Written in his distinctively dazzling manner, Oscar Wildes story of a fashionable young man who sells his soul

for eternal youth and beauty is the authors most popular work. The tale of Dorian Grays moral disintegration caused a scandal when it first appeared in 1890, but though Wilde was attacked for the novels corrupting influence, he responded that there is, in fact, a terrible moral in Dorian Gray. Just a few years later, the book and the aesthetic/moral dilemma it presented became issues in the trials occasioned by Wildes homosexual liaisons, which resulted in his imprisonment. Of Dorian Grays relationship to autobiography, Wilde noted in a letter, Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be in other ages, perhaps.(less)

http://www.goodreads.com/book/show/5297.The_Picture_of_Dorian_Gray; http://thebookstop.wordpress.com/2011/02/11/review-the-picture-of-dorian-gray-by-oscar-wilde/
Major Concerns: Major concerns in Brontes Jane Eyre include social class, gender roles and patriarchy, powerlessness and injustice, the supernatural, religion, and education. Bronte uses the narrator of Jane Eyre to formulate a critical view of social class in the 19th century. Bronte positions those characters that endorse the social hierarchy, such as Blanche Ingram, Mr Brocklehurst and the Reeds in a negative light, illustrating to the reader that characters who endorse the social hierarchy are not good people and generally arent rewarded. Through Jane, the social hierarchy is challenged, as is the view that wealth equated to superiority and good character. Under the umbrella of social class, Bronte addresses themes such as Gender roles and patriarchy, and powerlessness and injustice. Some 19th century critics saw Jane Eyre as a feminist manifesto. Through Jane, Bronte exerts feminine power and independence, and when Jane and Rochester are finally married, they do so as equals, with Jane Eyre her own mistress. She not only differentiates between wealth and independence, but claims that she will not depend on him. It can be said that by the end of the novel, gender roles are somewhat reversed, with Rochester depending on Jane to be his eyes and his hands. Through Jane, Bronte e xpresses the notion that women feel just as men do, and expresses that a woman cannot live a life of stagnation and rigid restraint. These views express feminism at a time when feminism was unheard of. Throughout the novel, Jane must escape from a dominant male figure who attempts to harm her or force her to abandon her morals or ignore her feelings. Each male figure in the novel seems to be, at some level, oppressive and controlling, trying to exert male power over Jane as a woman. This can be seen as representative of a patriarchal society in which women were expected to know their place. The fact that Bronte challenges this patriarchal society through the character of Jane makes the novel scathing and critical of the role of women in the 19th century. Jane fights back against the sadistic John Reed, escapes the religious hypocrisy and forced starvation endured at the hands of Mr Brocklehurst, refuses to be Rochesters mistress although he threatens her with violence, denies St John Rivers a loveless marriage and the prospect of rape, and finally marries Rochester as his equal, although it can even be said that he now depends upon her. Her

exertion of power against these male figures represents an opposing view to that which was common at the time. Not only can Jane Eyre be seen as a feminist manifesto, but more broadly a novel of power to the oppressed class. Jane challenges the notion that poverty is a criminal offense, noting that some of the best people were destitute and deprived. She gives a voice to those who are powerless by exerting her power over those who attempt to repress it. Her sense of justice is innate; she knows what is right and wrong and the reader sympathises with this, while Bronte simultaneously positions us to see the injustice exerted by the upper, ruling class. The characters within the novel who are powerless seem to be portrayed in a positive light, with the reader sympathising with the injustices they have been subjected to at the hands of the ruling class-(Helen Burns, Jane Eyre). Religion and morality is also a theme recurrent within the novel, with Bronte producing a broad array of varying types of Christianity through different characters. Although these characters are all piously religious, their expression of religion is varying. Helen Burns is dictated by a meek and passive Christianity. She introduces Jane to the New Testament and to a more forgiving God, although believes that she must endure every punishment and injustice she receives on earth. Jane cannot adopt this passive form of Christianity, although she learns immensely from it, and thus is taught through Helen to control her passions when necessary. Mr Brocklehurst shows a hypocritical form of evangelical Christianity, and by portraying him in a negative light, Bronte suggests criticism of this form of religion. Brocklehurst endorses a god who only mortifies the flesh of the poor, while casting a blind eye to the luxuries of the rich. He contradicts his own philosophies and is shaped by Bronte into a disagreeable character. St Johns version of religion is similar to Helens. His somewhat dire Chartist Teachings make him hard and cold. He refuses emotional fulfilment in order to achieve moral duty. Jane, however, cannot live such an emotionally unsustained life. She doesnt abandon morality, spirituality, or faith in a Christian God, however she differentiates herself from her religious beliefs and although she is faithful, she stands independent from her religion. The theme of the supernatural provides a gothic undercurrent throughout the novel, and Bronte uses it to create an atmosphere of mystery and suspense. There are only one and possibly two unexplainable supernatural occurrences in the novel, however, and most apparently supernatural things are revealed as natural occurrences. Bronte explains the supernatural with natural causes, and this makes the occurrences more sinister as they seem to occur in the real world, rather than in a fantasy world of ghosts and vampires. Education also plays a significant role in the novel, as it provides characters without money and the consequent power with a means to better themselves, and is highly valued by Bronte though Janes character. It provides the sole route for someone of a poor background to improve their prospects and elevate their character. It also provides Jane with a kind of safe haven, separating her from the adversity of her society. Other major themes in the text include appearance and foreignness and the other, a theme most prevalent within a Post-Colonial reading of the text. Context: 19th Century England; a patriarchal society dominated by the wealthy. Women

