The last observation shows that Dr. Paul Heger, an experienced _littérateur_, foresaw what has actually happened, and that the defenders of the two 'legends' of Charlotte Brontë, patronised by writers who derive the authority for their opinions about her, not from the study of the facts of her life and character, but from their own impressions and convictions, are not going to admit that the legends are overthrown, simply because it has been proved that they are founded upon mistakes. At the same time, no statement can be more true than that 'facts are stubborn things,' and that, when these 'stubborn things' are found arrayed in stern and uncompromising opposition to the impressions and convictions of the most accomplished psychological theorists--well, it is the psychological theorists who must give way. And this is the situation that has to be faced to-day by critics of Charlotte Brontë, who have either formed their opinions about her in the light of their impression that _Villette_ represents an autobiographical study, or else who have founded their judgments of her personality and genius as a writer upon their conviction that it is a '_silly and offensive imputation_' to suppose that her sentiment for M. Heger was a warmer feeling than the esteem and gratitude a clever pupil owes an accomplished professor. In connection with the tenacity of life of this last theory (after the publication of the evidence which proves it is a mistake), we have to consider with serious attention the account rendered in the _Times_ of the 30th July 1913, of an interview with Mr. Clement Shorter, known to be the most distinguished supporter, in the past, of the doctrine that Charlotte's sentiment for Professor Heger was 'literary enthusiasm,' and nothing more. And this serious attention is needed, because, in Mr. Clement Shorter's case, it is not allowable to dismiss lightly the judgment of a critic who (after Mrs. Gaskell) has done more than any one else to throw light upon the family history of the Brontës, and also upon and around those three interesting and touching personalities--Emily, Anne, and, the greatest of them all, Charlotte, amongst the familiar scenes and personages of their environment at Haworth, both before and after they had conquered their unique place in English literature. One cannot for a moment suppose that Mr. Clement Shorter wilfully refuses to see things as they really are, simply because it pleases him to see them differently? No! One realises perfectly that, as with Mrs. Gaskell fifty-seven years ago, _so_ with this modern conscientious and generous critic to-day there exists an entirely noble, and, _from a given point of view_, justifiable reason, for refusing to handle or examine a matter with which (so it is alleged) historical and literary criticism has no concern--a purely personal, and intimate secret sorrow, in the life of an admirable woman of genius; the sanctuary of whose inner feelings it is by no means necessary to