Charlotte Brontë (1816–1855)
Author of Jane Eyre
About the Author
Charlotte Bronte, the third of six children, was born April 21, 1816, to the Reverend Patrick Bronte and Maria Branwell Bronte in Yorkshire, England. Along with her sisters, Emily and Anne, she produced some of the most impressive writings of the 19th century. The Brontes lived in a time when women show more used pseudonyms to conceal their female identity, hence Bronte's pseudonym, Currer Bell. Charlotte Bronte was only five when her mother died of cancer. In 1824, she and three of her sisters attended the Clergy Daughter's School in Cowan Bridge. The inspiration for the Lowood School in the classic Jane Eyre was formed by Bronte's experiences at the Clergy Daughter's School. Her two older sisters died of consumption because of the malnutrition and harsh treatment they suffered at the school. Charlotte and Emily Bronte returned home after the tragedy. The Bronte sisters fueled each other's creativity throughout their lives. As young children, they wrote long stories together about a complex imaginary kingdom they created from a set of wooden soldiers. In 1846, Charlotte Bronte, with her sisters Emily and Anne published a thin volume titled Poems by Currer, Ellis, and Acton Bell. In the same year, Charlotte Bronte attempted to publish her novel, The Professor, but was rejected. One year later, she published Jane Eyre, which was instantly well received. Charlotte Bronte's life was touched by tragedy many times. Despite several proposals of marriage, she did not accept an offer until 1854 when she married the Reverend A. B. Nicholls. One year later, at the age of 39, she died of pneumonia while she was pregnant. Her previously rejected novel, The Professor, was published posthumously in 1857. (Bowker Author Biography) show less
Disambiguation Notice:
Do not combine Charlotte with either or both of her sisters. Also, do not combine this page with that of "Bronte". Thank you.
Image credit: Portrait by George Richmond
Series
Works by Charlotte Brontë
The Complete Novels: Agnes Grey / Jane Eyre / The Professor / Shirley / The Tenant of Wildfell Hall / Villette / Wuthering Heights (2012) 366 copies, 1 review
Jane Eyre: Authoritative Text, Backgrounds, Criticism (Norton Critical Editions) (2009) 41 copies, 1 review
Agnes Grey / Jane Eyre / The Professor / The Tenant of Wildfell Hall / Villette / Wuthering Heights (2018) 37 copies
The Illustrated Letters of the Brontës: The Letters, Diaries and Writings of Charlotte, Emily and Anne Brontë (2021) 25 copies, 1 review
Jane Eyre [adapted - Saddleback Illustrated Classics] (1999) — Original Author; Original Author — 22 copies
Five Novelettes: Passing Events, Julia, Mina Laury, Captain Henry Hastings, Caroline Vernon (1971) 22 copies
The Professor to Which is Added the Poems of Currer, Ellis, and Acton Bell (2009) 20 copies, 1 review
The Unfinished Novels: Ashworth / The Moores / The Story of Willie Ellin / Emma (fragment) (1993) 14 copies, 1 review
Wuthering Heights / Agnes Grey / The Tenant of Wildfell Hall / The Professor (1980) — Author — 14 copies
The Letters of Charlotte Brontë: With a Selection of Letters by Family and Friends, Volume II: 1848-1851 (2000) 13 copies
The letters of Charlotte Brontë : with a selection of letters by family and friends (1995) 13 copies
Jane Eyre by Charlotte Brontë Cranford Collection Decorative Classic Literature Novel (2022) 8 copies
The Heroines Collection (Jane Eyre, Little Women, Anne of Green Gables, The Secret Garden) (2024) 7 copies
The Brontë Sisters: The Complete Novels A Biography of the Author (The Greatest Writers of All Time) (2017) 6 copies
Jane Eyre. Cranford edition 6 copies
Romance Classics: Jane Eyre / Mansfield Park / Lorna Doone / Far from the Madding Crowd / Middlemarch / Agnes Grey (2001) — Author — 5 copies
A Leaf from an Unopened Volume; or, The Manuscript of an Unfortunate Author -- An Angrian Story (1986) 5 copies
An Edition of the Early Writings of Charlotte Brontë, Vol. 2: The Rise of Angria, 1833-1835 (1991) 5 copies
Agnes Grey / The Professor / Poems 4 copies
Vilette / Jane Eyre / Shirley / The Tenant of Wildfell Hall / Agnes Grey / Wuthering Heights 4 copies
Reading & Training : Charlotte Brontë : Jane Eyre {step 5} [book + sound recording] (2009) — Writer — 4 copies
The Great writers : their lives, works and inspiration. Vol.1. Part 3, Charlotte Brontë : Jane Eyre (1999) 4 copies
Wuthering Heights, Agnes Grey, Poems 3 copies
Jane Eyre (adapated, Collins ELT Simplified Readers: Level 4: Intermediate: 1500 Headwords) (1978) 3 copies
Wuthering Heights 2 copies
The Works of the Brontë Family 2 copies
The Brontë Family Collection: Complete Works of Brontë Family (Annotated and Illustrated) (Annotated Classics) (2013) 2 copies
Novels of the Sisters Bronte. Thornton Edition. In Twelve Volumes (Complete). Includes The Life of Charlotte Bronte (1905) — Author — 2 copies
