"Jane Eyre" by Charlotte Bronte (published 1847)

Charlotte Brontë’s well-known novel, Jane Eyre, was published in the year 1847, which is a time that took place during England’s Victorian Era. Brontë’s book is considered by most conventional standards as a work of Gothic Fiction, defined as a mix of fiction and horror, death and romance. Along with elements of the macabre, which make up a part of Gothic literature, there is also Gothic architecture, which defined it also as an aesthetic. Time and place are two very essential parts of understanding literature, and very literally make up the background of a well-written story. The foreground of the story is the characters and their relationships, both to one another and the larger social world they live in. Both background and foreground as presented here will be discussed and will answer two simple questions: 1) Why was Jane Eyre so important when it was published? & 2) Why is Jane Eyre still relevant today?

Every era has its societal standards, its status quo. The Victorian Era is known for its standards of suppression – suppression of emotions, intellect, even morality (Mizel, 176). To put it another way, restraint of these human faculties was practiced by both males and females, and in different ways. While men practiced self-mastery and self-discipline, women practiced self-denial (Mizel, 177). A woman living during Victorian Era England would ideally deny her passions, both sexual and emotional, as well as intellectual. Woman’s self-denial was partaken under the hierarchies of the world they lived in, a world that gave authority to 1) a patriarchal system, 2) a system based on wealth, and 3) a system based on class status. This was the world in which Charlotte Brontë composed and published Jane Eyre.

Under these conditions, Charlotte Brontë published her novel under the name Currer Bell, most likely, if not positively, to mask her gender. It has been said that “these are concerns that not only take us back to the nineteenth century but that also demand that we look at our own bodies and think about our own voices” (Posman, 309). She wrote to poet laureate Robert Southey at 21 years old, before she had written her beloved novel. She asked for his thoughts on writing, and his response further confirms the social norms of that time: “Literature cannot be the business of a woman’s life… the more she is engaged in her proper duties, the less leisure she will have for it” (The City University Of New York, 1). Yet, Brontë wrote, and the immediate response to Jane Eyre was largely positive. First of all it was a bestseller. A review from Atlas that gave it merit immediately after it came out gave compliments such as “powerful… [un] conventional [but] full of youthful vigor”. Another review from Fraser Magazine wrote: “reality – deep, significant reality – is a great characteristic of the book… it is souls speaking to the soul” (Mishou, 258). However, two other negative reviews considered it “connected with the grosser and more animal portion of our nature… [the main character] has a detestable morality”, and another, “It is true Jane does right, and exerts great moral strength, but it is the strength of a mere heathen mind” (The City University Of New York, 2). The harsh criticisms of the book were more prominent after Brontë exposed her female authorial identity. At a time when there were social revolutions for the working class all over Europe, Jane Eyre was predictably “harshly criticized” (The City University Of New York, 3). 

So now the scene has been set and it is time to examine the story. The beginning of the story goes like this, and for the purposes of this paper it will be very much described down to its bare bones: Jane Eyre is an orphaned child, left to be cared for by wealthy relatives. She stands out in the large mansion in which her strict aunt Reed, and brutal, idiot cousin reside. John Reed, her cousin, bullies her terribly, both mentally and physically. Jane is a girl that wants and likes to read – she is curious about the world, she values culture. She isn’t not very social in the normal sense of the word, instead, she is inherently ponderous and thoughtful. She refuses to “put on a façade” for anything or anyone whatsoever, for she is unhappy, and not afraid to show it (Mizel, 184). This petrifies her Aunt Reed, who sees Jane as other, different because of her inability to conform and, basically, her inability brown nose her in such a way as to offer thanks for the household she has been “given” after the death of her parents. Aunt Reed sees Jane as an orphan who is to be looked down upon, and she, herself, the one who deserves the utmost respect. John Reed hates Jane for her unique personality as well. So do the maids, who condemn her for acting in such a way without having attractive, beautiful physical attributes (which, if she did, would make her actions and personality more acceptable). Jane’s plight does not get any easier, but she gets stronger… and as this novel is, indeed, a kind of saga, the bumps in the road are many, and readers take heart as they start to understand Jane’s distinctive coming-of-age.