were dependent on a dominant male figure, and had no existence under law and under common law, nor were they entitled to any property or divorce rights. They could not vote or enter universities or the professions. The lower class were virtually powerless, with no say in their state of affairs. The future of the lower class lay in the hands of the wealthy, and money was the only claim to power and independence. People were often judged through the pseudoscience of phrenology, which suggested that ones personal character could be evaluated based on the shape and size of facial features. This society was dominated by orthodox Christianity. Jane Eyre can be read an endorsement of the Chartist movement of the 1840s in which saw riots and petitions due to the appalling conditions of the working class brought on by Industrialisation and Capitalism. The Chartist movement saw the powerless working class demand equal rights and better conditions. Critics of the time saw Jane Eyre as burning with moral Jacobinism; a book screaming for power to the oppressed. It can be seen more broadly as endorsing us, the English middle class. Also seen as a feminist manifesto, Bronte uses the character of Jane to voice scathing criticisms of the patriarchal society and the position of women; a feminist view before the term feminism was even coined. Brontes radical views on social hierarchy, the position of women, and even the hypocrisy of some versions of Christianity challenged 19th century social norms and became an extremely controversial work of the times. In a modern context, Jane Eyre can be read from a postcolonial perspective with the main focus being on Bertha, and oppressed Indian Creole, the victim of Englands imperialism and colonisation; removed from her home country and forced to marry into a culture that she was not familiar with. Post-colonial critics argue that Bertha is demonised by racist ideology, locked up not because she was mad but because of her cultural differences. A post-colonial reading sees Bertha as symbolic of the devastation and displacement caused by English colonialism, and thus the marriage of Jane and Rochester is polluted by a queasy racism. Whether a feminist manifesto, burning with chants for power to the middle class, or a highlighter of the devastation caused by English Colonialism, When released, Jane Eyre challenged the social norms that England held dear and caused widespread controversy, criticism, but also immense praise. Setting: Set in the 19th century, the narrator, Jane finds herself in various locations which seem to be representative of different stages in her life. Bronte not only highlights the locations of Jane, but stresses the weather and nature Jane is surrounded by, as nature and weather are often reflective of Janes state of mind. Although always metaphorically home within herself, Jane finds herself isolated and out of place within the various locations she lives in at different stages of her life. These different stages are signified by a change in Janes surroundings; the five settings Jane finds herself in lay in parallel with stages in her life. Settings are always described with great attention to detail, and Brontes imagery provides the reader with a clear picture of the world Jane is surrounded by. Architectural interiors are described with painstaking care to proportions, dimensions, window-spaces, and hearths. This attention to detail creates a sense of reality within the various settings in which Jane finds herself, blanketing the reader in Janes surroundings. The authenticities of Janes different locations provide reality to the plot of the novel. At Gateshead, Lowood, Thornfield, Moor House, and Ferndean, Jane is able to move freely from the confines of man-made buildings into the retreat of nature. Nature is regularly a refuge for Jane, and weather is often used to reflect her state of mind.

Characterisation Characters in Jane Eyre are all viewed from her own perspective, with herself, the protagonist being the main character. This makes the reader unable to tell how the characters behave when outside of Janes presence. Jane faces various antagonists who attempt to suppress her or force her into going against her self. She must overcome these antagonists, all of which are male, and assert her independence and autonomy. An important aspect of characterisation in Jane Eyre is appearance; as characters seem to change in appearance as Janes opinion of them grows. Appearance is seen by Jane as active rather than passive, and as she begins to value someone more, their appearance seems to change. -The ReedsThe first antagonists Jane encounters are the Reeds, primarily John Reed, her sadistic and cruel cousin who leaves every bone in her body shaking at the sight of him. Violent and harsh, John Reed torments Jane, and becomes a character the reader has no sympathies for Mrs Reed, also unjust and dishonest, condemns Jane as a liar to Mr Brocklehurst, when in fact Mrs Reed is the deceitful one. Mrs Reed and John Reed represent the upper class exerting power in the form of wealth over the powerless lower class, represented by Jane. The Reeds are not rewarded for their actions, as Mrs Reed falls ill and dies, and John Reed is thought to have committed suicide. -Mr BrocklehurstMr Brocklehurst, the hypocritically religious headmaster of Lowood School torments Jane by declaring her as a liar to the pupils and teachers at Lowood, publically shaming her in the very place she strives to be accepted. While preaching of mortification in the Lowood girls, Brocklehurst allows his own family to enjoy various extravagances and indulgences, thus contradicting his own teachings and philosophies. He is unjust, and although considered by society to be a philanthropic benefactor of a kind and generous nature, Brocklehurst is in fact cruel and condescending. This negative portrayal of such a benefactor is a criticism by Bronte of the wealthy upper class. Although generally thought of by society as generous, she paints a picture of anything BUT generosity in the character of Brocklehurst. Ms Temple, also encountered at Lowood School, is Mr Brocklehursts foil; generous and kind, she provides a maternal figure for Jane and clears her of Brocklehursts accusations. -Mr RochesterMr Rochester is a typical Byronic hero. Proud, moody, and somewhat cynical, he has distaste for social institutions and pities himself regarding his marriage to Bertha Mason. He is self-critical and regrets his past libertinism; coincidentally Lord Byron himself was a well know Libertine. Rochesters past is tainted with immoral actions and illegitimate mistresses. He is somewhat rebellious, abrupt, and rude, although also educated, perceptive, seductive, and affectionate. Janes narrative voice often associates him with images of warmth and fire, making him akin to her incendiary self. Although craggy and generally not thought of as attractive, Janes opinion of his appearance heightens as her feelings for him grow. Rochester, although wealthy, plans on going against social conventions and committing bigamy by marrying Jane. Following his passions rather than moral correctness, he proves himself to be morally inferior to Jane, who refuses to commit to a false union. At the end of

the novel, however, Rochester is humbled physically and emotionally, and he and Jane are united as equals in the eyes of society as well as in the eyes of the reader after Jane inherits a significant sum of money. When finally married, it can even be said that gender roles are reversed, as Rochester now depends upon Jane to be his eyes and his hands. -Helen BurnsHelen Burns is an important character. She becomes Janes first friend, and her r eligious and moral ideals influence Jane for the rest of the novel. Helen is passive and sombre; a victim of unjust cruelty, she chooses to accept her position and is submissive to those who exert their power over her. Helens love your enemy philosophy a nd Christian humility plant in Jane a means to control her passions throughout later chapters in the novel. Although victimised, Helen remains virtuous and forgiving, obedient and calm. Helen Burns is Janes ultimate foil; While Helen is accepting of her oppression, Jane fights it. While Helen is content with a reverent faith that will see her through lifes hardships, Jane must assert her self as coming before her religious beliefs. Jane is active; Helen is passive. Helen is compliant; Jane is resistant. Helen is somewhat angelic and almost too good for this world. She teaches Jane to control her urges to fight up against her positions. -St John RiversSt John is the austere evangelic Calvinist, who proposes to Jane for purely practical religious reasons; he believes she would make a good missionaries wife to accompany him on a religious journey to India. His version of Christianity seems to dominate his entire life, and his feelings and passions are sacrificed in order to uphold his Christian moral principles. Stoic and detached from emotional fulfilment, St John provides Jane with the realisation that she cannot be emotionally starved by participating in a loveless marriage. St John is often associated with rock, ice, and snow; a stark opposite to the fiery themes associated with both Rochester and Jane. Devoutly dedication to his morals, St John denies himself a love of the local beauty, Rosamond Oliver. This form of all-encompassing Christianity, Jane cannot be a part of. Although remaining faithful and spiritual, Jane asserts independence from her religion. -Jane EyreThe main character and the protagonist, Jane Eyre, is intelligent and sophisticated, and these traits are expressed by Bronte through the educated way that Jane conveys her ideas, thoughts, and experiences to the reader. Her sense of moral correctness is innate; she seems to have an awareness of what is right and wrong from a young age, and stands up to John Reed at just ten, with the knowledge that her treatment is unjust. Passionate and set in her beliefs, It is natural for Jane to fight up against the things she believes are wrong. She learns to control her passions, however her integrity remains strong, and her thoughts and opinions never waver at the influence of other characters. Often associated with incendiary themes, Jane, although always attempting to appear calm and composed, is passionate and warm at heart. She is unable to live a life deprived of all emotional fulfilment; however she cannot commit herself to a life of moral incorrectness. Jane is honest and affectionate toward the reader however her self-presentation may not be entirely accurate, as she always portrays herself as plain although other characters speak of her beauty. For Jane, liberating passions would be sacrificing dignity and integrity for the sake of feelings. It is important for Jane to be autonomous; her own mistress. She often analyses her own thoughts, and is able to critically judge her actions and reflect upon

