The million word storybo.., p.175
The Brontës in Brussels, page 175
Brussels in the early 1840s
Contents
Title Page
Acknowledgements
Foreword
Author’s Note
Epigraph
1 Two New Arrivals at the Pensionnat de Demoiselles
2 What Brought the Brontës to Brussels?
3 The Site of the Pensionnat Heger Today
4 Charlotte and Emily at the Pensionnat
5 Monsieur Heger
6 Four Devoirs by Charlotte and Emily
7 Lucy Snowe’s Pensionnat
8 Extract from Villette (I): Lucy Receives a Letter from Graham Bretton and M. Paul Is Not Pleased
9 A Look Back at the History of the Isabelle Quarter
10 The Fate of the Isabelle Quarter and What You Can Still See
11 Around Place Royale
12 Extract from Villette (II): A Burial: Lucy Buries Graham’s letters
13 The Brontës’ Friends in Brussels
14 Brussels in the Brontës’ Time
15 Extract from Villette (III): Lucy Goes to the Park at Night
16 Charlotte’s Second Year in Brussels
17 The Confession at St Gudule’s
18 Leaving Brussels
19 After Brussels: Writing to M. Heger
20 Charlotte’s Letters to Constantin Heger
21 After Brussels: Fame
22 The Pensionnat Becomes a Place of Pilgrimage
Timeline
A Brontë Walk in Brussels
A Very Brief History of Belgium Up to Independence
Plot Summaries of Charlotte’s Brussels Novels Villette and The Professor
Notes
List of Illustrations
Select Reading List
Index
About the Author
Copyright
Acknowledgements
My fascination with the stay of Charlotte and Emily Brontë in Brussels has developed over years of organizing guided walks and talks on Brontë-related subjects in the Belgian capital since setting up the Brussels Brontë Group in 2006. This has brought me into contact with enthusiasts and scholars who have added to my knowledge of the history of Brussels – a beautiful city in the Brontës’ time and one that retains much charm despite the destruction wrought by urban developers. Although many of the old streets Charlotte and Emily wandered along have vanished, there is still plenty to remind us of the Brussels of their time, as I hope this book shows.
I have been assisted by friendly historians, librarians, archivists, city guides, researchers both professional and amateur. I am indebted to Eric Ruijssenaars, whose books Charlotte Brontë’s Promised Land: The Pensionnat Heger and Other Brontë Places in Brussels and The Pen-sionnat Revisited: More Light Shed on the Brussels of the Brontës first launched me on a voyage of discovery of the sisters’ time in the city. I would also like to thank Brian Bracken, indefatigable Brontës-in-Brussels researcher, for answering numerous queries and for reading my manuscript and making suggestions; Paul Gretton and Patsy Stoneman for also reading the book and making comments; Selina Busch for her skill and patience in drawing the maps; Sam for helping me with his encyclopaedic knowledge of the streets of nineteenth-century Brussels and with technical aspects of the illustrations; Margaret Smith, editor of Charlotte Brontë’s letters, for giving her blessing for the use of her translation of Charlotte’s letters to Constantin Heger; Sue Lonoff for allowing me to reproduce her translations of some of Charlotte’s and Emily’s French essays (devoirs); François Fierens, the great-great-great-grandson of Constantin Heger, for letting me use images of some of the devoirs in his possession; Roel Jacobs, history consultant to Visit-Brussels, the tourist board, for answering queries; the staff of the Brussels Archives and the Royal Library of Belgium for their help with my requests for images in their collections; and Sarah Laycock at the Brontë Parsonage Museum for her help with images owned by the Brontë Society. And, finally, my husband José Miguel for all his support.
Helen MacEwan
Brussels, 2014
Foreword
Genius is not enough. It has to find the right place to develop, and for Charlotte Brontë that place was Brussels. As Helen MacEwan says, the two years she spent there ‘changed her for ever’. She and her sister, Emily, went to Brussels in their early to mid-twenties in order to acquire sufficient French, also some German and, in Emily’s case, music in preparation for a school they hoped to open at home in Haworth Parsonage, West Yorkshire. But Brussels was also Charlotte’s ‘promised land’, a place of exquisite pictures and venerable cathedrals. As she told her friend Ellen Nussey, she had an ‘urgent thirst’ for more than formal accomplishments, ‘to see – to know – to learn’. Brushing aside a teaching opportunity, she stated in a letter dated 7 August 1841 that she felt ‘such a vehement impatience of restraint and steady work; such a strong wish for wings … I was tantalized with the consciousness of faculties unexercised’.
This illustrated guide introduces us to the Brussels that the Brontë sisters encountered in 1842–3. It lays out vital information about this foreign venture in the Brontës’ somewhat constricted lives as young women of small means and big dreams. Helen MacEwan, who lives in the city, started up a literary society, the Brussels Brontë Group, and her previous book, Down the Belliard Steps: Discovering the Brontës in Brussels, is about the inception of the society, its members and walks in the footsteps of the gifted sisters. Now she gives us a biographical close-up of the Brontës on the ground in Brussels, starting with a vivid scene of their arrival in the city and their reception at the school of their choice, the Pensionnat Heger. We discover the history of the area around the school, whom the sisters knew and whom they did not care to know, what they thought of the Belgians, how Emily dressed and how they felt as foreigners and Protestants in a Catholic environment.
