llowed. Now he has gathered all his evidence together into one
formidable book, and we are faced with what he calls his "miraculous and
sensational" discovery that it was Charlotte and not Emily Bronte who
wrote _Wuthering Heights_, and that in _Wuthering Heights_ she
immortalized the great tragic passion of her life, inspired by M. Heger,
who, if you please, is Heathcliff.

This is Mr. Malham-Dembleby's most important contribution to the
subject. M. Heger, Mr. Malham-Dembleby declares, was Heathcliff before
he was M. Pelet, or Rochester, or M. Paul. And as it was Charlotte and
not Emily who experienced passion, Charlotte alone was able to
immortalize it.

So much Mr. Malham-Dembleby assumes in the interests of psychology. But
it is not from crude psychological arguments that he forges his
tremendous Key. It is from the internal evidence of the works, supported
by much "sensational" matter from the outside.

By way of internal evidence then, we have first the sensational
discovery of a work, _Gleanings in Craven, or The Tourists' Guide_, by
"one Frederic Montagu", published at Skipton-in-Craven in 1838, which
work the author of _Wuthering Heights_ and _Jane Eyre_ must have read
and drawn upon for many things, names (including her own pseudonym of
Currer Bell), descriptions of scenery, local legends, as of that fairy
Jannet, Queen of the Malhamdale Elves, who haunted the sources of the
Aire and suggested Rochester's Queen of Elves, his fairy, Janet Eyre.
Parallel passages are given showing a certain correspondence between
Montagu's traveller's tale and the opening scene of _Wuthering Heights_.
Montagu goes on horseback to a solitary house, like Lockwood, and, like
Lockwood, is shown to bed, dreams, and is awakened by a white-faced
apparition (his hostess, not his host), who holds a lighted candle, like
Heathcliff, and whose features, like Heathcliff's, are convulsed with
diabolical rage, and so on. Mr. Malham-Dembleby, in a third parallel
column, uses the same phrases to describe Jane Eyre's arrival at
Rochester's house, her dreams, and the appearance of Rochester's mad
wife at her bedside; his contention being that the two scenes are
written by the same hand.

All this is very curious and interesting; so far, however, Mr.
Malham-Dembleby's sensational evidence does no more for us than suggest
that Charlotte and Emily may very likely have read Montagu's book.

But the plot thickens. Mr. Malham-Dembleby first prints