herself; she has a high level of self-awareness. Although she is often ostracised, Jane is always at home within herself. Tone and Style/Narrative Voice/Structure Brontes writing style is polished, accurate, and sophisticated. The use of long sentence structure enables Jane to elaborate on her ideas in elegant successions rather than short statements. This construction creates a sense of subtlety in Janes ideas. Meticulous description of everyday objects and experiences provides a world that is real, and tangible to the reader. The informal dialogue of minor characters provides another layer of reality to the text, and the attention Bronte pays to description of sound, taste, touch, and even architectural dimensions create a world that is active, and rich with aesthetic authenticity that appeals to all five of the senses, leaving the reader totally immersed in Janes world. The novel is constructed chronologically, following Jane from childhood to adulthood in first person retrospective prose. Through the character of Jane, Bronte addresses political and philosophical concerns regarding her own society, and although these views are Janes, fundamentally the political and philosophical undercurrent in the novel stems from Bronte herself through the way she has constructed Janes character. Bronte challenges social conventions through Janes character, and also challenges the conventions of the English languages in various instances by going against the standard sentence structure. Her style is somewhat gothic-romantic, hinting on supernatural occurrences throughout the novel, although in most instances explaining them with natural circumstances. The articulate description of enigmatic architecture and the sense of mystery and unrevealed knowledge entwined into the plot also contribute to the Gothic component of the text. The romantic element in the novel stems from Janes relationship with Rochester; also filled with suspense and false clues that leave the reader with a sense of tension and curiosity. As the novel is written in the first person perspective of Jane, the authorial tone becomes somewhat transparent as it is difficult to separate the attitude and voice of Jane from that of Bronte. Bronte constructs Janes narrative voice as friendly and confessional, developing an affectionate and personal relationship with the reader and Jane through Janes direct address of the dear reader. Moments of internal dialogue develop this personal relationship further, as the reader is allowed into Janes own mind. The reader feels like Janes personal confidant, bearing witness to secrets of her most internal self. The character of Jane retells her story to the reader in a retrospective manner, and we are reminded of this retrospective nature when the adult Jane is able to convey and reflect on past experiences from a wiser point of view, not only telling her story but providing snippets of reflective commentary on her own experiences. Although the reader is positioned to believe that Jane is an honest narrator, we can see through the voices of other characters that her depiction of herself may be untrue. Jane expresses to the reader her physical plainness, however Bronte has intentionally made other characters speak of Janes external beauty, showing that Janes self-portrayal may not be accurate. As the entire novel is conveyed through Janes perspective, it is difficult if not impossible to obtain the point of view of other characters. By changing the narrative voice to that of another character, the reader would be given a perhaps more accurate view of Jane herself, and changing the point of view could be an effective way of conveying Brontes stance on various themes through alternative eyes, thus creating a broader picture. Key Images/Motifs:

Major motifs in Jane Eyre include the red-room, fire and ice, and the madwoman in the attic The red-room plays a major role in Janes life, and there are various interpretations of its symbolic meaning. It can be seen as representative of what Jane must overcome in her struggle to overwhelm oppression, and may also signify her position of exile and imprisonment, and her exclusion from love and independence. Jane is metaphorically taken back to the red room every time she faces a traumatic or oppressive experience in her life. The motifs of fire and ice are also significant; fire can be seen as representative of passion and sexuality. Jane usually associates herself with images of fire, and Rochester is also associated with these incendiary images, making them akin, while characters associated with ice, (St John) are not matched with Janes personality. Freezing weather is also representative of Janes state of mind at various points in the novel. The Madwoman in the Attic is a very significant motif that can be interpreted in various different ways. From a feminist perspective Bertha can be seen as representing feminine rage and pain that 18th century English society suppressed. Parallels can be drawn between Bertha and Jane, with Bertha expressing Janes most intense emotions that she is unable to express. As a manifestation of Janes unspoken feelings, Bertha stands up against the suppression of female passion, sexuality, and rage by a patriarchal society. Perhaps symbolic of the trapped Victorian wife, Bertha may also have a role as a warning to Jane, and to the reader, regarding the suppression that becoming Rochesters wife would entail. From a post-colonial perspective, Bertha represents the negative effects of English colonialism. As a West-Indian-Creole, Bertha has been brought to England against her will and introduced to a culture that she is not accustomed to. According to this post-colonial reading, Bertha Mason is locked away due to her cultural differences.

Narration and Conversation in Jane Eyre Throughout her life, Jane Eyre, the heroine of the novel by Charlotte Bronte, relies heavily on language and story-telling to communicate her thoughts and emotions. Not only are good story-telling skills important to Jane Eyre as a the narrator, but they are also important to Jane Eyre as a character in her own novel. From the beginning of the novel, we learn of Jane's love of books -- "each picture told a story" (40) -- and of her talent for telling her own stories. As the narrator, she makes sure the reader is fully aware of her thoughts, emotions, and the constraints put upon her as her life unfolds before us. In the opening scene of Jane Eyre, we immediately see how Jane is suppressed by the Reed family. She is often forbidden to show expression in any form. Upon questioning her guardian as to the reasoning behind her being excluded from the rest of the family, she is told, "Be seated somewhere, and until you can speak pleasantly, remain silent" (39). She retires to solitude in another room of the house with a book to keep her occupied and is never allowed to explain herself. When John Reed finds her and hurls a book at her head, she is forced to go to the "red-room." Jane is immediately blamed without having a chance to give her account of the incident. Jane's straightforwardness and honesty when relating with others is fundamental to her character; but it is not until Mrs. Reed accuses Jane of having "a tendency to deceit" (65), in the presence of Mr. Brocklehurst, that we see this attribute of her character surface. Before this time, Jane has been able to suppress her anger and emotions regarding the Reed family quite successfully. In this scene, however, we seen Jane's hatred toward Mrs. Reed begin to fester and build up inside her until she erupts with emotion and all her pent-up feelings are released -- "Speak I must" (68). "I am not deceitful: If I were, I should say I loved you; but I declare I do not love you . .

