Thus we perceive the famous child-phantom incident in Chapter III. of _Wuthering Heights_ had its origin (1) in Montagu's lonely-house incident; (2) in Charlotte Brontë's awe of a child-apparition; (3) in Charlotte Brontë's Method II., alteration of age of character portrayed, by which Catherine the woman becomes a child again; and (4) in Charlotte Brontë's notion, as evidenced in _Shirley_, Chapter XXIV., that a loved dead one can "revisit those they leave"; can "come in the elements"; that "wind" could give "a path to Moor(e)"--Heath(cliffe), "passing the casement sobbing"; that the loved dead one could "haunt" the wind. These, then, we see were the notions in Charlotte Brontë's head responsible for Catherine's returning so sensationally to the abode of her lover as a child-spectre. For Catherine's love for Wuthering Heights was not simply because of the place and its moors, as so many writers have wrongly contended, but because it was associated with Heathcliffe.[29] Let my reader peruse again the "wailing child" passages I quote from _Wuthering Heights_ and _Jane Eyre_ in Chapter II. of _The Key to the Brontë Works_. Truly the testimony of Charlotte Brontë's child-phantom were alone the sign-manual that she and none other wrote _Wuthering Heights_. CHAPTER VII. THE ORIGINALS OF GIMMERTON, GIMMERDEN, GIMMERTON KIRK AND CHAPEL, PENISTON CRAGS, THE FAIRY CAVE, ETC., IN "WUTHERING HEIGHTS," AND OF THE FAIRY CAVE AND THE FAIRY JANET IN "JANE EYRE." The uncommon stress Charlotte Brontë has laid upon the outlandishness of the _Wuthering Heights_ country and its solitudes assuredly would have been absent from that work had she drawn her background from the comparatively characterless Haworth moors on the skirts of manufacturing towns, and not from impressions created in her mind by Montagu's description in his _Gleanings in Craven_ of the wildest and weirdest scenery in Yorkshire. There has been a noticeable tendency on the part of town-bred, and also of romantic, biographers to be awed by the ordinary moorland surroundings of Haworth, and to associate with them all the wildness of the Craven or Scottish Highlands, though Miss Mary Robinson, whose work entitled _Emily Brontë_ is in effect an "appreciation" of _Wuthering Heights_, says frankly regarding the house standing beyond the street on the summit of Haworth Hill, shown as the original of _Wuthering Heights_, that to her thinking "this fine old farm of the Sowdens is far too near the mills of Haworth to represent the God-forsaken, lonely house." But of course an author can place a given abode against any background. Wuthering Heights has been connected by some people with a locality called Withins--how wrongly a reference to the origin of Gimmerton and Gimmerden alone shows. The primary origin of the name and title of "Wuthering Heights" I reveal in the final chapter on "The Recoil."