"My life is what I expected it to be. Sometimes when I wake in the morning, and know that Solitude, Remembrance, and Longing are to be almost my sole companions all day through--that at night I shall go to bed with them, that they will long keep me sleepless--that next morning I shall wake to them again,--sometimes, Nell, I have a heavy heart of it. But crushed I am not, yet; nor robbed of elasticity, nor of hope, nor quite of endeavour. I have some strength to fight the battle of life. I am aware, and can acknowledge, I have many comforts, many mercies. Still I can GET ON. But I do hope and pray, that never may you, or any one I love, be placed as I am. To sit in a lonely room--the clock ticking loud through a still house--and have open before the mind's eye the record of the last year, with its shocks, sufferings, losses--is a trial. "I write to you freely, because I believe you will hear me with moderation--that you will not take alarm or think me in any way worse off than I am." CHAPTER IV. The tale of "Shirley" had been begun soon after the publication of "Jane Eyre." If the reader will refer to the account I have given of Miss Brontë's schooldays at Roe Head, he will there see how every place surrounding that house was connected with the Luddite riots, and will learn how stories and anecdotes of that time were rife among the inhabitants of the neighbouring villages; how Miss Wooler herself, and the elder relations of most of her schoolfellows, must have known the actors in those grim disturbances. What Charlotte had heard there as a girl came up in her mind when, as a woman, she sought a subject for her next work; and she sent to Leeds for a file of the Mercuries of 1812, '13, and '14; in order to understand the spirit of those eventful times. She was anxious to write of things she had known and seen; and among the number was the West Yorkshire character, for which any tale laid among the Luddites would afford full scope. In "Shirley" she took the idea of most of her characters from life, although the incidents and situations were, of course, fictitious. She thought that if these last were purely imaginary, she might draw from the real without detection, but in this she was mistaken; her studies were too closely accurate. This occasionally led her into difficulties. People recognised themselves, or were recognised by others, in her graphic descriptions of their personal appearance, and modes of action and turns of thought; though they were placed in new positions, and figured away in scenes far different to those in which their actual life had been passed. Miss Brontë was struck by the force or peculiarity of the character of some one whom she knew; she studied it, and analysed it with subtle power; and having traced it to its germ, she took that germ as the nucleus of an imaginary character, and worked outwards;--thus reversing the process of analysation, and unconsciously reproducing the same external development.