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“The Brontë sisters have a renewed hold upon our imagination. They were gifted, well-educated, especially self-educated, and desperate. Their seriousness and poverty separated them forever from the interests and follies of respectable young girls. It was Charlotte’s goal to represent the plight of plain, poor, high-minded young women. Sometimes she gave them more rectitude and right thinking than we can easily endure, but she knew their vulnerability, the neglect they expected and received, the spiritual and psychological scars inflicted upon them, the way their frantic efforts were scarcely noticed, much less admired or condoned.”
― Elizabeth Hardwick, Seduction and Betrayal

“I remember looking on those two sad, earnest, shadowed faces, and wondering wether I could trace the mysterious expression which is said to foretell an early death. I had some fond superstitious hope that the column divided their fates from hers, who stood apart in the canvas, as in life she survived. I liked to see that the bright side of the pillar was towards her - that the light in the picture fell on her; I might more truly have sought in her presentment - nay, in her living face - for the sign of death - in her prime.”
― Elizabeth Gaskell, The Life of Charlotte Brontë

“Earnshaw is quite a famous name, thanks to Miss Brontë . I did not realise there were Earnshaws in this country."

Mrs. Earnshaw gave a sharp nod. "Aye. And Heathcliffs and Eyres, as well. Proper little thieves, those Brontë girls.”
― Deanna Raybourn, Silent on the Moor

“The village of Haworth stands, steep and grey, on the topmost side of an abrupt low hill. Such hills, more steep than high, are congregated round, circle beyond circle, to the utmost limit of the horizon. Not a wood, not a river. As far as eye can reach these treeless hills, their sides cut into fields by grey walls of stone, with here and there a grey stone village, and here and there a grey stone mill, present no other colours than the singular north-country brilliance of the green grass, and the blackish grey of the stone. Now and then a toppling, gurgling mill-beck gives life to the scene. But the real life, the only beauty of the country, is set on the top of all the hills, where moor joins moor from Yorkshire into Lancashire, a coiled chain of wild free places. White with snow in winter, black at midsummer, it is only when spring dapples the dark heather-stems with the vivid green of the sprouting wortleberry bushes, only when in early autumn the moors are one humming mass of fragrant purple, that any beauty of tint lights up the scene. But there is always a charm in the moors for hardy and solitary spirits. Between them and heaven nothing dares to interpose. The shadows of the coursing clouds alter the aspect of the place a hundred times a day. A hundred little springs and streams well in its soil, making spots of livid greenness round their rise. A hundred birds of every kind are flying and singing there. Larks sing; cuckoos call; all the tribes of linnets and finches twitter in the bushes; plovers moan; wild ducks fly past; more melancholy than all, on stormy days, the white sea-mews cry, blown so far inland by the force of the gales that sweep irresistibly over the treeless and houseless moors. There in the spring you may take in your hands the weak, halting fledgelings of the birds; rabbits and game multiply in the hollows. There in the autumn the crowds of bees, mad in the heather, send the sound of their humming down the village street. The winds, the clouds, Nature and life, must be the friends of those who would love the moors.”
― A. Mary F. Robinson, Emily Brontë