Charlotte Bronte's Jane Eyre was first published in England in October, 1847, and it made a huge splash among the Victorian reading public. The novel was subtitled, "An Autobiography," and readers through the years have been charmed by the strong voice of the heroine who tells the story of her life. The narrator's habit of addressing the reader directly throughout the book, making statements such as "Gentle reader, may you never feel what I then felt," and "reader, forgive me for telling the plain truth!" are quite effective in drawing the reader into the action of the novel.
Jane Eyre is a character whose strength and individuality are remarkable for her times. As model for women readers in the Victorian period and throughout the twentieth century to follow, Jane Eyre encouraged them to make their own choices in living their lives, to develop respect for themselves, and to become individuals. But the early readers of Jane Eyre were not all charmed by the heroine's bold personality. Many readers objected to the novel because they felt that it was "un-Christian," taking offense at Bronte's often bitter attacks on certain aspects of religion and the church in contemporary England. The character of Mr. Brocklehurst, for example, a deeply religious but highly hypocritical figure, was based on a well known clergyman alive at the time, and many readers recognized the characterization right away.
Other Victorian readers felt that the novel was "coarse" because it addresses issues and incidents that were not "proper" for a female narrator to discuss. When Edward Rochester tells Jane of his past history with women, for example, and his possible fathering of Adele Varens, many readers found it highly improper to imagine a man speaking of such matters to a young girl of eighteen. Moreover, Mr. Rochester's plans to marry Jane even though he was married already was a rather shocking situation for a novel to explore. Many readers believed that the writer of the novel was a man, not able to imagine that a woman could possibly write such a story. Bronte's use of the pen-name, "Currer Bell" encouraged this assumption for some time. Many women writers like Bronte chose to publish under a man's name because publishers, critics, and readers were much more likely to respond well to a work by a man, and because the general belief was that it was improper for ladies to write at all.
The issue of female independence is central to Jane Eyre. Much of the strength of Jane's character comes directly from Bronte who was able to voice a lot of her own thoughts and feelings concerning the life of women in the nineteenth century. Additionally, Bronte based a fair amount of the material in the story on actual events from her own family's life. The Lowood School, for example, is closely based on an actual boarding school for the daughters of clergymen that Bronte and several of her sisters attended as children. Her depiction of the horrors of life in such a place is not exaggerated; the conditions were such that two of Bronte's sisters died from illnesses they contracted while living at the school.
In the nineteenth century women had far less personal freedom, and there were few options available for them to support themselves outside of choosing to marry and raise children. Jane's work as a governess represents one of the only respectable ways in which a woman could employ herself if she lacked personal wealth. Even so, governesses were typically treated only a little better than servants, as seen when Mr. Rochester brings his wealthy houseguests to Thornfield and they disdain to interact with Jane at all.
Many readers have noted the strong relationship between Jane Eyre's story and fairy tales. Her descriptions of her early life are very similar to the story of "Cinderella," for example. Her aunt, Mrs. Reed, is akin to the archetypal evil stepmother, and Jane is mistreated while the other children of the house are indulged in every way. The story of Jane's relationship with Mr. Rochester also reflects a few details of the story of "Beauty and the Beast." Mr. Rochester is, after all, described as a rather unattractive man with a gruff exterior, yet Jane gradually grows to love him despite his exterior, much as Beauty grows to love the Beast.
Despite the story's roots in traditional fairy tales, however, it is quite modern and unusual in its description of a woman's search for self and for the life of her choice. Sandra Gilbert has discussed the novel as the story of a woman's coming of age that is accomplished through several important psychological stages. The story begins with Jane's first home, the Reeds' Gateshead, where Jane learns to stand up for herself when she is wrongfully accused of being a liar and a bad child. The...
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Critics have traditionally endowed the heroine and eponym of Charlotte Bronte's romantic masterwork, Jane Eyre, with a prodigious free will. According to various commentators, Jane draws on her knowledge either of good and evil or of her own nature in choosing between a series of conventional literary oppositions—reason and passion, absolute and relative morality, and, finally, love without marriage and marriage without love. Such a reading, however, judges the actions of Jane the young woman without allowing for the extraordinary childhood forces that largely determine her adult personality, thus essentially ignoring the first quarter of the novel. While many have celebrated Bronte's carefully wrought description of her protagonist's first eighteen years for its vivid pathos, no one has as yet accorded this childhood its deserved weight in the novel's ultimate resolution. When viewed from the vantage of modern child psychology, Jane's background—ten years spent at Gateshead barren of affection or adult encouragement, and eight years at Lowood School marked by severe physical privations, public humiliations, and exposure to the cheerless philosophy of Helen Burns—can only exempt Bronte's heroine from common standards of morality or human incentive. The Jane Eyre who emerges from this past of injustice and mental depression is an odd mixture of pride and insecurity. She is saddled with a tenacious pessimism concerning her prospects for happiness, and it is this mentality against which she must struggle, and this over which she triumphs in the end.