. . People think you are a good woman, but you are bad, hard-hearted. You are deceitful" (68-69). Throughout her life, Jane measures her relationships with others by their narrative abilities. The relationships she values the most are with those in which she can engage in story-telling. At Gateshead, Bessie is loved for her "remarkable knack of narrative" (61) and Jane delights in hearing "her most enchanting stories" (72). After becoming ill from the red-room experience, Jane awakes to Mr. Lloyd who listens to her story despite Bessie's annoying interjections. Although he does not offer much sympathy, Mr. Lloyd is instrumental in getting Jane out of Gateshead and into Lowood school. Jane respects Mr. Lloyd because, besides Bessie, he is the first person to ask to hear her account of what "things" (56) are causing her unhappiness while living at Gateshead. During her residence at Lowood, Jane develops several close relationships with both the staff and students there. She speaks of her brief friendship with Mary Ann Wilson: "She had a turn for narrative, I for analysis; she like to inform, I to question; so we got on swimmingly together, deriving much entertainment, if not much improvement, from our mutual intercourse" (109). In this passage, the high import Jane places on communicative relationships is clearly evident. Jane has a very special regard for her friend Helen Burns. Upon their first encounter, Jane realizes that she and Helen share a love for books. However, Jane has a very difficult time trying to start a conversation. To Jane's persistent questioning, Helen responds with, "You ask rather too many questions. I have given you answers enough for the present. Now I want to read" (83). Being an expressive character herself, Jane admires Helen's reserved and restrained behavior. Jane continues to question Helen; she is fascinated by her life history and her philosophies on life. Her persistence pays off as Helen begins to reveal her eloquence and strength of character to which Jane is immediately attracted. Immediately following Mr. Brocklehurst's decision to banish Jane from all social activities at Lowood and his warning to her classmates to "avoid her company, exclude her from you sports, shut her out from you converse" (98), Miss Temple invites Jane to defend herself: "when a criminal is accused, he is always allowed to speak in his own defense. You have been charged with falsehood; defend yourself to me as well as you can" (102). Jane responds by telling "all the story of my sad childhood," but being careful to heed "Helen's warnings against the indulgence of resentment" (103). Miss Temple not only listens to Jane's tale, but believes her and takes action to clear her of "every imputation" (103). Jane's admiration for both Helen and Miss Temple is escalated that same night as she observes them in conversation: "They conversed of things I had never heard of; of nations and times past; of countries

far away. . . . What stores of knowledge they possessed" (105). Again, we see the value Jane puts on eloquence in conversation. Toward the end of the novel we meet Jane's cousins, Diana and Mary Rivers, who she also holds in high esteem because, among other things, "they could always talk; and their discourse, witty, pithy, original, had such charms for me, that I preferred listening to, and sharing in it, to doing anything else" (420). At Thornfield, Jane feels isolated and lonely because she cannot find companions who are "of a descriptive or narrative turn" (142). Upon her arrival, Mrs. Fairfax is her main source of companionship; but unfortunately she is not gifted in the art of conversation: "there are people who seem to have no notion of sketching a character, of observing and describing salient points, either in persons or things: the good lady evidently belonged to this class: (136). Of Grace Poole, Jane relates, "I made some attempts to draw [her] into conversation, but she seemed a person of few words: a monosyllabic reply usually cut short every effort of that sort" (142). Regarding Sophie, she adds, "[Sophie] was not of a descriptive or narrative turn, and generally gave such rapid and confused answers as were calculated rather to check than encourage inquiry" (142). Rochester is the character for whom Jane holds the highest regard. Their relationship is largely based upon their discourse as Rochester proclaims toward the end of the novel when he says, "All the melody on earth is concentrated in my Jane's tongue to my ear" (464). It is Jane's honesty that immediately attracts Rochester to her. When Rochester asks Jane whether she thinks him handsome, she replies, "No, Sir" (162). Jane describes how the art of conversation is central to their relationship saying, "I knew the pleasure of vexing and soothing him by turns; it was one I chiefly delighted in . . . on the extreme brink I liked will to try my skill" (187). The eloquence which attracts Jane to Rochester is apparent in many scenes depicting their dialogue as it often becomes difficult to discern who is narrating the story -- Jane or Rochester. Regarding this point, Jane comments, "I, indeed, talked comparatively little, but I heard him talk with relish" (177). Once they are married, Jane describes the importance of discourse in their relationship when she says, "we talk, I believe, all day long: to talk to each other is but a more animated and an audible thinking. All my confidence is bestowed on him, all his confidence is devoted to me; we are precisely suited in character -- perfect concord is the result" (476). This statement summarizes the significance of "talk" in most, if not all of Jane's relationships. The importance Jane puts on communication arises throughout the novel. Not only is it important to her character as a form of expression, but she consistently uses communication skills and narrative ability as a measure of character. Jane assesses the

ability of every character to communicate effectively and then proceeds to make judgments about that character based on these assessments. Her favor, as is repeatedly shown, rests with those who are proficient in their narrative abilities. Jane is the dominant narrator, but she delights in letting other characters share in the task. Our focus is continually shifted from one character's narrative to another's. By allowing her story to be told through various characters, Jane not only emphasizes the high regard she has for these particular characters, but she emphasizes the veneration she has for eloquence in narration as well. Bronte, Charlotte. Jane Eyre. 1847. NY: Penguin, 1966.

Based on the ideas of Karl Marx, this theoretical approach asks us to consider how a literary work reflects the socioeconomic conditions of the time in which it was written. What does the text tell us about contemporary social classes and how does it reflect classism? Jane Eyre depicts the strict, hierarchical class system in England that required everyone to maintain carefully circumscribed class positions. Primarily through the character of Jane, it also accents the cracks in this system, the places where class differences were melding in Victorian England. For example, the novel questions the role of the governess: Should she be considered upper class, based on her superior education, or lower class, because of her servant-status within the family? What happens when relationships develop between people of different classes, such as Rochester and Jane? Jane's ambiguous class status becomes evident from the novel's opening chapter. A poor orphan living with relatives, Jane feels alienated from the rest of the Reed family. John Reed tells Jane she has "no business to take our books; you are a dependent . . . you ought to beg, and not to live here with gentleman's children like us." In this quote, John claims the rights of the gentleman, implying that Jane's family was from a lower class, and, therefore, she has no right to associate on equal footing with her wealthy cousins. Jane's lack of money leaves her dependent upon the Reeds for sustenance. She appears to exist in a no-man's land between the upper- and servant classes. By calling her cousin John a "murderer," "slave-driver," and "Roman emperor," Jane emphasizes her recognition of the corruption inherent in the ruling classes. As she's dragged away to the red-room following her fight with John Reed, Jane resists her captors like a "rebel slave," emphasizing the oppression she suffers because of her class status. When Miss Abbot admonishes Jane for striking John Reed, Jane's "young master," Jane immediately questions her terminology. Is John really her "master"; is she his servant? Emphasizing the corruption, even despotism of the upper classes, Jane's narrative makes her audience aware that the middle classes were becoming the repositories of both moral and intellectual superiority. Jane's experiences at Thornfield reinforce this message. When Jane first arrives, she is happy to learn that Mrs. Fairfax is a housekeeper, and not Jane's employer, because this means they're both dependents and can, therefore, interact as equals. Mrs. Fairfax discusses the difference between herself, as an upper-servant, and the other servants in the house; for example, she says Leah and John are "only servants, and one can't converse with them on terms of equality; one must keep them at due distance for fear of losing one's authority." As a governess, Jane is in the same category as Mrs. Fairfax: neither a member of the family nor a member of the serving classes. The ambiguity of the governess is especially pronounced, as we see with the example of Diana and Mary Rivers: the well-educated daughters of upper-class parents who've fallen on hard financial times, the Rivers are better educated than their employers, though treated with as little respect as the family cook. Victorian society brutally maintained the boundaries between governesses and the upper-class families, practically prohibiting