Most students and people who love books have surely at least heard of Brontë’s Jane Eyre. I had heard of it primarily because my mom, born in the Philippines in 1952, was required to read this text in high school. She has told me that she considers it one of her favorite romances. At a bookstore about six years ago, I happened upon a film entitled Jane Eyre, which indeed was based off of the book. I ended up buying Cary Fukunaga’s adaptation starring Michael Fassbender and Mia Wasikowska. Since then I have watched it about five times, taking in the Gothic scenery which I had described earlier, the clothing and fashion, and of course, the beloved character Jane – as well as Mr. Rochester. The movie was fascinating because of its ability to wrap me up in an entirely different world of my own, a world that, despite all its differences of appearance and language, held an emotional and atmospheric quality that transcended time. I read the book to see if it was as fascinating as it seemed in the film. It ended up being above and beyond my expectations. As I thought about the book for a while, I realized that its classic quality is partly because the story can be told to anyone, and even if major plot-points are divested, this will not ruin the reader’s enjoyment of the book. 

Because of Jane’s inability to adapt to life at her Aunt Reed’s (she cannot tolerate their entitlement and ignorance), she is taken to Lowood Institution – a school for orphans. Jane is educated at Lowood, makes some friends, and learns many things such as the French language, music (piano), and drawing. She becomes a teacher as soon as she is of age, and later a governess for a little French girl named Adele at Thornfield Hall. Jane’s first friend at Lowood Institution is Helen Burns. Jane tells her everything about her life before Lowood, and Helen attempts to help her, saying:

“Hush, Jane! you think too much of the love of human beings; you are too impulsive, too vehement; the sovereign hand that created your frame, and put life into it, has provided you with other resources than your feeble self, or than creatures feeble as you. Besides this earth, and besides the race of men, there is an invisible world and a kingdom of spirits: that world is round us, for it is everywhere; and those spirits watch us, for they are commissioned to guard us; and if we were dying in pain and shame, if scorn smote us on all sides, and hatred crushed us, angels see our tortures, recognise our innocence... and God waits only the separation of spirit from flesh to crown us with a full reward. Why, then, should we ever sink overwhelmed with distress, when life is so soon over, and death is so certain an entrance to happiness — to glory?” - Brontë

Helen’s kind heart and dedication to always humble her precious self touches Jane immensely. During their life together at Lowood, there were small amounts of food and equally small amounts of warmth during the winter. They studied all the subjects, including religion, and their teachers were strict – some would say even cruel. Old time punishments included standing on a chair for an entire day, going hungry, or being shunned by the entire institution at the command of some authority (particularly Mr. Brokelhurst). One of the saddest parts of the story is when Helen dies from what probably was tuberculosis. On the night of her death, young Jane crept into her bed located in the infirmary, and held her close, and found, upon her morning awakening, that her dear friend had passed by her side.

It is interesting to note that Charles Darwin’s theories were coming out at the same time as Brontë was writing… particularly The Origin Of The Species, published in 1859. It has been theorized that Brontë, either consciously or unconsciously may have alluded to evolutionary theory in her book, a few times. The first time would be in the circumstance of Jane meeting Helen: 

“… it is through Brontë’s juxtaposition of Jane with Helen Burns that her intentions and insinuations regarding evolutionary theory are made most clear. In both the world of the novel itself and in that of the novel’s original readers Helen is representative of the perfect child… [with kindness and patience]… however, Helen is also a stagnant Victorian figure… her inability to adapt reveals Brontë’s purpose… [to show] how an evolved individual is better-endowed for survival than even the contemporary figures of perfection” (Mishou, 260).

This is one theory. I personally believe that Helen was indeed adapting. She did not hold grudges, she was not afraid of death, she was able to keep her anger at bay, perhaps anger was even nonexistent for her. Brontë’s portrayal of death through Helen Burns may also be read as a commentary on hardships. Helen Burns considered death a blessing; she was going “home”, whereas Jane had to continue to suffer the turmoil of survival. Burn’s death gave Jane perspective, perhaps that of the finitude of life, and the desire to do the morally right thing, as Helen did. I do not think Helen’s death was a comment on evolution, although, it seems, many others do. Jane later even encounters that “invisible world” that Helen spoke of.