The Complete Novels of Charlotte Brontë – All 5 Books in One Edition: Jane Eyre, Shirley, Villette, The Professor & Emma (unfinished) (2017) 2 copies
Jane Eyre. Ediz. integrale 2 copies
Poesie 2 copies
Novels by the Bronte sisters 1 copy
Sekret 1 copy
The Ultimate Brontë Collection The Complete Works by Charlotte, Anne and Emily Brontë Illustrated (2013) 1 copy
Te-am dorit intr-o seara 1 copy
Bronte Sisters Archive 1 copy
Legends of Angria 1 copy
Джейн Эйр 1 copy
Miss Lucy 1 copy
The Brontes 1 copy
Jane Eyre Vol. III 1 copy
Charlotte Brontë's Juvenilia: Tales of Angria (Mina Laury, Stancliffe's Hotel), The Story of Willie Ellin, Albion and Marina, Angria and the Angrians, Tales of the Islanders, The… (2013) 1 copy, 1 review
Die Jane Austen & Geschwister Brontë Collection (Stolz und Vorurteil, Jane Eyre, Emma, Sturmhöhe) (German Edition) (2014) 1 copy
Джейн Эйр : [Роман] 1 copy
Jane Eyre by Charlotte Bronte: The Original Classic - A Victorian Tale of Love, Independence, and Redemption (2024) 1 copy
SST 59 - Shriley II 1 copy
SST 58 - Shirley I 1 copy
Works of The Bronte Sisters 1 copy
Jane Eyre - Foxton Readers Level 4 - 1300 Headwords (B1/B2) Graded ELT / ESL / EAL Readers (2018) 1 copy
The Bronte Sisters Collection: Wuthering Heights / Jane Eyre / The Tenant of Wildfell Hall (Talking Classics) (2019) 1 copy
SST 75 - Villette 1 copy
The Professor (Easy Classics) (The Complete Brontë Sisters Collection (Easy Classics)) (2022) 1 copy
Shirley (Easy Classics) 1 copy
The Brontë Novels 1 copy
Shirley. A Tale 1 copy
Como fósforos de Lucifer 1 copy
The Professor / Tales from Angria / Emma: A Fragment / Selected Poems by Charlotte, Emily, and Anne Brontë (1954) 1 copy
Reading & Training - Life Skills : Charlotte Brontë : Jane Eyre [book + sound recording] (2018) — Writer — 1 copy
Bell's Poems 1 copy
O segredo; e Lily Hart 1 copy
JANE EYRE (With Cd) Level 2 1 copy
SST 14 - Il professore 1 copy
Shirley Level 2 1 copy
Jane Eyre (Standard Ebooks) 1 copy
Jane Eyre (Annotated): With a Critical Afterword on Fire, Silence, and the Woman in the Attic 1 copy
Jane Eyre. 1 copy
Jane Eyre [Abridged] 1 copy
Jane Eyre, Part 2 of 3 1 copy
Jane Eyre, Part 1 of 3 1 copy
Jane Eyre, Part 3 of 3 1 copy
Shirley a tale Vol 2 1 copy
Shirley a tale Vol 1 1 copy
Jane Eyre (Oxford Bookworms) 1 copy
Orkanski visor 1 copy
Associated Works
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Contributor, some editions — 1,017 copies, 7 reviews
The Norton Anthology of Literature by Women: The Tradition in English (1985) — Contributor — 937 copies, 2 reviews
The Graphic Canon, Vol. 2: From "Kubla Khan" to the Brontë Sisters to The Picture of Dorian Gray (2012) — Contributor — 213 copies, 2 reviews
Tales of Glass Town, Angria, and Gondal : Selected Writings (2010) — Contributor — 102 copies, 3 reviews
British Women Writers: An Anthology from the Fourteenth Century to the Present (1989) — Contributor — 61 copies, 1 review
The Lifted Veil: The Book of Fantastic Literature by Women 1800-World War II (1806) — Contributor — 45 copies
The Romance Collection: Pride and Prejudice / Emma / Jane Eyre / Ivanhoe / Tom Jones / The Scarlet Pimpernel / Lorna Doone / Victoria and Albert (2002) — Writer — 33 copies, 1 review
Lapham's Quarterly - Lines of Work: Volume IV, Number 2, Spring 2011 (2011) — Contributor — 32 copies, 2 reviews
Grolier Classics: Jane Eyre, Maxims and Reflections, Essays of Elia, Rubaiyat (1956) — Contributor — 21 copies
Jane Eyre/ Wuthering Heights/ Little Women/ Adam Bede/ Emma/ Pride and Prejudice (1990) — Contributor — 18 copies
Romance Double Feature: Jane Austen's Emma & Charlotte Bronte's Jane Eyre (2009) — Author — 15 copies
A Serious Occupation: Literary Criticism by Victorian Women Writers (2003) — Contributor — 15 copies
I Walked with a Zombie / The Seventh Victim: Produced by Val Lewton (1943) — Original novel — 14 copies
10 Penguin Classics on 45 CDs (The Mayor of Casterbridge, Pride & Prejudice, Great Expectations, Frankenstein, Jane Eyre, Crime & Punishment, Wuthering Heights, Northanger Abbey,… (2007) — Contributor — 9 copies, 1 review
Reading & Training : Charlotte Brontë : Jane Eyre {Step 3} [2008] [book + sound recording] (2003) — Writer — 6 copies
Die englische Literatur 08 in Text und Darstellung. 19. Jahrhundert 2 (1982) — Contributor — 5 copies
Ensayistas ingleses — Contributor — 2 copies
The King's Story Book — Contributor — 1 copy
Tagged
Common Knowledge
- Canonical name
- Brontë, Charlotte
- Legal name
- Nichols Brontë, Charlotte
- Other names
- Bell, Currer (pseudonym)
Nichols Brontë, Charlotte - Birthdate
- 1816-04-21
- Date of death
- 1855-03-31
- Gender
- female
- Education
- Cowan Bridge
Roe Head, Mirfield, Yorkshire, England, UK
Pensionat Heger, Brussels, Belgium - Occupations
- writer
novelist
poet
teacher - Relationships
- Brontë, Emily (sister)
Brontë, Anne (sister)
Brontë, Patrick (father)
Brontë, Branwell (brother)
Gaskell, Elizabeth (friend)
Thackeray, William Makepeace (friend) - Short biography