Part of the pleasure of this admirably clear and readable book is the detail of the sisters’ lives on an ordinary day. We find out what they ate – the pistolets for breakfast; the sauces; the pears from the school’s garden stewed in white wine – in contrast to meals at the Parsonage; where they sat in the classroom; where they slept upstairs in the long dormitory and what their sleeping arrangements can tell us about their relation to the other boarders; and why the demoiselles were not permitted to walk along a certain garden path the Brontës frequented. We see the two walking together: Emily, who was taller and unable to adjust, leaning on her readier elder sister. There is a charming picture of the walled garden with its berceaux, arbours covered with vines, as a place for exercise in the heart of the city. As Helen MacEwan explains with well-chosen quotes from fiction, this garden also ‘fired Charlotte’s imagination’.
The Rue d’Isabelle, the sunken road where the Brontës lived, is now no more, but the book restores what is lost, describing the site and layout of the school at the bottom of the Belliard steps in relation to buildings in present-day Brussels and in relation, too, to places of worship, which survive much as they were in the Brontës’ time. Maps and abundant illustrations show exactly where the sisters went: the park, the fashionable streets in the upper city, the back alleys of the lower city, the outskirts. This Brussels swims into sight as never before. Here is a contemporary painting of women lining up for confession in the Cathedral, where in the summer of 1843 Charlotte is driven to make a confession. Guided by this book, visitors to Brussels will be able to find their own way into this storied past.
How did the Brontës develop as writers during these years just before the great flowering of their gifts in the poems and novels that would bring them universal fame? A letter from Charlotte in July 1842 records Emily’s rapid progress in French, German, music and drawing. At the Pensionnat the promise of these two obscure young women is seen for the first time. Their gifts are honed and exercised by a born teacher, M. Heger, who trains Charlotte how to rein and release passion with that tension between abandon and decorum that characterizes her writer’s voice. A new precision compels Charlotte to break with the high-life fantasies of her prolonged juvenilia. Almost before she knows it Charlotte is in love with her exacting ‘Master’, a love bound up with the play of language, the interplay of the French he confers on her and the English she offers to him, fuelled by her rising ambition.
The grand berceau (arbour) in the Pensionnat garden
During Charlotte’s second year, when she remains on her own at the school, her love of this married man becomes obsessive. Helen MacEwan’s grasp of this situation, fraught with Charlotte’s envy of the well-groomed and good-looking Mme Heger, directress of the Pensionnat, is both dramatic and balanced in showing how differently Madame appears to others.
And all the time a quantum leap is taking place in Charlotte’s increasingly impressive devoirs. These dare to open up a dialogue with her teacher. Emily dared more: she is openly rebellious, preferring originality to the discipline M. Heger requires. His standards of terseness and correctness, and the sisters’ remarkable progress in French are evident in this book’s selections from their Brussels essays.
What more did Charlotte want? Her Letter from a Poor Painter reveals this to her teacher with astonishing candour. Here, with the thinnest of fictional veils, is her understanding of her own latent ‘genius’, demanding the fuller recognition that will bring it on. She craves her Master’s words quite as much as she longs, as a woman, for his response. A susceptible man, working on rare gifts of feeling and eloquence, which he has the calibre to estimate at their true value, he finds it
There follow Charlotte’s alternately passionate and painfully tight-lipped letters to M. Heger after her return to Haworth. These four letters are included here in full. The love was to find extraordinary expression in the new kinds of heroes – keen to discern the hidden nature of women worth knowing – in Charlotte’s two ‘Brussels novels’, most obviously in the irascible teacher, M. Paul, in her later masterpiece, Villette. Telling extracts from Villette, the novel suffused with its author’s Brussels experience, are also included in this volume, which covers every aspect of this journey abroad for two untried women of genius in the making.
Lyndall Gordon
Author of Charlotte Brontë: A Passionate Life
Author’s Note
This is intended to be a concise guide to Charlotte’s and Emily Brontë’s stay in Brussels in 1842–3, providing the biographical facts we have about their time there and information on the Brussels they knew, the city Charlotte depicted in her first novel The Professor (written in 1845–6 and published posthumously) and her fourth and last, Villette (published in 1853). In the earlier book Brussels is named, as are its actual streets. In the later, more personal novel, into which Charlotte put much more of her emotional experience while in Belgium, she sought concealment. Brussels becomes ‘Villette’, and its streets and monuments are disguised under fictional names, or else names of real places are deliberately mixed up.
