The Social History Of A Book: Jane Eyre

Charlotte Bronts well-known novel, Jane Eyre, was published in the year 1847, which

is a time that took place during Englands Victorian Era. Bronts 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. Womans 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 Bront composed and published Jane Eyre.

Under these conditions, Charlotte Bront 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 womans 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, Bront 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 Bront 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 isnt not very social in the normal
sense of the word, instead, she is inherently ponderous and thoughtful. She refuses to put on a

faade 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). Janes 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 Janes distinctive coming-of-age.

Most students and people who love books have surely at least heard of Bronts 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 Fukunagas 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 readers enjoyment of the book.

Because of Janes inability to adapt to life at her Aunt Reeds (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. Janes 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? - Bront
Helens 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 Darwins theories were coming out at the same time

as Bront was writing particularly The Origin Of The Species, published in 1859. It has been

theorized that Bront, 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 Bronts 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 novels 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 Bronts 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. Bronts 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. Burns 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 Helens 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 Bront may have evoked evolutionary theory within Jane Eyre is in her

portrayal of Jane and Mr. Rochesters 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 Rochesters 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 Janes

second encounter with Rochester. For example, when they speak about Janes 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 Ive ever known.
That is not saying much you felt self-satisfied with the result?
Far from it
- Bront, Chapter 13

Janes 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 Janes character to a feminist position, the second theory presented considers Janes

character as a step in evolutionary biology because of her ability to adapt, but Deleuzes theory

attempts to break free from both of those by creating something new Jane is a character that

was created by Bront 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 its 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 Bronts 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

Bront, Charlotte, Jane Eyre (Mineola, N.Y.: Dover Thrift Editions, 2002) Print.

Charlotte Bront: Jane Eyre City Colleges Of New York

(http://academic.brooklyn.cuny.edu/english/melani/cs6/bronte.html), 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 Bront Through The Eyes Of Gilles
Deleuze, Bront Studies Volume 39, No. 4 (November 2014) Online.