Public interest in Charlotte Bronté was first roused in 1847. In October of that year there appeared in London a novel that created a sensation, the like of which had not been known since the publication of 'Waverley.' Its stern and paradoxical disregard for the conventional, its masculine energy, and its intense realism, startled the public, and proclaimed to all in accents unmistakable that a new, strange, and splendid power had come into literature, "but yet a woman." And with the success of 'Jane Eyre' came a lively curiosity to know something of the personality of the author. This was not gratified for some time. There were many conjectures, all of them far amiss. The majority of readers asserted confidently that the work must be that of a man; the touch was unmistakably masculine. In some quarters it met with hearty abuse. The Quarterly Review, in an article still notorious for its brutality, condemned the book as coarse, and stated that if 'Jane Eyre' were really written by a woman, she must be an improper woman, who had forfeited the society of her sex. This was said in December, 1848, of one of the noblest and purest of womankind. It is not a matter of surprise that the identity of this audacious speculator was not revealed. The recent examination into the topic by Mr. Clement Shorter seems, however, to fix the authorship of the notice on Lady Eastlake, at that time Miss Driggs. But hostile criticism of the book and its mysterious author could not injure its popularity. The story swept all before it--press and public. Whatever might be the source, the work stood there and spoke for itself in commanding terms. At length the mystery was cleared. A shrewd Yorkshireman guessed and published the truth, and the curious world knew that the author of 'Jane Eyre' was the daughter of a clergyman in the little village of Haworth, and that the literary sensation of the day found its source in a nervous, shrinking, awkward, plain, delicate young creature of thirty-one years of age, whose life, with the exception of two years, had been spent on the bleak and dreary moorlands of Yorkshire, and for the most part in the narrow confines of a grim gray stone parsonage. There she had lived a pinched and meagre little life, full of sadness and self-denial, with two sisters more delicate than herself, a dissolute brother, and a father her only parent,--a stern and forbidding father. This was no genial environment for an author, even if helpful to her vivid imagination. Nor was it a temporary condition; it was a permanent one. Nearly all the influences in Charlotte Bronté's life were such as these, which would seem to cramp if not to stifle sensitive talent. Her brother Branwell (physically weaker than herself, though unquestionably talented, and for a time the idol and hope of the family) became dissipated, irresponsible, untruthful, and a ne'er-do-weel, and finally yielding to circumstances, ended miserably a life of failure.