Both of them draw heavily on Charlotte’s life in Belgium. Of course we should not forget that they are works of fiction; Lucy Snowe’s M. Paul in Villette is not an exact portrait of Charlotte’s teacher Constantin Heger, and Mme Beck’s Pensionnat in Villette or Mlle Reuter’s in The Professor are not in every respect the Pensionnat Heger, the boarding-school where the Brontë sisters stayed. But although Charlotte changed and invented whenever necessary for her creative ends, she was often startlingly literal in her use of people and places she knew. Many of her Yorkshire acquaintances recognized themselves in the pages of Shirley (1849), into which, for example, not content with portraying her old school friend Mary Taylor as Rose Yorke, she also transplanted Mary’s entire family as the Yorke family, down to such details as the death of Mary Taylor’s sister Martha while in Brussels (Rose’s younger sister Jessy dies abroad). She also described features of the Taylors’ house. Similarly, in Villette she made liberal use of numerous aspects of the Pensionnat and its inmates and of many other places in Brussels that are recognizable from her descriptions.
I hope that this brief guide will provide a glimpse of the real experiences and the real city on which Charlotte drew in The Professor and Villette. If you are not familiar with these novels you might like to turn first to the plot summaries near the end of this book. For total immersion in the Brontës’ Brussels world, once you have finished this guide read Villette and The Professor, above all Villette, the haunting and deeply personal novel of Charlotte Brontë’s maturity.
Charlotte Brontë waving goodbye across the Channel. In this cartoon of herself in a letter to her best friend Ellen Nussey, dated 6 March 1843, Charlotte, always dissatisfied with her own appearance, portrays herself as stunted with a head too large for her body. In contrast, Ellen, who is being courted by an admirer, could be the graceful heroine of a Victorian novel.
Rue Royale and the park with the Cathedral in the background. The mansion on the left-hand side is the Hôtel Errera. Just beyond is the small square with the Belliard statue.
E.M. Wimperis, illustration for The Professor
Belgium! I repeat the word, now as I sit alone near midnight. It stirs my world of the past like a summons to resurrection; the graves unclose, the dead are raised; thoughts, feelings, memories that slept, are seen by me ascending from the clods …
This is Belgium, reader. Look! don’t call the picture a flat or a dull one – it was neither flat nor dull to me when I first beheld it. When I left Ostend on a mild February morning, and found myself on the road to Brussels, nothing could look vapid to me.
– The Professor, Chapter 7
1
Two New Arrivals at the Pensionnat de Demoiselles
On the morning of Tuesday 15 February 1842 three visitors from England could be seen walking down Brussels’ Rue Royale, as elegant carriages rattled by, past the park, to and from Place Royale. From their appearance it was clear that these visitors were not members of the carriage-owning class themselves. They had the weary look of people who had arrived late the previous night after a day in an uncomfortable public stagecoach following the fourteen-hour Channel crossing to Ostend. They had the half-dazed, half-excited look of people on their first continental trip.
It was a dull grey day. It would soon be spring, and the park would be alive with music and crowds, but that morning its avenues were almost deserted, the branches of the trees bare against an overcast sky.
The visitors were a tall white-haired clergyman and his two daughters, young women in their twenties. The younger and taller sister had a dreamy look, as if she found her own thoughts as interesting as the sights of this strange city. Her old-fashioned and somewhat dishevelled clothes suggested that, although she was the more attractive of the two girls, dress did not rank very high in her priorities. The elder, smaller and plainer sister had a different way of looking around, as if noticing everything and storing it up for future use. The expression on her face was both excited and apprehensive. She, too, was old-fashioned in appearance but neatly dressed. It seemed as if she did care what impression she made.
Little houses in Rue d’Isabelle
The three were accompanied by another clergyman, an Englishman who, unlike them, appeared to know his way around Brussels. He led them to a little square opposite the park where there was a statue with the name ‘General Belliard’ on the plinth. It stood at the top of a long, steep and rather dark stairway which plunged down to a quiet street at a much lower level and parallel to Rue Royale. The group paused for a moment at the top of the stairway, gazing down. Both girls now looked apprehensive.
‘That’, their guide told them, ‘is the Rue d’Isabelle.’
He led them down the four flights of steps into the street below.
On leaving their hotel earlier that morning the new arrivals had done a little sightseeing. They had passed through old streets full of character, narrow and winding, with tall irregular gabled houses, before walking through a much newer part of town, Place Royale and its mansions. The tranquil street where they now found themselves did not fall into either category; it was narrow but had neat symmetrical rows of modest houses. Some of the smaller ones were as quaint and charming as cottages or almshouses, more in place in a village than so close to the bustle of the royal quarter. The door they stopped at, however, opposite the foot of the steps, belonged to a larger building with tall windows.
Down here the noise of the carriage wheels far above was muted, and the elegant thoroughfare at the top of the steps seemed to belong to another world. Rue d’Isabelle was a peaceful spot in the heart of the city.
A brass plate on the door announced ‘Pensionnat de Demoiselles Heger-Parent’.
Even without this indication, the hum of activity they could hear from within the building would have told them that it was a school. They rang the bell. A few minutes later the father and his two shy, awkward daughters were being presented to the directress of the boarding-school by Rev. Jenkins, the clergyman who had guided them and who introduced himself as the British Chaplain in Brussels.
‘Mme Heger, this is Mr Brontë, and these are his daughters, Charlotte and Emily.’
Frances Henri at her aunt’s grave in the Protestant Cemetery in Brussels
Edmund Dulac, illustration for The Professor
