Jane Eyre by Charlotte Brontë

Jane Eyre by Charlotte Brontë

Charlotte Bronte's "Jane Eyre," a beloved classic and remarkable work of literature,
has long been one of my favorite novels. The book received high praise when first
published, under a pen name, in 1847: "It has little or nothing of the old conventional
stamp upon it ... but it is full of youthful vigour, of freshness and originality..."
However, the novel also brought about much controversy because of the passionate
and intense natures of both the heroine, Jane, the anti-hero, Mr. Rochester, and
many of the issues it addressed, i.e., the "grosser and more animal passions," (sex).
Oddly enough, and I never knew this until recently, the novel, when initially published,
was subtitled, "An Autobiography," and Currer Bell was identified as the editor rather
than the author. The subtitle was dropped in subsequent editions. In any case, I have
revisited this work often over the years, and each time have discovered new and
exciting elements in the narrative which never fail to move me.

Orphaned as an infant, Jane is taken in and cared for by her aunt, the mean spirited
Mrs. Reed of Gateshead Hall. It is clear from the beginning that Mrs. Reed favors her
own spoiled children and despises Jane, punishing her harshly for her perceived
impudence. After a particularly cruel and unjust episode with her older cousin, John,
Aunt Reed locks the ten year-old girl up in the dreaded "red-room," where her uncle
died. Jane has a nervous fit as a consequence of being enclosed in a place she so
fears. But not even the caring servant, Bessie, consoles her. She tells the child, "And
you ought not to think yourself on an equality with the Misses Reed and Master
Reed, because Missus kindly allows you to be brought up with them. They will have a
great deal of money and you will have none: it is your place to be humble, and try to
make yourself agreeable to them."

Mrs. Reed, no longer willing to cope with her niece, sends her away to board at the
prison-like Lowood School. Charlotte Bronte and her sisters were, in fact, sent to the
Clergy Daughter's School at Cowan Bridge in Lancashire. "The food was poor and
insufficient and they were treated with inhuman severity." Two of the Bronte sisters
actually died as a result of the treatment and the sickness contracted there. Lowood
was modeled after the Clergy Daughter's Institution. Mr. Brocklehurst, the
headmaster, an evangelic hypocrite, deprives his charges of basic necessities, while
lining his pockets with charitable donations. There is some goodness, however, even
at Lowood. Miss Temple, the kindly superintendent, mentors Jane and shows her
affection. And Helen Burns, another student at Lowood, becomes her first friend.
Jane is captivated by learning. Her intelligence becomes obvious to all, and despite
the suffering she experiences at the school, once her education is complete, she
chooses to stay on and teach.

One of the most amazing aspects of the vivid early scenes at Gateshead Hall and
Lowood is that childhood, as we now understand it, simply did not exist in the 19th
century. Children were seen as miniature adults, easily corrupted and inadequate, in
need of stern education, discipline, and occasional corporeal punishment. Jane's
strength of character becomes evident in that she is able to thrive in such sorry, often
brutal, circumstances.

When Miss Temple leaves Lowood to marry, Jane places an advertisement in the
local newspaper for a position as governess. She is offered a job at Thornfield
Manor, where she is received by kindly housekeeper, Mrs. Fairfax. Her young
charge, the precocious Adele Varens is the ward of Thornfield's owner, Edward
Rochester, a brooding, passionate man with a dark past he cannot escape. He
travels frequently, but when he does return and meets Jane, there is an immediate
connection between the two, although there remains the great difference in their
social class and ages - he is a worldly-wise forty, and she a mere nineteen. And of
course, there is a terrible secret, which inevitably will cause tremendous suffering. It
is at Thornfield that the reader meets a wide range of characters who will effect
Jane's future happiness.

This is a dark gothic romance - in fact, "Jane Eyre" epitomizes the best of gothic, post
Romantic fiction. Unlike her sisters, Charlotte rejected the convention of the beautiful
heroine. While writing "Jane Eyre," she told them, "I will show you a heroine as plain
and as small as myself." The young woman does blossom beautifully when she falls
in love, however. Although readers tend to visualize Mr. Rochester as handsome, he
is not. This is no Heathcliff. Jane's and Edward's attractiveness lies in their inner
selves, and their capacity to love and grow makes them both such splendid figures.

"Jane Eyre" has many recurring themes including: relationships between men and
women, their roles and limitations in society; relations between social classes;
religion and morality; the need to fulfill the desires of loved ones versus the necessity
to maintain one's personal integrity; the conflict between reason and passion, and, of
course, Jane's deep need to love and be loved. However, primary to the tale is the
magnificent, complex character of Jane herself.

Long before the women's suffrage movement, Miss Bronte created, in the character
of Jane, an intelligent, independent, strong-willed female, determined to make her
place in the world. Equality between the sexes is not brought up in the novel, neither
legally nor politically. What the persona of Jane addresses here is obvious in the
following very famous lines: "Women are supposed to be very calm generally: but
women feel just as men feel; they need exercise for their faculties, and a field for their
efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute
a stagnation, precisely as men would suffer; and it is narrow-minded in their more
privileged fellow-creatures to say that they ought to confine themselves to making
puddings and knitting stockings, to playing on the piano and embroidering bags. It is
thoughtless to condemn them, or laugh at them, if they seek to do more or learn more
than custom has pronounced necessary for their sex."

Their society did not encourage women to fulfill their talents. Twenty-year old
Charlotte wrote to Robert Southey, the poet laureate, for encouragement in her
writing. His response shows the barriers creative women faced: "Literature cannot be
the business of a woman's life, and it ought not to be. The more she is engaged in
her proper duties, the less leisure will she have for it, even as an accomplishment
and a recreation."