- Charlotte Brontë was born in Thornton, in the West Riding of Yorkshire, England. Her parents were Maria Bramwell and Patrick Brontë, an Anglican clergyman and poet. In 1820, when she was a small child, the family moved to Haworth on the Yorkshire moors, where the Rev. Brontë had been appointed rector. The following year, Mrs. Brontë died. In 1824, Charlotte and Emily, along with their two elder sisters Maria and Elizabeth, were sent to the Clergy Daughters' School at Cowan Bridge, near Kirkby Lonsdale, Lancashire. The discipline there was harsh, and the girls found the food and other conditions miserable. Charlotte later portrayed the terrible school in her novel Jane Eyre as the Lowood Institution. After Maria and Elizabeth died in 1825, Charlotte and Emily returned home. Their father managed the upbringing of his three remaining daughters — Charlotte, Emily, and Anne — and son Bramwell thanks to the help of their maternal aunt Elizabeth Branwell, who left her native Cornwall to come and live with them. For more than five years, the Brontë children studied and played at home, writing and telling romantic tales for one another, and inventing imaginative games. At age 15, Charlotte enrolled at a new school not far from Haworth, Roe Head School. She spent 18 months there before returning home; in 1835, she went back again for a while as a teacher. To support herself and the family, Charlotte decided to become a governess and went with Emily to a boarding school in Brussels, Belgium, to improve their French and learn German. She later became a pupil-teacher there. Her unrequited love for the school's headmaster would eventually find an outlet in her novels Villette (1853) and The Professor (published posthumously in 1857). Before that, however, the ardent heart and rebellious spirit of her most famous creation, Jane Eyre (1847) brought immediate success and fame to the author under her pen name Currer Bell. Charlotte visited London three times at the invitation of her publisher and moved in literary circles, becoming a friend of Elizabeth Gaskell and William Makepeace Thackeray. Her novel Shirley (1849), written during and after the tragic deaths of her three siblings in a single year, showed Charlotte's engagement with both women's rights and workers' rights movements. In 1854, she married Arthur Nicholls, her father's curate and her long-time suitor. She became ill and died suddenly during pregnancy at age 38 in 1855.
- Cause of death
- probable hyperemesis gravidarum
- Nationality
- UK
- Birthplace
- Thornton, Yorkshire, England, UK
- Places of residence
- Thornton, Yorkshire, England, UK
Haworth, Yorkshire, England, UK
Lancashire, England, UK
Mirfield, England, UK
Brussels, Belgium - Place of death
- Haworth, Yorkshire, England, UK
- Burial location
- Church of St Michael and All Angels, Haworth, West Yorkshire, England, UK
- Map Location
- England, UK
- Disambiguation notice
- Do not combine Charlotte with either or both of her sisters. Also, do not combine this page with that of "Bronte". Thank you.
Members
Discussions
Rare copy of Jane Eyre in Name that Book (October 2025)
A wrong corrected! in Pedants' corner (September 2024)
November 2023: The Brontë Sisters in Monthly Author Reads (December 2023)
Jane Eyre in Franklin Library Collectors (January 2023)
Jane Eyre LEC in George Macy devotees (January 2023)
November Group Read: Shirley by Charlotte Brontë in 2014 Category Challenge (December 2014)
Jane Eyre in Book talk (July 2014)
Best Bronte Quote? in The Brontës (January 2014)
Jane Eyre in The Brontës (January 2014)
Jane Eyre/Wuthering Heights in Books Compared (March 2013)
1001 Group Read, Oct. 12: Villette in 1001 Books to read before you die (November 2012)
Villette Question in The Brontës (May 2012)
*** Group Read: Jane Eyre (Spoiler Thread) in 75 Books Challenge for 2011 (April 2011)
*** Group Read: Jane Eyre (Non-Spoiler Thread) in 75 Books Challenge for 2011 (April 2011)
Jane Eyre Group Read (For the Procrastinators) Week One in 75 Books Challenge for 2010 (December 2010)
Book Discussion: Jane Eyre in 1001 Books to read before you die (February 2008)
Reviews
Child neglect, near death, a dash of magical realism, the power of love, the powerlessness of the poor, sexual rivalry, mystery, madness and more. It is as powerful as ever - but is it really a love story, given Rochester's Svengali-tendencies, or is it a life story? His downfall and her inheritance make them more equal, but is it really love on his part? I'm not sure, which is what makes it such a good book (just not necessarily a love story). I also like the tension between it being very show more Victorian in some obvious ways, and yet controversially modern in others: an immoral hero, a fiercely independent and assertive heroine, and some very unpleasant Christians (it's not that I think Christians are bad or like seeing them portrayed in a nasty way - it's Bronte's courage in writing such characters I admire).