marriages between the two groups and attempting to desexualize governesses, who were often accused of bringing a dangerous sexuality into the family. Blanche, for example, calls governesses "incubi," and Lady Ingram believes that liaisons should never be allowed between governesses and tutors, because such relationships would introduce a moral infection into the household. The relationship between Jane and Rochester also emphasizes class issues. In a conversation preceding their betrothal, Rochester treats Jane like a good servant: Because she's been a "dependent" who has done "her duty," he, as her employer, wants to offer her assistance in finding a new job. Jane confirms her secondary status by referring to Rochester as "master," and believing "wealth, caste, custom," separate her from him. She fears he will treat her like an "automaton" because she is "poor, obscure, plain and little," mistakenly believing the lower classes to be heartless and soulless. Claiming the aristocratic privilege of creating his own rules, Rochester redefines Jane's class status, by defining her as his "equal" and "likeness." Before she can become Rochester's wife, Jane must prove her acceptability based on class. Does she have an upper-class sensibility, despite her inferior position at Thornfield? For example, when Bessie sees Jane at Lowood, she is impressed because Jane has become "quite a lady"; in fact, her accomplishments surpass that of her cousins, yet they are still considered her social superiors based solely on wealth. The conversation emphasizes the ambiguities of Jane's family's class status and of the class system in general: Should a lady be judged based on academic accomplishments, money, or family name? The novel critiques the behavior of most of the upper-class characters Jane meets: Blanche Ingram is haughty and superficial, John Reed is debauched, and Eliza Reed is inhumanely cold. Rochester is a primary example of upper-class debauchery, with his series of mistresses and his attempt to make Jane a member of the harem. In her final view of Thornfield, after Bertha has burned it down, Jane emphasizes the stark contrast between her comforting, flowering, breathtaking dream of Thornfield, and the reality of its trodden and wasted grounds. The discrepancy emphasizes that the world's vision of the upper classes doesn't always capture the hidden passions that boil under the veneer of genteel tranquility. One of Jane's tasks in the novel is to revitalize the upper classes, which have become mired in debauchery and haughtiness. Just as Rochester sought Jane for her freshness and purity, the novel suggests that the upper classes in general need the pure moral values and stringent work ethic of the middle classes. At novel's end, Rochester recognizes the error in his lifestyle, and his excessive passions have been quenched; he is reborn as a proper, mild-mannered husband, happily dependent on his wife's moral and intellectual guidance.
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http://www.crossref-it.info/textguide/Jane-Eyre/9/1082; http://www.victorianweb.org;

During Charlotte Bront's lifetime, Britain underwent changes that transformed the lives of its people:

British manufacturing became dominant in the world and trade and the financial sector also grew significantly; living in a village whose livelihood depended on wool, and close to the major manufacturing centres of Bradford and Halifax, Charlotte Bront would have been very conscious of these developments The rail network, begun in the 1830s and largely completed by the 1870s, had a great effect not only on the accessibility of travel and speed of movement, but also on the appearance of the countryside British power and influence overseas expanded and seemed to be permanent; references in Jane Eyre to the West Indies, Madeira and India demonstrate an awareness of these activities (see also Post-colonial criticism) The population grew enormously, from around 12 million at the time Charlotte Bront was born to over 20 million by the time she died

This period also saw a significant shift of population from the countryside to the towns and the consequent growth of large cities.

An age of optimism
This was a turbulent period which in many ways saw itself as a time ofconfident progress. Many people believed that Britain was leading the world into a new and better age, illustrated by:

More enlightened laws The benefits of wealth created through industrial development (though its distribution was uneven) Greater political stability than in the rest of Europe, though it is worth noting that o Rev. Bront had experienced industrial unrest in his early years in Yorkshire and this is the subject of Charlotte's novel Shirley(1849) o There is a reference to Chartist agitation in Chapter 31 (Volume 3, Chapter 5) The spreading of what was seen to be the civilising influence' ofChristianity around the world. This was a result of the missionaryimpulse which developed in the eighteenth and nineteenth centuries. For example the United Society for the Propagation of the Gospel first sent missionaries to India in 1820 & to South Africa in 1821. (Relevant to St John Rivers was the Church Missionary Society founded in 1799.) Other important values included o Deference to class and authority o The conviction that work is a duty which is good for the soul.

Bront and social issues

Social concerns and social reform were not central topics in Charlotte Bront's fiction. Shirley (1849) was the only one of her novels that specifically addressed socio-political issues. She wrote quite personal novels, usually with a relatively limited cast of characters and with none of the social breadth of, say, Charles Dickens. Nor did she consistently attempt the kind of biting criticism or satire found in Dickens' work. This is not to say that her novels were completely free of social concerns, but she tended to approach issues in terms of their impact on the personal lives of individuals rather than as matters of institutional reform or legislative action. InJane Eyre:

The most obvious example of a social issue can be found in the kind ofeducation offered at Lowood School and the physical and emotional privations suffered by the girls there; but the school is improved after the typhus outbreak, so that providential change comes about as a result of an unhappy event The issue of inherited wealth and the problems of the leisured gentleman are touched upon in the lives of John Reed and in Mr. Rochester (see also Characterisation) The bad effects of class and snobbery can be seen in the episodes concerning Blanche Ingram and the other members of Rochester's house party Related to this, the novel dramatizes the ambiguous social position occupied by governesses

Underlying many of these other topics is a concern with theexpectation and opportunities of women (see Gender and the role of women and Characterisation).

The eighteenth century

Before the Victorian period (1837 1901), the literary seriousness of the novel and the social status of the novelist were by no means fully accepted: Poetry was regarded as being at the top of the hierarchy of literary genres: in the eighteenth century epic poetry was accorded the highest status, but with the rise of Romanticism, lyric and visionary poetry rose to prominence Realistic prose fiction developed with the rise of an urban middle class with comfortable homes, more disposable income and increased leisure The readership for this developing form was often defined as women, servants and the young It was seen as a non-serious kind of writing, suitable for filling leisure hours, but offering the reader nothing of any substance Many early novelists were women and this, too, led to a down-grading of the seriousness of prose fiction It was felt that realism could be dangerous because novels recounted believable behaviour, by recognizable people, in familiar surroundings, and could thus set a poor example to their readers.

