be clearly identified, Emily's imagination and her power of drawing conclusions are alone responsible for the character of her creations. This is not saying that she had no data to go upon. Had she not seen Sowdens, and many more such houses, she would never have invented 'Wuthering Heights;' the story and passion of Branwell set on her fancy to imagine the somewhat similar story and passion of Heathcliff. But in the process of her work, the nature of her creations completely overmastered the facts and memories which had induced her to begin. These were but the handful of dust which she took to make her man; and the qualities and defects of her masterpiece are both largely accounted for when we remember that her creation of character was quite unmodified by any attempt at portraiture.
Therefore in 'Wuthering Heights' it is with a story, a fancy picture, that we have to deal; in drawing and proportion not unnatural, but certainly not painted after nature. To quote her sister's beautiful comments—
"'Wuthering Heights' was hewn in a wild workshop, with simple tools, out of homely materials. The statuary found a granite block on a solitary moor; gazing thereon he saw how from the crag might be elicited a head, savage, swart, sinister; a form moulded with at least one element of grandeur—power. He wrought with a rude chisel, and from no model but the vision of his meditations. With time and labour the crag took human shape; and there it stands colossal, dark and frowning, half-statue, half-rock; in the former sense, terrible and goblin-like; in the latter, almost beautiful, for its colouring is of mellow grey, and moorland moss clothes it; and heath, with its blooming bells and balmy fragrance, grows faithfully close to the giant's foot."
