Having in _Wuthering Heights_ made so pointed a reference to the Fairy Cave in the neighbourhood of Gimmerton, and having therein associated with it the names of Airton (Hareton) and Linton, which Montagu connected with Gimmerton or Malham, Charlotte Brontë had not openly mentioned in that work the Fairy Janet referred to by Montagu, though she hinted at "the mysteries of the Fairy Cave." But I find that her "elfish" imagination induced her later, in _Jane Eyre_, to appropriate for herself the rôle of the Fairy Janet, the Queen of the Malhamdale or Gimmerden elves, who ruled in the neighbourhood of Gimmerton and of Wuthering Heights, the home of Catherine Earnshaw. Thus we see Charlotte Brontë primarily associated both Catherine Earnshaw, the heroine of _Wuthering Heights_, and Jane Eyre, the heroine of _Jane Eyre_, with Malham. And discovering the impetuosity of her imaginative nature and its romantic turn, I doubt not she was impatient to begin the tale of the "fairy-born and human-bred" heroine whose surname she took from the River Aire or Ayre, which sprang, as Montagu carefully indicates, from Malham, or Gimmerton, as Charlotte Brontë would say in her _Wuthering Heights_. From this came the suggestion of the "Rivers" family, with which I deal later, the names employed by Charlotte Brontë being River(s), Burn(s), Aire or Eyre, Severn, Reed, and Keeldar. Another of Montagu's personal contributions which greatly influenced Charlotte Brontë was on the leaf before the mention of John Bell, Esq., and on the same leaf as the mention of Casterton Hall, headed "A Night's Repose." This was the narration of a night's adventure, Montagu telling how he went to a lonely hostelry and found an unwillingness in the hostess to give him bed and shelter. He also discovered a mystery surrounded the hostess and a peculiar, harsh-voiced country-bred man-servant--who came to be the original of Joseph of _Wuthering Heights_. At night the apparition of the hostess appears at Montagu's bedside, white-faced and lighted candle in hand. It is plain the peculiar man-servant appealed very strongly to Charlotte Brontë, and thus in both her _Wuthering Heights_ and _Jane Eyre_ transcriptions of the midnight incident this characteristic is marked and recognizable: in Joseph; and in Grace Poole, by what I have termed Charlotte Brontë's Method I., interchange of the sexes of characters. In _Wuthering Heights_, by her same Method I., Montagu's inhospitable hostess became the inhospitable host Heathcliffe; but in each of Charlotte Brontë's versions--_Wuthering Heights_ or _Jane Eyre_--a central figure of the incidents she based upon Montagu's story of "A Night's Repose" was the uncouth, coarse-voiced country-bred servant. We also shall see that Montagu's reference to lunacy being an exception to his objection against the separation of husband and wife, and the use he made of a verse in his Malham letter, likening the moon to