Childhood
About the first quarter of the book concerns the tremendous hardship and abuse that Jane suffers growing up. It's often heavily cut from film, TV and stage adaptations, but despite the fluff about this being a great love story, I think there is merit in paying attention to her formative years as an essential element of explaining what makes Jane the person she becomes.
The Red Room, where young Jane is banished shortly before being sent to Lowood, is a very short episode in the book, but its significance is probably greater than its brevity implies. The trauma of the Red Room is not just because Mr Reed died there, but because of the associations of red = blood = death, compounded by cold, silence, blinds that are always closed and a bed like a sacrificial altar. Is it also some sort of reference to Bertha's attic?
Jane endures dreadful hardships: she is orphaned; her aunt says she is "less than a servant, for you do nothing for your keep" and invokes the wrath of God who "might strike her dead in the midst of one of her tantrums"; she endures injustice as she strives to be good, but is always condemned, while the faults of her cousins are indulged or ignored. So, she is sent to Lowood, where she sees the hypocritical tyranny of Brocklehurst, survives cold and near starvation and witnesses her best friend's death. Nevertheless, "I would not have exchanged Lowood with all its privations for Gateshead and its daily luxuries." There is a dreadful irony in the fact that the first time a relative demonstrates any interest in her (John Eyre), it seems to ruin everything.
Villains and Christianity
Who is the worst villain: John Reed, Aunt Reed, Mr Brocklehurst, Blanche Ingram, St John Rivers or even Rochester?
Christianity gets a very mixed press in the book: Mr Brocklehurst is cruel and comically hypocritical (curly hair is evil vanity in poor girls, who "must not conform to nature", but fine for his pampered daughters); St John Rivers thinks his devoutness selfless, but is actually cold and selfish (his motive being to gain glory in Heaven for himself); Helen Burns is a redemptive Christ figure who accepts her punishments as deserved, helps Jane tame herself ("Helen had calmed me") and, of course, dies.
Jane's own beliefs (or lack) are always somewhat vague (though she's very moral) and controversially feisty. When, as a small girl, the nasty Brocklehurst asks her what she should do to avoid going to Hell, she replies, "I must keep in good health, and not die"!
Aspects the way Christianity is portrayed may make it more accessible to modern readers from more secular backgrounds, but might have been shocking to devout Victorians. Perhaps they were placated by the fact that despite the cruelty, Jane forgives Aunt Reed for trying to improve her errant niece, even though "it was in her nature to wound me cruelly".
Male Power, Feminism, and Relevance Today
Men had most of the power and respect in Bronte's time and often Jane has to go along with that. However, Bronte does subvert that to some extent by making Jane so assertive, determined and independent.
The story of Jane Eyre has parallels with the story of Bluebeard, albeit with a very different ending, in which the woman takes charge of her own destiny. Bluebeard was well-known in Victorian fables as a rich and swarthy man who locked discarded wives in an attic (though he killed them first). He took a new young wife and when she discovered her predecessors, he was about to kill her, but she was rescued by her brothers, rather as Mason wants to rescue Bertha. Jane even likens an attic corridor to one in "some Bluebeard's castle", so Bronte clearly knew the story and assumed he readers did too. See http://en.wikipedia.org/wiki/Bluebeard#Plot_summary.
Despite her minimal contact with men, right from the outset Jane instinctively knows how to respond to the man she describes as "changeful and abrupt". When they first meet in the house and he is quizzing her, she consciously mirrors his tone ("I, speaking as seriously as he had done") and "His changes of mood did not offend me because I saw I had nothing to do with their alteration". Like many bullies, he enjoys a bit of a fight, rather than the nervous, prompt and unquestioning obedience his manner normally elicits, and Jane isn't afraid to answer him back and speak her mind. It isn't long before she can say "I knew the pleasure of vexing him and soothing him by turns". When Blanche arrives, Jane realises "he had not given her his love" and that "she could not charm him" (as she could). At this point, she realises her self-delusions in overlooking his faults and merely considering them as "keen condiments".
What should modern women make of this book? Bronte is radical in that neither Jane nor Rochester is conventionally attractive (it is personality that matters) and Jane is fiercely independent and assertive, even when she gives the impression of being submissive. She even says, "Women are supposed to feel 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... precisely as men would suffer." On the other hand, Rochester's treatment of Jane, Bertha, Blanche and Céline is hard to justify (other than the fact he keeps Bertha alive - why not kill her?). Does disappointment and disability truly changed him, and does that, coupled with her independent wealth make them equals? Will they live happily ever after?
Rochester
What were Rochester's plans and motives for his relationship with Jane? Why does he insist that Jane appears in the drawing room every evening while Blanche and friends are staying, even though he fully understands and comments on how depressed it makes Jane? And would Rochester have married Blanche if Mason hadn't turned up, making a big society wedding impossible? If so, was Jane always in his mind as a mistress and backup in case marriage to Blanche was not possible, or did he only decide to marry her much later? What sort of basis for a happy marriage is that, and can the equalising effect of his later disability and her inheritance really conquer it? It's true that Rochester tells Jane "I feigned courtship of Miss Ingram, because I wished to render you as madly in love with me as I was with you", but that is after Mason's visit, so is it true?
