[63] This artifice of presenting more than one phase of a character in the same work is equivalent to that practised by the portrait-painter who uses mirror effects to reveal some feature of his subject not in the ordinary line of vision. It was as difficult for M. Sue to present a complete portrait of the successful, fêted Miss Brontë in poor Lagrange as it was for Charlotte Brontë to present a complete portrait of herself in the unhappy Lucy Snowe of _Villette_. So M. Sue also used the phase of Miss Mary, and Charlotte Brontë that of Paulina--just as she gave us M. Héger as Crimsworth and occasionally as M. Pelet of _The Professor_, and just as she gave us herself in _Shirley_ as Caroline Helstone and again (in regard only to her relations with M. Héger) as Shirley Keeldar. Methods which were responsible for her first portraying herself as the elder Catherine of _Wuthering Heights_ and then as the younger Catherine, in which work M. Héger was portrayed by her often as Heathcliffe and finally as Hareton Earnshaw. With Charlotte Brontë, however, her secondary adaptations as portrayals, perhaps on account of their improvization, frequently give evidence of being unprepared. Thus the childhood of Paulina of _Villette_ is scarcely Charlotte Brontë's; and Hareton Earnshaw of _Wuthering Heights_, save for the lover and pupil phase, was never M. Héger. [64] Mrs. Gaskell's _Life of Charlotte Brontë_, Haworth Edition, p. 55. See my reference to Catherine teaching Hareton of _Wuthering Heights_, in the Preface. [65] Instead of "Swiss" pastor's daughter, read Irish. [66] Mrs. Gaskell's _Life of Charlotte Brontë_. [67] As Rochester calls Jane his beneficent spirit, it is interesting to read that M. de Morville says to his wife:--"Je crois aux bons génies, aux bons anges." "Aux bons anges?" "Miss Mary, par exemple." "Eh bien, Louise?" "N'est-ce pas un bon génie, un bon ange, une bonne magicienne, enfin? Ne m'a-t-elle pas jeté un _sort_?" [68] See my reference to Charlotte's Preface to _Wuthering Heights_ in the second chapter of "The Recoil." [69] See my references to Charlotte Brontë's poem "Apostasy"; and to St. John Rivers as a phase of Charlotte's Brussels _Fénelon_. [70] See M. Paul and Lucy Snowe (M. Héger and Charlotte Brontë) in the close of Chapter XXI. of _Villette_.