunately, despite the presence of her sister at the school, Emily found integration difficult. The constraints of the school routine, so different to the freedoms she had valued at the Parsonage, soon became a challenge, and she began to withdraw from her fellow pupils, not least because of her self-consciousness at her physical and mental maturity in comparison to the majority of her classmates and her unwillingness to engage in what she no doubt saw as the childish chatter in the dormitory. But the most grievous restrictions imposed upon Emily were undoubtedly her geographical separation from the moorlands upon which she loved to walk, and the lack of private time in which to indulge her Gondal fantasies. Though visible from the dormitory windows of Roe Head, the hills and moors surrounding Mirfield were strictly out-of-bounds for pupils, more by virtue of the rigorous daily schedule of the school.

Churchyard
The Churchyard of St Michael and All Angels, Haworth

Unable to communicate with her sister Anne, the chief co-conspirator in the Gondal sagas, and having little time and privacy with which to put down in writing her imaginative thoughts, a cathartic release that had always been available to her at the Parsonage, Emily became physically and emotionally ill. Within three months of moving to Roe Head she was permanently sent home. This was a pattern that would reappear in the summer of 1838, when at the age of twenty Emily took up a teaching post at Law Hill School, near Halifax. In a letter to her friend and confidant, Ellen Nussey, Charlotte wrote of the rigorous work schedule at the school.

“I have had one letter from [Emily] since her departure it gives an appalling account of her duties – Hard labour from six in the morning until eleven at night. With only one half-hour of exercise between – this is slavery I fear she will never stand it.[iv]

Despite this ‘slavery’ Emily did find time to write poetry during her first term at Law Hill, much of which based on Gondal themes but noticeably coloured with the language of exile and loss.  An untitled poem dated 11 November 1838 contains the following lines[v]:

In the gloom of a cloudy November
They uttered the music of May – 
They kindled the perishing ember
Into fervour that could not decay
 
Awaken on all my dear moorlands
The wind in its glory and pride!
O call me from valley and highlands
To walk by the hill-river’s side!
….
But lovelier than corn-fields all waving
In emerald and scarlet and gold
Are the slopes where the north-wind is raving

And the glens where I wandered of old –
….
For the moors, for the moors where the short grass
Like velvet beneath us should lie!
For the moors, for the moors where each high pass
Rose sunny against the clear sky!
 
For the moors, where the linnet was trilling
Its song on the old granite stone – 
Where the lark – the wild skylark was filling
Every breast with delight like its own.

There is no evidence to suggest that Emily wrote anything during the second term at Law Hill, an indication perhaps of her failing mental and physical health. By the Easter of 1839 she had once again returned to the familiar haven of the Parsonage at Haworth and would never again earn money through employment. Her sister Charlotte described Emily’s discomfort with pedestrian reality of working life in a preface to the 1850 edition of ‘A Selection of Poems by Ellis Bell[vi].

“Liberty was the breath of Emily’s nostrils; without it, she perished. The change from her own home to a school, and from her own very noiseless, very secluded, but unrestricted and inartificial mode of life, to one of disciplined routine (though under the kindliest auspices), was what she failed in enduring.”

Snowdrops in the churchyard of St Michael and All Angels, Haworth

Even after the achievement of having written Wuthering Heights, which she completed in spring of 1846, Emily reacted with strong feelings of rejection, perhaps understandably, to the mostly lukewarm responses the novel received from prospective publishers. Emily once again withdrew into her fantasy Gondal world, producing several melancholic poems in partnership with her sister Anne.

It would perhaps be disingenuous to throw twenty-first century psychoanalytical labels around when considering the lives of those who lived in the nineteenth century, but it is evident that all of the Brontë siblings suffered considerable trauma as children and had to face the consequences of this in later life. Emily’s mother died when she was just three years old. The subsequent deaths from consumption of the two eldest Brontë sisters, Maria and Elizabeth not four years later and her experiences of deprivation and, what by all accounts was psychological torture and near starvation at the Cowan Bridge Clergy Daughters’ School, could only have had a profoundly negative effect on Emily. To what extent these traumatic childhood events affected the Brontë children is perhaps best seen in the narratives of their fiction. Juliet Baker points out[vii] that orphans and motherless children were a common feature in both the childhood writings and in published works. In the case of Emily, her novel Wuthering Heightsis populated almost entirely by such orphans and motherless children. Heathcliff’s parentage is never explained and he is presumed to be an orphan, found on the dockside in Liverpool. Both Mr and Mrs Earnshaw are dead by the end of the fifth chapter, leaving Cathy and Hindley without parents and Heathcliff orphaned for a second time. Hindley’s wife Frances dies in childbirth leaving Hearton motherless, as does Cathy leaving the young Catherine in the same predicament. Linton’s mother, Isabella (Edgar Linton’s sister) dies twelve years after his birth of what is implied to be consumption, and ultimately, Edgar and Heathcliff themselves die leaving the young Catherine and Hareton, whose unison in marriage brings the novel to a conclusion, without parentage. After a period of thirty years over which the narrative takes place, Catherine and Hearton are left as the only survivors of the two families.

If we assume then the profound effect of childhood trauma on the Brontës, it is perhaps miraculous that as children they were able to employ their imaginative powers to nurture each other and to overcome what trauma they had experienced to the extent that they were, in later life, able to produce such remarkable works of fiction. If there was a flaw in the childhood strategy, it was that once separated from the familial unit, their primary source of nurture and self-identity was not available to them. This being so, one can only imagine the magnitude of grief experienced by Charlotte when first Branwell, then Emily and finally Anne died of consumption within seven months of each other.

To be continued in Chapter 3 …..


  • [i]Barker, Juliet, (2010) The Brontës, second edition, Abacus
  • [ii]ibid, pp178
  • [iii]ibid, pg262
  • [iv]ibid, pp343, Charlotte Brontë’s spelling and punctuation.        
  • [v]Gezari, Janet (ed. 1992), Emily Jane Brontë, Collected Poems, Penguin Books Ltd.
  • [vi]Brontë, Charlotte 1850, a preface to  ‘A Selection of Poetry by Ellis Bell’, qu. in Barker, Juliet, (2010) The Brontës, second edition, Abacus, pp274
  • [vii]Barker, Juliet op. cit. pp160

[1]I add the quotation marks of cynicism as an acknowledgement of the inevitable progress of time, which has rendered, in Logan’s Run fashion, many of the clubs members well above the critical age threshold. We have yet to begin removing elder members with pleasure-inducing toxic gas.