Rochester's treatment of Bertha is even more problematic: divorce wasn't viable, and yet he didn't want to leave her behind in the Caribbean... very odd. In a funny sort of way, he might have felt he was doing the right thing by her, or at least, not the wrong thing.
In a society which condemns divorce and cohabitation, is Rochester's planned bigamy justifiable? As Rochester hints to Jane early on, "Unheard-of combinations of circumstances demand unheard-of rules". He also knows that Jane's integrity means she must be unaware of the details if he is to be with her (he says that if he asked her to do something bad, she would say "no sir... I cannot do it, because it is wrong"), though in fact there is a bigger tussle between her head and heart than he might have expected. Later, he ponders the fact that she is alone in the world as being some sort of justification, "It will atone" and extends to the more blasphemous and deluded "I know my Maker sanctions what I do. For the world's judgement - I wash my hands thereof."
St John
Jane's bond with St John is very different, and she realise it, "I daily wished more to please him; but to do so, I felt daily more and more that I must disown half my nature". His proposal is positively alarming, "You are formed for labour, not for love. A missionary's wife you must - shall be. You shall be mine: I claim you - not for my pleasure, but for my Sovereign's service"! Under the guise of serving God and man, he is irredeemably self-serving.
Magic Realism?
The strangest element is the small but hugely significant ethereal message from Rochester that might now be called magical realism. It sits oddly with the rest of the book, but I can never decide whether this is it a strength or a weakness.
Who Knows What?
A constant theme is "who knows what?". Is Aunt Reed ignorant of how awful Lowood is and has she truly convinced herself that her treatment of Jane is appropriate? How much does Mrs Fairfax know (and tell) about Rochester's wives, current and intended? Does Rochester know whether or not Adele is really his daughter, and what does Jane believe? Blanche appears to know very little, but is she only seeing what she wants to see?
Love?
Overall, there is so much in this book, it is well worth rereading, but I am not convinced that it is a love story. It is the easiest label to apply, and although Jane certainly finds love, I am not sure that love finds her. They're intellectually well-matched, and the sparring and physical attraction bode well. On the other hand, my doubts about his motivations when he was juggling Blanche and Jane make me uneasy.
Incidentally, I first read this book at school (a naive mid-teen enjoys and appreciates it for very different reasons than an adult). One day, we were at a point when Jane was with the Rivers and possibly being courted by St John. We were told to read to page x for homework, so I turned to that page to mark it and saw the famous words (not that I knew they were), "Reader, I married him" and was shocked to assume it referred to St John.
Jane's Place in My Life
There are many reasons I love this book, including - but not limited to:
1. The cliché of first reading this at an impressionable age (15).
2. Coming with no preconceptions, other than knowing it was a classic - so I had a couple of big surprises in the plot.
3. Being at a boarding school myself at the time - though fortunately not (much) like Lowood.
4. Questioning my faith and the role of religion - then and since.
5. Questioning the roles and rights of women - then and since.
6. Jane, herself. That's a major one.
7. The fact the book is daringly subversive for its time (most of the Christians are bad, and Jane is fiercely outspoken and independent - most of the time).
8. I get something new from it each time.
Like many, I first read this at school. I was captivated from the outset. Jane was wild, and brave, and rebellious - all things we weren't supposed to be, and yet we had to read and write about her. I vaguely knew about the wedding scene, but everything about her time with the Rivers was new and unexpected. For all that I had doubts about Rochester, I felt (in a naive, teenage way) I shared a passion for him. When I thought Jane would end up with St John, I was devastated. The actual ending was a happy relief - all the more so because it had been unexpected.
I thought I understood the book, and got good marks for essays about it (apart from the injustice of being deducted marks for a comment a teacher refused to believe I hadn't copied from Brodie's Notes - a study guide I'd only ever heard of!).
But like all great works of art, it speaks differently on each encounter, and the more I've read it, aided by a bit of maturity along the way, and now discussions with GR friends, the more I've seen in it.
So no, this not a love story - on the pages. But there is a love story: between the reader and Jane.
Prequel
I finally read Jean Rhys' prequel "Wide Sargasso Sea", reviewed here: http://www.goodreads.com/review/show/711331732
2011 Film
I was disappointed with the Jane Eyre film. Mia Waskikowska was good as Jane, and it looked right, but Fassbender as Rochester was awful. He didn't brood enough for my liking, but what I think is less excusable is that he didn't really change during the course of the story. Just as bad, Jamie Bell was too nice to be St John. In fact the whole episode at the Rivers' was very poorly done. Overall, it removed all ambiguity, making a complex story of truth and lies, divided loyalty and mixed emotions boringly straightforward. show less
Childhood
About the first quarter of the book concerns the tremendous hardship and abuse that Jane suffers growing up. It's often heavily cut from film, TV and stage adaptations, but despite the fluff about this being a great love story, I think there is merit in paying attention to her formative years as an essential element of explaining what makes Jane the person she becomes.