The rising status of the novel

In the early decades of the nineteenth century, the novel began to rise in status: Sir Walter Scott, the leading novelist of his time, added a new seriousness of purpose to historical fiction In 1816, Scott reviewed Emma by Jane Austen, hailing it as a triumph of a new domestic realism, combining entertainment with moral purpose As the century progressed, the novel's capacity toaddress the concerns of a rapidly changing societybegan to be recognized Fiction, with its broad social appeal, was thought especially appropriate in the context of rapid industrialization and urbanization The realist novel appealed to the contemporary appetite for complex narratives, which again answered to issues faced by an evolving society It also appealed to a taste for varied entertainment: the length and scope of the novel enabled it to encompass comedy, romance and tragedy as part of its treatment of serious issues.

The status of the novelist

Over the same period the status of the novelist also began to rise: In previous generations, poets had been regarded as great teachers, with the capacity to articulate universal truths, so that writers such asMilton and Wordsworth were held in high regard This continued into the nineteenth century, with the respect shown topoets such as Lord Alfred Tennyson and Robert Browning At the same time, however, the ways in which they addressed a broad range of social, religious, philosophical, political and moral concerns brought increasing respect for novelists Novelists thus began to be seen as capable of using their fictions to form and influence the feelings and opinions of their readers The novel was also seen as an appropriate form for observing andinterpreting a rapidly changing and increasingly complex society.

Charlotte Bront dedicated the second edition of Jane Eyre (1848) to W. M. Thackeray and in the Preface to that edition she writes: I think I see in him an intellect profounder and more unique than his contemporaries have yet recognized; because I regard him as the first social regenerator of the day, as the very master of that working corps who would restore to rectitude the warped system of things.' In asserting Thackeray's social and moral responsibility, Bront is asserting and confirming the enhanced status of the novel and associating herself with his perception of the warped system of things'.

A story which educates

In general terms, Jane Eyre could be described as a Bildungsroman. This is the German term for an education' or learning novel' which became popular in the nineteenth century following the publication in 1795-6 of J. W. von Goethe's Wilhlem Meister's Lehrjahre (Wilhelm Meister's Apprenticeship). This kind of novel is part of the interest shown by the Romantics in thecentrality of individual experience and emotions: William Wordsworth's long poem The Prelude (first version written 1805; published 1850), subtitled the growth of a poet's mind', is an English example of the genre.
Characteristics of the Bildungsroman

The young main character has to achieve emotional and intellectualmaturity, negotiating a way through the intricacies of social conventions and expectations The main character undergoes difficulty and suffering as well aspleasure and satisfaction (usually more of the former than the latter) He or she has to learn to observe, understand and judge characters, their actions and surrounding social structure The narrative can thus be used as a means of commenting on,satirizing and challenging established social norms These novels may offer opportunities for learning for their readers as well as for their central characters.

A story of pilgrimage
The structure of Jane Eyre is also similar to that of a pilgrimage. The best-known pilgrimage narrative in English is The Pilgrim's Progress by John Bunyan: A-Z Pilgrimage

Definition: A journey to a sacred place made for religious reasons. 2. In Christian thought, the journey of the believer through this world towards heaven.

This tells the story of Christian's journey towards the Celestial City (Heaven) Along the way, he is beset by dangers and temptations, in the form of people and places representing those of the real world: for instance vanity, doubt, despair But he is also helped by those whose faith and strength is greater than his own and eventually he reaches his destination.

Charlotte Bront knew the book; Jane is described as having read it; it would have been familiar to almost all of the novel's first readers; and it is mentioned in relation to St John Rivers on the last page of the novel.

The pilgrimage structure

Jane Eyre has a structure similar to Bunyan's story:

Overall, the novel describes a journey, both: o literal and physical (Jane moves from place to place) o metaphorical and emotional (as she grows towards the person she wishes to become and finds the man she loves and wishes to marry) Along the way, she encountersdangers and temptations o physical dangers occur: at the hands of John Reed the illness brought on by the psychological terror of the Red Room privations at Lowood School the danger of starvation and death when she runs away from Thornfield o there are temptations of different kinds represented by peoplewhose example she does not wish to follow: the unpleasant behaviour of her Reed cousins

the resignation and acceptance displayed by Helen Burns Rochester's temptation of Jane to be a kept' and fallen' woman, Jane becoming merely his possession rather than an independent being who can freely give herself the extreme zeal of St John Rivers, who also seeks to use Jane for his own ends She also meets people whose example and practical assistanceenable her to continue her journey, such as Miss Temple and the Rivers sisters.

Different goals?
There are some important differences between Jane Eyre and The Pilgrim's Progress:

Although Jane sets out on each stage of her journey with a clear sense that she wishes to move on, she has no very specific idea of what or where her ultimate destination should be Her destination is seen in terms of self-fulfilment, a desire to discover a means of living her life to the full and making use of all her capacities Her goal is not religious but secular: her holy city' is in her relationship with Rochester and living with him at Ferndean Jane is conscious that she elevates her feelings for a human beingabove her love for God, and the novel was criticized on these grounds when it was first published In the last section of the novel, however, Rochester sees himself in terms of repentance and redemption The fact that the novel ends with St John Rivers is a reminder of thelarger frame of belief within which the story takes place.

The political and the personal

The following passage, from Chapter 12 (Volume 1, Chapter 12), is one of the most interesting in the novel. It occurs soon after Jane's arrival at Thornfield, but before Rochester has returned. Although Jane has achieved her wish of leaving Lowood and finding a new life, she still finds herself restless and stands on the roof of Thornfield, just as she looked out of her window at Lowood in Chapter 10 (Volume 1, Chapter 10), looking out and thinking about what else the world may hold: It is in vain to say that human beings ought to be satisfied with tranquillity: they must have action; and they will make it if they cannot find it. Millions are condemned to a stiller doom than mine, and millions are in silent revolt against their lot. Nobody knows how many rebellions besides political rebellions ferment in the masses of life which people earth. Women are supposed to be very calm generally: but women feel just as men feel; they need exercise of the 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.

A feminist message

Several things are notable about this passage: It is an occasion when the novel very definitely sets out to make a point or develop an argument It employs challenging and political language: revolt', rebellions', restraint', narrow-minded', privileged' Some of this language is applied not to a political party, a social class or even a nation it refers to the situation of women The political is thus brought into the realm ofgender and the individual woman It is scornful about what custom has pronounced necessary' for women, listing a number of activities that are either domestic ordecorative and which prevent women from carrying out more useful tasks The words restraint' and stagnation' suggest the kind of inactivity, both mental and physical, to which women are condemned.

Female roles in the novel

The novel contains a number of female roles with which Jane compares herself at various points. They are discussed in Characterisation: Jane's female role models, but some further comments might be helpful in this context.

Physical attractiveness and dependence

At one extreme is Cline Varens, who is entirely at the disposal of men, with a succession of lovers who support and indulge her, but whom she treats badly in return. But for Jane's intervention, Adle might have turned into the same kind of woman Although Blanche Ingram lives in an entirely respectable society, her destiny, too, lies in finding a suitably rich man to marry and support her. The way in which she adorns her body emphasises her role as a commodity in a social marriage market Georgiana Reed is another woman driven by vanity, who allows her life to be determined by the values of a shallow social world.

