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When Charlotte says of Emily that what "her mind had gathered of the real concerning the people around her was too exclusively confined to their tragic and terrible traits, out of which she created Earnshaw and Catherine, and that having formed these beings, she did not know what she had done," there is no doubt that on the whole she is right. For these spirits are relentless and implacable, fallen and lost spirits, and it is only in this amazing novel that I find maledictions and curses and cries of anguish and writhings of agony and raptures of delight and passionate supplications, such as only abnormal creatures could contrive to express, and within the bounded space of the moors, made sad by somber sunrises and glad by radiant sunsets. It is sad colored and desolate, but when gleams of sunlight or of starlight pierce the clouds that hang generally above it a rare and sunny beauty comes into the bare outlines, quickening them with living splendor.

In the passionately tragic genius of Emily I find a primitive nature-worship; so strangely primitive that that wonderful scene of mad recrimination between the dying Catherine and the repentant Heathcliff, when she cries "I forgive you! Forgive me!" and he answers: "Kiss me again; and don't let me see your eyes. I forgive what you have done to me. I love my murderer—but yours? How can I?" is almost comparable with a passage in Macbeth where Banquo speaks of "the temple-haunting Martlet" and its loved masonry which preludes Lady Macbeth's entrance from under the buttresses as the delicate air bears witness to the incarnate murder that swarms, snake-like, hidden under grass. Something of Emily's saturnine humor comes into the mouth of the Calvinistic farm-servant, whose jests are as grim and as deadly and as plague-like as the snow-storms that make winter unendurable.