It is hard to imagine anyone learned enough to read Jane Eyre who would consider her first ten years emotionally healthful ones. Orphaned in her first year, Jane is given up to her resentful Aunt Reed, whose husband (Jane's mother's brother) also dies within the year. Jane's life to age ten is one of ostracism by the Reed family and unrelenting anxiety over the chidings of the servants, the violence of her cousin John Reed, and the punishments and beratings of Mrs. Reed. Though we as readers do not meet Jane until her tenth year, we may deduce from Mrs. Reed's deathbed admission that Jane's situation has been destitute since infancy—"I hated it the first time I set my eyes on it—a sickly, whining, pining thing"—and her declaration that her children could never bear to be friendly to Jane. The older Jane, who narrates the novel, makes a characteristically self-deprecating excuse for the Reeds' behavior, claiming, "I know that had I been a sanguine, brilliant, careless, exacting, handsome, romping child—though equally dependent and friendless—Mrs. Reed would have endured my presence more complacently." But we cannot admit this statement as "the more sober judgment of the mature Jane, that as a child she brought much of her punishment upon herself." For a child in such circumstances as Jane's at Gateshead to develop the traits that the "mature Jane" enumerates would be unimaginable.
Susan D. Bernstein, in ["Madam Mope: The Bereaved Child in Bronte's Jane Eyre], uses Bronte's depiction of childhood in Jane Eyre to illustrate the effects of grief and loss on children. Bernstein concentrates on the novel's first few chapters, which describe a typical afternoon of melancholy and exclusion for the ten-year-old Jane, culminating in her traumatic banishment to the Red Room—which Jane has supposed to be haunted since her uncle died there years earlier—for defending herself against an attack by her John. The medical implications of the Red Room incident run perhaps even deeper than Bernstein allows, as Jane's emotional reaction provides a textbook example of mental depression. Jane in this scene quite clearly demonstrates five of the eight identifiable symptoms of adult or child depression cited by the American Psychiatric Association. First, she manifests a loss of appetite in her inability to eat either the night she is locked in the Red Room or the following day. Secondly, she is unable to sleep: "For me, the watches of that long night passed in ghastly wakefulness." Third, she displays a lack of interest in usual activities, as she is unable to muster enthusiasm over her favorite engraved dinner plate or over Gulliver's Travels. Fourth, Jane experiences feelings of guilt and worthlessness: "All said I was wicked, and perhaps I might be so." Finally, Jane indulges in suicidal fantasy in her thoughts of forsaking food or drink. It is now widely agreed that most childhood disorders can be traced to either a faulty relationship with the child's parents or to anxiety-provoking experiences that the child cannot understand. Aside from the antagonistic relationship with her guardian, the ghost in the Red Room constitutes for Jane a frightening experience, and as an older narrator she attributes to the incident "some fearful pangs of mental suffering."
Only hope enables human beings to endure such adverse conditions as those Jane endures at Gateshead, and it is the hope of leaving the Reeds that revives Jane's spirits following her fright in the Red Room. This initial experience with hope, however, proves a negative one; the young Jane is learning early the futility of optimism. The change that delivers her from Gateshead is a move to Lowood School, where onto her life of emotional privation is grafted one of physical hardship. At a critical stage in her development Jane is subjected to severe cold and near starvation, conditions that claim the lives of many of her classmates. Her bad luck with adults remains constant as well, as she is almost immediately singled out in front of her classmates by Mr. Brocklehurst, the school's headmaster. Brocklehurst christens Jane a deceitful child, and warns her classmates to "shun her example: if necessary, avoid her company, exclude her from your sports, and shut her out from your converse." Lowood school can be seen as Brocklehurst's project for infusing orphan girls with an ascetic abhorrence of worldly pleasures, and the fire-and-brimstone religion he imposes proves ideal for instilling in his pupils a sense of fear and guilt about happiness on earth.
At Lowood Jane also meets Helen Burns, a character whose acceptance of fate has led critics to read her as a positive model for Jane. But while Helen's calm stoicism later helps Jane to accept hardship, it does little to prepare her for human happiness. Helen lives only for death and the reunion it will bring with her savior. Her reliance on "an invisible world and a kingdom of spirits" may signify a venerable religious faith, but it also serves as a defense mechanism against the sufferings she has found life to hold for an orphan child. Jane finds "an alloy of inexpressible sadness" in Helen's stance—only as Helen dies does Jane see her happy. To Jane, Helen's death represents yet another defeat of hope, as it cuts short what would have been Jane's first real friendship. Jane longs for...
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When Jane is emancipated from the thraldom of her aunt's family, she moves on to a larger social unit, the community of Lowood, exchanging moral oppression for the religious oppression of Mr. Brocklehurst. But Jane has by now built up her defenses: "I stood lonely enough, but to that feeling of isolation I was accustomed: it did not oppress me much." By nature antipathic to Brocklehurst's hypocritical Evangelicalism, Jane is nevertheless drawn towards two other representatives of religion at Lowood. Helen Burns represents a Christian ideal that Jane admires but does not aspire to. Jane, with her intense awareness of self and her fierce sense of justice, could never adopt Helen's attitude of resignation and forgiveness. Again, with...
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