Moral attractiveness and independence of mind

Helen Burns stands on the borderline of being a positive or negative example to Jane: on the positive side lie her sweetness of character and her intellectual qualities; but Jane, much as she loves her, finds it difficult to accept her religious resignation and her ready acceptance of illness, suffering and death

Rosamund Oliver is a more complex example in that she is beautiful but also good hearted. She does not suffer from the faults of vanity and/ or pride that affect the other attractive women in the novel and is able independently to use her wealth and position for good purposes Miss Temple is again a positive example and obviously helps to mould Jane into the woman she is when she leaves Lowood for Thornfield. Her intellectual qualities are prominent, but so, too, are her courage in standing up to Brocklehurst and the compassion and concern that she displays for the girls in her care Diana and Mary Rivers are the women in the novel most like Jane and she welcomes them both as examples and as companions.

Most interesting of all is Bertha Mason, whose role in the novel is discussed inCharacterisation: Bertha Rochester.

A feminist novel?
Although Jane Eyre contains a number of sharp criticisms of the treatment of women and the social roles assigned to them, it also demonstrates that women can live their lives on equal terms with - or independent of men. The book is pro women without being anti men: All the most sympathetic women characters Miss Temple, Rosamund, Diana and Mary and Jane herself are married by the end of the novel Its least sympathetic characters include members of both sexes What matters most are a person's strength of character and moral values, not their gender Jane does achieves true parity with Rochester by the end of the novel, rather than having to settle for the role either he or St John intended for her

Two points are worth making, however: In general social terms, the novel does not ultimately challenge thestatus quo the present state of things: it points out religious hypocrisyand the abuse of wealth and privilege in relations to women, but does not argue for any fundamental change in the structure of society Some literary critics writing about the novel have made the point that theRochester whom Jane marries is rather reduced from the man she first meets and falls in love with. They ask whether he has had to be reduced to manageable proportions; however, this doesn't quite accord with what Jane says in the passage from Chapter 12 with which this section begins

Critical approaches to Jane Eyre Jane Eyre: The critical tradition

Established approaches to the novelInitial reception of Jane EyrePositive reviewsNegative reviewsContemporary unrest

Established approaches to the novel

Jane Eyre, as well as being popular with readers, has always attracted a good deal of attention from academic critics, and until about thirty years ago the following ways of reading' the novel were the most common: As a realistic representation of individual experience, concentrating on Bront's creation of a convincing central character offering a true representation of her social and emotional experience As a moral fable, emphasizing the pilgrimage that Jane undertakes in the course of the novel, the temptations and setbacks that she encounters, and her eventual attainment of marriage and happiness As a romantic love story perhaps containing an element of wish-fulfilment on the part of its author As a critique of certain social evils, particularly those concerning the treatment and education of children As a comment on some forms of Christianity, again focused on education.

Initial reception of Jane Eyre

When it was first published, Jane Eyre met with a mixed reception.

Positive reviews
Most of the reviews welcomed the novel as representing a bold new voice in fiction: Freshness and originality, truth and passion, singular felicity in the description of natural scenery and the analysis of human thought, enable this tale to stand out from the mass. The Times

From out of the depths of a sorrowing experience here is a voice speaking to the experience of thousands. Edinburgh Review

Reality deep significant reality is the characteristic of this book.Fraser's Magazine The novel was valued for its realism, its strength of feeling and the sense that, although it told the story of only one person, it spoke to the experience, hopes and disappointments of many.

Negative reviews
Other commentators, especially those in the religious and conservative press, were less satisfied with what they read as the message of the novel and felt that it set a dangerous precedent: It burns with moral Jacobinism. The Christian Remembrancer

By using the word Jacobinism', the reviewer is evoking the French Revolution of 1789, when the Jacobins were the most extreme of the radicals.

Contemporary unrest
The suggestion that a story of one young woman's life might herald some sort of political upheaval might seem exaggerated to twenty-first century readers, but we have to remember that the novel appeared at

time of considerable political unrest, both at home and in Europe: The 1840s in England had been marked by the growth of Chartism, (A popular movement for British parliamentary reform from 1837-1848, which pressed for issues such as voting rights for all men, anonymous ballots and yearly general elections) a working-class movement with a radical agenda for political change, which included the extension of the franchise and payment for Members of Parliament so that Parliament might become more representative of the population as a whole In the years 1846-48, there were revolutions or other action by subversive groups in various European countries, including France, Italy, Austria, Prussia and Poland. It was feared that, in the wake of the Chartist unrest, Britain might be the next country to experience a popular uprising. It is in this context that the following extract should be read:

Themes and significant ideas Gender and the role of women

The political and the personalA feminist messageFemale roles in the novelPhysical attractiveness and dependenceMoral attractiveness and independence of mindA feminist novel?

The political and the personal

The following passage, from Chapter 12 (Volume 1, Chapter 12), is one of the most interesting in the novel. It occurs soon after Jane's arrival at Thornfield, but before Rochester has returned. Although Jane has achieved her wish of leaving Lowood and finding a new life, she still finds herself restless and stands on the roof of Thornfield, just as she looked out of her window at Lowood in Chapter 10 (Volume 1, Chapter 10), looking out and thinking about what else the world may hold: It is in vain to say that human beings ought to be satisfied with tranquillity: they must have action; and they will make it if they cannot find it. Millions are condemned to a stiller doom than mine, and millions are in silent revolt against their lot. Nobody knows how many rebellions besides political rebellions ferment in the masses of life which people earth. Women are supposed to be very calm generally: but women feel just as men feel; they need exercise of the 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.

A feminist message

Several things are notable about this passage:

It is an occasion when the novel very definitely sets out to make a point or develop an argument It employs challenging and political language: revolt', rebellions', restraint', narrow-minded', privileged' Some of this language is applied not to a political party, a social class or even a nation it refers to the situation of women The political is thus brought into the realm ofgender and the individual woman It is scornful about what custom has pronounced necessary' for women, listing a number of activities that are either domestic ordecorative and which prevent women from carrying out more useful tasks The words restraint' and stagnation' suggest the kind of inactivity, both mental and physical, to which women are condemned.

Female roles in the novel

The novel contains a number of female roles with which Jane compares herself at various points. They are discussed in Characterisation: Jane's female role models, but some further comments might be helpful in this context.

Physical attractiveness and dependence

At one extreme is Cline Varens, who is entirely at the disposal of men, with a succession of lovers who support and indulge her, but whom she treats badly in return. But for Jane's intervention, Adle might have turned into the same kind of woman Although Blanche Ingram lives in an entirely respectable society, her destiny, too, lies in finding a suitably rich man to marry and support her. The way in which she adorns her body emphasises her role as a commodity in a social marriage market Georgiana Reed is another woman driven by vanity, who allows her life to be determined by the values of a shallow social world.