Another time Brontë may have evoked evolutionary theory within Jane Eyre is in her portrayal of Jane and Mr. Rochester’s relationship. Mr. Rochester, owner of Thornfield Hall, is a mildly handsome (“mildly” because he is described as looking fierce), intelligent, perhaps even daunting, and an imposing man. Yet, despite his questions and vocal criticisms of Jane (criticisms that are not meant to be cruel, but just so happened to be part of Rochester’s inherently genuine personality), Jane holds her own. She answers quickly and concisely, or, if questioned by something unfamiliar to her, makes suitable hesitations and pauses before she remarks, just as whip-smart as him. To be sure, she always answered matter-of-factly. This is evident in Jane’s second encounter with Rochester. For example, when they speak about Jane’s artistry:

“’And when did you find time to do them? They have taken much time, and some thought.’
‘I did them in the last two vacations I spent at Lowood, when I had no other occupation.’
‘Where did you get your copies?’
‘Out of my head.’
‘The head I see now on your shoulders?’
‘Yes, sir.’
‘Has it other furniture of the same kind within?’
‘I should think it may have – I should hope, better.’ …
‘Were you happy when you painted these pictures?’
‘I was absorbed sir: yes, and I was happy. To paint them, in short, was to enjoy one of the keenest pleasures I’ve ever known.’
‘That is not saying much… you felt self-satisfied with the result?’…
‘Far from it…’
- Brontë, Chapter 13

Jane’s ability to command her language, without teasing, without shame, with straightforward intelligence, is one of her attributes that Rochester later falls in love with. Jane has an “aggressive intellect that marks [her] as an evolved child… [Jane is] decidedly sharp, having both a knowledge of conventional wisdom and an ability to dissect it with original and self-validated thought” (Mishou, 261-262). Again, this is one theory, which suggests that because of these traits, Jane ultimately gets what she desires, although it is a very rough road that takes her there. Whether or not the book is a cultural or scientific commentary on the state of the world is a good place to begin a discussion. Perhaps it is both scientific and cultural. Bertha Mason, the crazy, feral, brute woman, a character who should be known if you have read this book, illuminates these theories even further. There are countless contemporary essays on the specific topic concerning Bertha Mason (see bibliography for more writing on this subject). 

The modern and well-known philosopher Gilles Deleuze (1925 – 1995) has written about Jane Eyre. This signifies that the book was not only popular back in the nineteenth century, but it is popular even today, in both popular culture and academic circles. Deleuze wrote about a concept of “becoming” which was, to him, evident and powerful in literature of all types. Specifically, for Jane Eyre “becoming is not identification, imitation, or mimesis, but a breaking free from exisiting structures and (subject) formations. Becoming in Jane Eyre, according to this framework, is not a matter of Jane finding her true self and position in society but of Jane escaping established institutions and positions” (Posman, 311). The first theory presented “reduces” Jane’s character to a feminist position, the second theory presented considers Jane’s character as a step in evolutionary biology because of her ability to adapt, but Deleuze’s theory attempts to break free from both of those by creating something new – Jane is a character that was created by Brontë at a time when Jane could not possibly exist in reality. Jane is surrounded by the world she was born in – the Victorian, Gothic world with all it’s social structures, but she is a thing of the future, a possibility, an idea, a “becoming” of someone who might be, of someone who could be. This perhaps is why Jane Eyre was and still is considered a classic. The book can be analyzed during any period of time because Brontë’s main character is a representation of our human desires and passions, our innermost emotions that we deal with every single day. To end with an idea almost magical: while Jane Eyre is still subject to historicity, the book is an opportunity to view a “crack” in time, which brings our common language at the present moment into relation with past “tradition[s]” (Posman, 316).

Jane Eyre will be of interest to anyone who enjoys reading English in the “native” tongue, to those who love period pieces, to those curious about social customs, to lovers of romance, and mostly, to those who are brave enough to feel and live their communal 
passion, and to hush their villainous desires. 

Bibliography
Brontë, Charlotte, Jane Eyre (Mineola, N.Y.: Dover Thrift Editions, 2002) Print.
“Charlotte Brontë: ‘Jane Eyre’” City Colleges Of New York (http://academic.brooklyn.cuny.edu/eng...), website accessed October 19, 2016

Mishou, Aubrey L., “Surviving Thornfield: Jane Eyre And Nineteenth-Century Evolutionary Theory,” Renascence, Marquette University. Online. 

Mizel, Annika, “Righteous Restraint In Hard Times And Jane Eyre,” Renascence
Volume 68, Number 3 (Summer 2016). Online.

Posman, Sarah, “’Becoming’ In Jane Eyre: Charlotte Brontë Through The Eyes Of Gilles 
Deleuze,” Brontë Studies Volume 39, No. 4 (November 2014) Online.