The Red Room, where young Jane is banished shortly before being sent to Lowood, is a very short episode in the book, but its significance is probably greater than its brevity implies. The trauma of the Red Room is not just because Mr Reed died there, but because of the associations of red = blood = death, compounded by cold, silence, blinds that are always closed and a bed like a sacrificial altar. Is it also some sort of reference to Bertha's attic?
Jane endures dreadful hardships: she is orphaned; her aunt says she is "less than a servant, for you do nothing for your keep" and invokes the wrath of God who "might strike her dead in the midst of one of her tantrums"; she endures injustice as she strives to be good, but is always condemned, while the faults of her cousins are indulged or ignored. So, she is sent to Lowood, where she sees the hypocritical tyranny of Brocklehurst, survives cold and near starvation and witnesses her best friend's death. Nevertheless, "I would not have exchanged Lowood with all its privations for Gateshead and its daily luxuries." There is a dreadful irony in the fact that the first time a relative demonstrates any interest in her (John Eyre), it seems to ruin everything.
Villains and Christianity
Who is the worst villain: John Reed, Aunt Reed, Mr Brocklehurst, Blanche Ingram, St John Rivers or even Rochester?
Christianity gets a very mixed press in the book: Mr Brocklehurst is cruel and comically hypocritical (curly hair is evil vanity in poor girls, who "must not conform to nature", but fine for his pampered daughters); St John Rivers thinks his devoutness selfless, but is actually cold and selfish (his motive being to gain glory in Heaven for himself); Helen Burns is a redemptive Christ figure who accepts her punishments as deserved, helps Jane tame herself ("Helen had calmed me") and, of course, dies.
Jane's own beliefs (or lack) are always somewhat vague (though she's very moral) and controversially feisty. When, as a small girl, the nasty Brocklehurst asks her what she should do to avoid going to Hell, she replies, "I must keep in good health, and not die"!
Aspects the way Christianity is portrayed may make it more accessible to modern readers from more secular backgrounds, but might have been shocking to devout Victorians. Perhaps they were placated by the fact that despite the cruelty, Jane forgives Aunt Reed for trying to improve her errant niece, even though "it was in her nature to wound me cruelly".
Male Power, Feminism, and Relevance Today
Men had most of the power and respect in Bronte's time and often Jane has to go along with that. However, Bronte does subvert that to some extent by making Jane so assertive, determined and independent.
The story of Jane Eyre has parallels with the story of Bluebeard, albeit with a very different ending, in which the woman takes charge of her own destiny. Bluebeard was well-known in Victorian fables as a rich and swarthy man who locked discarded wives in an attic (though he killed them first). He took a new young wife and when she discovered her predecessors, he was about to kill her, but she was rescued by her brothers, rather as Mason wants to rescue Bertha. Jane even likens an attic corridor to one in "some Bluebeard's castle", so Bronte clearly knew the story and assumed he readers did too. See http://en.wikipedia.org/wiki/Bluebeard#Plot_summary.
Despite her minimal contact with men, right from the outset Jane instinctively knows how to respond to the man she describes as "changeful and abrupt". When they first meet in the house and he is quizzing her, she consciously mirrors his tone ("I, speaking as seriously as he had done") and "His changes of mood did not offend me because I saw I had nothing to do with their alteration". Like many bullies, he enjoys a bit of a fight, rather than the nervous, prompt and unquestioning obedience his manner normally elicits, and Jane isn't afraid to answer him back and speak her mind. It isn't long before she can say "I knew the pleasure of vexing him and soothing him by turns". When Blanche arrives, Jane realises "he had not given her his love" and that "she could not charm him" (as she could). At this point, she realises her self-delusions in overlooking his faults and merely considering them as "keen condiments".
What should modern women make of this book? Bronte is radical in that neither Jane nor Rochester is conventionally attractive (it is personality that matters) and Jane is fiercely independent and assertive, even when she gives the impression of being submissive. She even says, "Women are supposed to feel 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... precisely as men would suffer." On the other hand, Rochester's treatment of Jane, Bertha, Blanche and Céline is hard to justify (other than the fact he keeps Bertha alive - why not kill her?). Does disappointment and disability truly changed him, and does that, coupled with her independent wealth make them equals? Will they live happily ever after?
Rochester
What were Rochester's plans and motives for his relationship with Jane? Why does he insist that Jane appears in the drawing room every evening while Blanche and friends are staying, even though he fully understands and comments on how depressed it makes Jane? And would Rochester have married Blanche if Mason hadn't turned up, making a big society wedding impossible? If so, was Jane always in his mind as a mistress and backup in case marriage to Blanche was not possible, or did he only decide to marry her much later? What sort of basis for a happy marriage is that, and can the equalising effect of his later disability and her inheritance really conquer it? It's true that Rochester tells Jane "I feigned courtship of Miss Ingram, because I wished to render you as madly in love with me as I was with you", but that is after Mason's visit, so is it true?
Rochester's treatment of Bertha is even more problematic: divorce wasn't viable, and yet he didn't want to leave her behind in the Caribbean... very odd. In a funny sort of way, he might have felt he was doing the right thing by her, or at least, not the wrong thing.
