The Brontës suggest themselves here; because their superficial qualities, the qualities that can be seized upon in satire, were in this an exaggeration of what was, in George Eliot, hardly more than an omission. There was perhaps a time when Mr. Rawjester was more widely known than Mr. Rochester. And certainly Mr. Rochester (to adopt the diction of that other eminent country gentleman, Mr. Darcy) was simply individualistic not only in practice, but in theory. Now any one may be so in practice: but a man who is simply individualistic in theory must merely be an ass. Undoubtedly the Brontës exposed themselves to some misunderstanding by thus perpetually making the masculine creature much more masculine than he wants to be. Thackeray (a man of strong though sleepy virility) asked in his exquisite plaintive way: "Why do our lady novelists make the men bully the women?" It is, I think, unquestionably true that the Brontës treated the male as an almost anarchic thing coming in from outside nature; much as people on this planet regard a comet. Even the really delicate and sustained comedy of Paul Emanuel is not quite free from this air of studying something alien. The reply may be made that the women in men's novels are equally fallacious. The reply is probably just. What the Brontës really brought into fiction was exactly what Carlyle brought into history; the blast of the mysticism of the North. They were of Irish blood settled on the windy heights of Yorkshire; in that country where Catholicism lingered latest, but in a superstitious form; where modern industrialism came earliest and was more superstitious still. The strong winds and sterile places, the old tyranny of barons and the new and blacker tyranny of manufacturers, has made and left that country a land of barbarians. All Charlotte Brontë's earlier work is full of that sullen and unmanageable world; moss-troopers turned hurriedly into miners; the last of the old world forced into supporting the very first crudities of the new. In this way Charlotte Brontë represents the Victorian settlement in a special way. The Early Victorian Industrialism is to George Eliot and to Charlotte Brontë, rather as the Late Victorian Imperialism would have been to Mrs. Humphry Ward in the centre of the empire and to Miss Olive Schreiner at the edge of it. The real strength there is in characters like Robert Moore, when he is dealing with anything except women, is the romance of industry in its first advance: a romance that has not remained. On such fighting frontiers people always exaggerate the strong qualities the masculine sex does possess, and always add a great many strong qualities that it does not possess. That is, briefly, all the reason in the Brontës on this special subject: the rest is stark unreason. It can be most clearly seen in that sister of Charlotte Brontë's who has achieved the real feat of remaining as a great woman rather than a great writer. There is