REAL MONSIEUR AND MADAME HEGER THIS SECOND PART IS DEDICATED TO MY BROTHER THE LATE ABBÉ AUSTIN RICHARDSON WHO DIED SUDDENLY, 20TH AUG. 1913 Dearest, before you went away And left me here behind you, How often would you talk to me, And I, too, would remind you Of stories in this book retold, That for us two could ne'er grow old; Of scenes that we could live through yet, Just you and I,--and not forget: And now I feel, since you are gone, I wrote this book for you alone. PART II CHAPTER I THE HISTORICAL DIFFICULTY: TO DISENTANGLE FACT FROM FICTION The purpose of the First Part of this study was to show that with the knowledge of the Secret of Charlotte Brontë, brought to us by Dr. Paul Heger's generous gift of these pathetic and beautiful Love-letters, the 'Problem of Charlotte Brontë,' as so many very clever but inattentive psychological critics have stated it, has lost all claim to serious attention. The basis of the 'Problem' was the alleged 'dissonance' between Charlotte's personality and her genius--between her dreary, desolate, dull, well-tamed existence, uncoloured, untroubled by romance (as Mrs. Gaskell painted it), and the passionate atmosphere of her novels, where all events and personages are seen through the medium of one sentiment--tragical romantic love. We now know that the dissonance did not exist; that from her twenty-sixth year downwards, Charlotte's life was, not only coloured, but governed by a tragical romantic love: that, in its first stage, threw her into a hopeless conflict against the force of things and broke her heart: but that, because the battle was fought in the force, and in the cause, of noble emotions, saved her soul alive; and called her genius forth to life: so that it rose as an immortal spirit from the grave of personal hopes. Understanding this, we know that there is no 'Problem' of Charlotte Brontë: but that her personality and her genius and her life and her books were all those of a Romantic. But although there is no psychological Problem, a difficulty that concerns the historical criticism of Charlotte's life and her books does remain. And this difficulty has to be faced and conquered, not by speculations nor arguments, but by methods of enquiry. When we study Charlotte Brontë's masterpiece _Villette_ in comparison with what we now know about the romance in her own life, we recognise two facts: the first is that, _in this work especially_, she has painted with such power the emotions she has undergone that her words become feelings that lift and ennoble the reader's sensibility: and thus serve him--in the way that it belongs to Romantics to serve mankind.