In a society which condemns divorce and cohabitation, is Rochester's planned bigamy justifiable? As Rochester hints to Jane early on, "Unheard-of combinations of circumstances demand unheard-of rules". He also knows that Jane's integrity means she must be unaware of the details if he is to be with her (he says that if he asked her to do something bad, she would say "no sir... I cannot do it, because it is wrong"), though in fact there is a bigger tussle between her head and heart than he might have expected. Later, he ponders the fact that she is alone in the world as being some sort of justification, "It will atone" and extends to the more blasphemous and deluded "I know my Maker sanctions what I do. For the world's judgement - I wash my hands thereof."
St John
Jane's bond with St John is very different, and she realise it, "I daily wished more to please him; but to do so, I felt daily more and more that I must disown half my nature". His proposal is positively alarming, "You are formed for labour, not for love. A missionary's wife you must - shall be. You shall be mine: I claim you - not for my pleasure, but for my Sovereign's service"! Under the guise of serving God and man, he is irredeemably self-serving.
Magic Realism?
The strangest element is the small but hugely significant ethereal message from Rochester that might now be called magical realism. It sits oddly with the rest of the book, but I can never decide whether this is it a strength or a weakness.
Who Knows What?
A constant theme is "who knows what?". Is Aunt Reed ignorant of how awful Lowood is and has she truly convinced herself that her treatment of Jane is appropriate? How much does Mrs Fairfax know (and tell) about Rochester's wives, current and intended? Does Rochester know whether or not Adele is really his daughter, and what does Jane believe? Blanche appears to know very little, but is she only seeing what she wants to see?
Love?
Overall, there is so much in this book, it is well worth rereading, but I am not convinced that it is a love story. It is the easiest label to apply, and although Jane certainly finds love, I am not sure that love finds her. They're intellectually well-matched, and the sparring and physical attraction bode well. On the other hand, my doubts about his motivations when he was juggling Blanche and Jane make me uneasy.
Incidentally, I first read this book at school (a naive mid-teen enjoys and appreciates it for very different reasons than an adult). One day, we were at a point when Jane was with the Rivers and possibly being courted by St John. We were told to read to page x for homework, so I turned to that page to mark it and saw the famous words (not that I knew they were), "Reader, I married him" and was shocked to assume it referred to St John.
Jane's Place in My Life
There are many reasons I love this book, including - but not limited to:
1. The cliché of first reading this at an impressionable age (15).
2. Coming with no preconceptions, other than knowing it was a classic - so I had a couple of big surprises in the plot.
3. Being at a boarding school myself at the time - though fortunately not (much) like Lowood.
4. Questioning my faith and the role of religion - then and since.
5. Questioning the roles and rights of women - then and since.
6. Jane, herself. That's a major one.
7. The fact the book is daringly subversive for its time (most of the Christians are bad, and Jane is fiercely outspoken and independent - most of the time).
8. I get something new from it each time.
Like many, I first read this at school. I was captivated from the outset. Jane was wild, and brave, and rebellious - all things we weren't supposed to be, and yet we had to read and write about her. I vaguely knew about the wedding scene, but everything about her time with the Rivers was new and unexpected. For all that I had doubts about Rochester, I felt (in a naive, teenage way) I shared a passion for him. When I thought Jane would end up with St John, I was devastated. The actual ending was a happy relief - all the more so because it had been unexpected.
I thought I understood the book, and got good marks for essays about it (apart from the injustice of being deducted marks for a comment a teacher refused to believe I hadn't copied from Brodie's Notes - a study guide I'd only ever heard of!).
But like all great works of art, it speaks differently on each encounter, and the more I've read it, aided by a bit of maturity along the way, and now discussions with GR friends, the more I've seen in it.
So no, this not a love story - on the pages. But there is a love story: between the reader and Jane.
Prequel
I finally read Jean Rhys' prequel "Wide Sargasso Sea", reviewed here: http://www.goodreads.com/review/show/711331732
2011 Film
I was disappointed with the Jane Eyre film. Mia Waskikowska was good as Jane, and it looked right, but Fassbender as Rochester was awful. He didn't brood enough for my liking, but what I think is less excusable is that he didn't really change during the course of the story. Just as bad, Jamie Bell was too nice to be St John. In fact the whole episode at the Rivers' was very poorly done. Overall, it removed all ambiguity, making a complex story of truth and lies, divided loyalty and mixed emotions boringly straightforward. show less
Considered Charlotte Brontë's most autobiographical novel, Villette follows the story of Lucy Snow, perhaps one of the most self-contained heroines in all of nineteenth-century literature. Penniless and alone in the world, Lucy pursues her fortune abroad, teaching at a girls' school in the French city of Villette. Her experiences there, her encounters with both her fellow countrymen and the French natives of the city in which she has settled, and the relations she forms with her colleagues show more and students, are all chronicled in this gradually unfolding character study.
Readers expecting something more along the lines of Jane Eyre, with its strong narrative flow, will be somewhat disappointed, I believe. Villette is a far more cerebral text, less plot-driven than is it character-centric. This has both advantages and disadvantages, in that it allows Brontë to plumb the psychological depths of her heroine in a way not seen in her earlier work, but also causes the story to drag somewhat, especially in the middle sections.
Highly principled, somewhat prejudiced, and terribly lonely, Lucy Snow has always struck me as a flawed, more human version of Jane Eyre. Or perhaps it might be more accurate to say that she is what Jane would be, in the absence of hope. Her unrequited (possibly?) love for M. Paul, who is himself a deeply flawed individual, has something of the strength of despair in it at times, and the novel in general has a darker tone.
As an aside, I should mention that Villette has numerous, and sometimes extensive, passages in French. The reader who is unacquainted with that language would do well to obtain a version in which translations are given in the rear notes. show less
Readers expecting something more along the lines of Jane Eyre, with its strong narrative flow, will be somewhat disappointed, I believe. Villette is a far more cerebral text, less plot-driven than is it character-centric. This has both advantages and disadvantages, in that it allows Brontë to plumb the psychological depths of her heroine in a way not seen in her earlier work, but also causes the story to drag somewhat, especially in the middle sections.
Highly principled, somewhat prejudiced, and terribly lonely, Lucy Snow has always struck me as a flawed, more human version of Jane Eyre. Or perhaps it might be more accurate to say that she is what Jane would be, in the absence of hope. Her unrequited (possibly?) love for M. Paul, who is himself a deeply flawed individual, has something of the strength of despair in it at times, and the novel in general has a darker tone.
As an aside, I should mention that Villette has numerous, and sometimes extensive, passages in French. The reader who is unacquainted with that language would do well to obtain a version in which translations are given in the rear notes. show less
It is highly likely that, like me, you are a re-reader of Jane Eyre. Why? The melodrama is risible; the coincidences beggar belief; the transformations in situation and fortune are almost like a fairytale. And yet something draws you back. Surely it must be the conviction of Jane’s narrative voice, her flinty unwillingness to be misused, her determination, her luck of survival, her daring to even consider love, but also her resolve not to submit to anything less than the equal marriage of show more (unfettered) true minds and hearts. It is Jane alone who draws us back. What a curious and singular character she is.
It is certainly true that Jane encounters her fair share of repugnant individuals in her short life. Nothing redeems the behaviour of Mrs Reed or her children, and Mr Brocklehurst is a sorry substitute, fixated as he is on an economic spiritual ideal of education mostly suited for shaping souls for the next life and not the one before them. But Jane also has luck. Whether it comes in the form of the inspirational Helen Burns, or perhaps her best mentor, Miss Temple, Jane somehow attracts the succour of the good and just individuals she meets. Even the otherworldly St John Rivers is counterbalanced by his more amiable sisters.
But of course it is Mr Rochester who fascinates Jane, and she him. He is both ugly in form and, at least initially, ugly in character – officious, peremptory, and dismissive. More ugliness lies beneath, too much perhaps. Rochester tempts fate by enticing Jane into a liaison that can only blacken his character. He tempts fate, and fate intervenes.
Brontë’s world is heavy with the clash of dark and light, good and—not evil perhaps, but—sullied nature. My temperament leads me to prefer Austen, but every once in a while, I find it necessary to come back and re-read this gripping tale. Recommended. show less
It is certainly true that Jane encounters her fair share of repugnant individuals in her short life. Nothing redeems the behaviour of Mrs Reed or her children, and Mr Brocklehurst is a sorry substitute, fixated as he is on an economic spiritual ideal of education mostly suited for shaping souls for the next life and not the one before them. But Jane also has luck. Whether it comes in the form of the inspirational Helen Burns, or perhaps her best mentor, Miss Temple, Jane somehow attracts the succour of the good and just individuals she meets. Even the otherworldly St John Rivers is counterbalanced by his more amiable sisters.
But of course it is Mr Rochester who fascinates Jane, and she him. He is both ugly in form and, at least initially, ugly in character – officious, peremptory, and dismissive. More ugliness lies beneath, too much perhaps. Rochester tempts fate by enticing Jane into a liaison that can only blacken his character. He tempts fate, and fate intervenes.
Brontë’s world is heavy with the clash of dark and light, good and—not evil perhaps, but—sullied nature. My temperament leads me to prefer Austen, but every once in a while, I find it necessary to come back and re-read this gripping tale. Recommended. show less
"A sorrowful indifference to existence often pressed on me.",, 21 July 2015
This review is from: Villette (Penguin English Library) (Paperback)
Other reviews have delineated the storyline; I'm just going to say that I was within five pages of the end (on tenterhooks as to whether our narrator, Lucy Snowe, ends up with a happy or unutterably wretched life) when I had to stop and go to work. I was yearning to come home and find out all the time I was there - must be the proof of a compelling show more work.
Charlotte Bronte's descriptions of utter loneliness and inner, but hidden, torment make for a moving and unforgettable read. While her friends remark on "steady little Lucy...so quietly pleased, so little moved yet so content", she observes "little knew they the rack of pain which had driven Lucy almost into fever, and brought her out, guideless and reckless, urged and drugged to the brink of frenzy".
Superb read. show less
This review is from: Villette (Penguin English Library) (Paperback)
Other reviews have delineated the storyline; I'm just going to say that I was within five pages of the end (on tenterhooks as to whether our narrator, Lucy Snowe, ends up with a happy or unutterably wretched life) when I had to stop and go to work. I was yearning to come home and find out all the time I was there - must be the proof of a compelling show more work.
Charlotte Bronte's descriptions of utter loneliness and inner, but hidden, torment make for a moving and unforgettable read. While her friends remark on "steady little Lucy...so quietly pleased, so little moved yet so content", she observes "little knew they the rack of pain which had driven Lucy almost into fever, and brought her out, guideless and reckless, urged and drugged to the brink of frenzy".
Superb read. show less
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