Moral attractiveness and independence of mind

Helen Burns stands on the borderline of being a positive or negative example to Jane: on the positive side lie her sweetness of character and her intellectual qualities; but Jane, much as she loves her, finds it difficult to accept her religious resignation and her ready acceptance of illness, suffering and death Rosamund Oliver is a more complex example in that she is beautiful but also good hearted. She does not suffer from the faults of vanity and/ or pride that affect the other attractive women in the novel and is able independently to use her wealth and position for good purposes Miss Temple is again a positive example and obviously helps to mould Jane into the woman she is when she leaves Lowood for Thornfield. Her intellectual qualities are prominent, but so, too, are her courage in standing up to Brocklehurst and the compassion and concern that she displays for the girls in her care Diana and Mary Rivers are the women in the novel most like Jane and she welcomes them both as examples and as companions.

Most interesting of all is Bertha Mason, whose role in the novel is discussed inCharacterisation: Bertha Rochester JANE s FEMALE ROLE in the novel. Throughout the novel, Jane encounters a number of women who offer her either positive or negative role models. In a book which is so concerned with the narrator's own development, it is perhaps inevitable that these role models should be represented in ways that emphasise the role they have in the formation of her character and opinions: Since the issue of gender is central to the novel's thematic content, role and significance is not easily separable in these characters The women Jane meets tend to move in and out of her life quite quickly In those cases when she knows them over a longer period of time, the relationships are never described in great detail None of the women characters are represented in as much detailas are Rochester or St John Rivers, who are discussed elsewhere in this section It is also notable that, ultimately, Jane does not want any permanent female companionship: her relationship with Rochester appears to be sufficient.

Victorian Literature Course

Student: Laura Mihaela Bestea (Coraci) Year II, gr. 1

Social issues of the Victorian Age in Jane Eyre

An age of optimism The novel Jane Eyre was published at London in 1847, a year of turbulent social and political movements in Europe. Although the Britain had to face the Chartism, the Victorian Age was a time of profound transformation and progress. British influence overseas reshaped the world, the British population doubled, a massive shift of population from countryside to the towns happened in a few decades, the British manufacturing became dominant in the world, trade and the financial sector grew, the rail network changed peoples life by letting them move rapidly. All these major transformations occured during Charlotte Bronte lifetime and they are reflected in her work. Yet a turbulent period, it was a time of progress and optimism in England which became the leading civilization of the world. The Victorian society faced many changes like more enlightened laws, the conviction that work is a duty, the wealth creation although unethically distributed, increased authority of the state. The Christianity was spread around the world as a result of what was called the missionary impulse. Before the Victorian period (1837-1901), the novel was considered a minor genre; poetry was situated at the top of literary genres. Women writers proved to challenge this hierarchy, which was seen as an extra reason for denying the seriousness of prose fiction. During the Victorian Age, as the economy and society progressed, the novels capacity to address the rapid changes and concerns of the people started to be recognized. The novel proved to be capable of observing and interpreting the Victorian complex society. Due to the technical inventions like the Rotate machine which enabled editors and journalists to disseminate the written papers at scale, novelists were the artist capable to form and to influence the opinions and the feelings of their readers, by their fictions. Jane Eyre is a story aimed to educate. It is a Bildungsroman the German word for education or learning novel. By fostering this kind of novel, the Romantics shown a specific interest for the individual experience and emotions. This kind of novel was used as mean to observe, to understand and to judge characters and society. The narrative is used to comment on, to satirize and challenge the social norms in place. In the Bildungsroman the main character is young and has to grow up emotionally and intellectually by negotiating a way through the social expectations and prejudices, He or she undergoes both obstacles and satisfaction. For the reader the novel is a way of learning: once the main characters learn the reader learns too. One important social issue Bronte address in Jane Eyre is the ambiguous social position of a governess. She questions the hierarchical class system in England. A changed social perspective toward the social classes was a major issue of the industrial capitalist society, due to the massive displacement of people from countryside to towns and due to the larger access to education and creation of new professions . Addressing the issue of the governess profession,

the novel questions whether in respect if the embedded education such a position should be considered upper class, or whether on the servant-status of a governess she should be considered lower class. When Jane arrives at Thornfield Jane is happy to learn that Mr, Fairfax is a house-keeper, not her employer, case in which she can interact as equals. The ambiguity of the governess is discussed in the novel when Diana and Mary Rivers are forced by their financial problems to work as governesses. Although they are well educated, with parents who used to be part of the upper class, they are treated with lack of respect by the families they work for. Victorian society preserved the boundaries between governess and the upper-class families, practically prohibiting marriages between the two layers and attempting to desexualize governess who were considered to to bring dangerous sexuality to the families. The relationship between Jane and Rochester address the class issues as well. In a conversation preceding their engagement, Rochester treats Jane as a good servant. He offers to assist her in finding a new job because she proved to be a dependent who has done her duty. Jane confirms this status by referring to Rochester as master and believing that wealth, caste, custom separate her from him. She is afraid she might be treated like an automation because she is poor, obscure, plain and little because the lower classes are regarded as being heartless and soulless. Making use of his aristocratic privileges of creating rules, Rochester is the one who define Jane as his equal and likeness. Until she became Rochesters wife, Jane assumes a minor social status based on class. A feminist manifesto? There are authors who consider Jane Eyre a feminist manifesto. The social scream is present in the novel, featured in Janes voice who has a critical view of social class in the 19t century. The th 19 century view on the social hierarchy is that wealth equals good character. Jane challenges the idea of poverty as a criminal offense and is able to discriminate between right and wrong. The novel can be considered a mirror of the social and economic conditions of the time when it was produced, but Bronte approached the socioeconomic issues in terms of their impact on the personal lives of the characters and didnt approached them in terms of institutional and legislative reform. The Lockwood School is such an example: there the students endured psychical and emotional miseries. But after an unhappy event, the typhus outbreak, the school improved, so the providence interfered after an tragic moment and changed things to the better, Another example is the bad effect of snobbery in the episode of house party concerning Blanche Ingram and the other guests. The legislation regarding wealth inheritance is a concern of the Victorian society and Bronte approached this issue in regard of John Reed and Rochester. The woman were dependent of a man, they had no right to own a property and had no right to divorce. A woman had not right to study at university nor to exert a profession. What is agreed upon by most authors is that the Jane Eyre was a feminist manifesto, in a time 1 when the word feminist was unknown. Jane says women feel just as men feel . In the novel, the passage containing this statement is one of the most interesting: It is in vain to say that human beings ought to be satisfied with tranquility: they must have action; and they will make it if they cannot find it. Millions are condemned to a stiller doom than mine, and millions are in silent revolt against their lot. Nobody knows how many rebellions beside
1

Chapter 12

political rebellions ferment in the masses of life which people earth. Women are supposed to be very calm generally: but feel just as men feel; they need exercise of the faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a retraint, too absolute a stagnation, precisely as men would suffer; and it is narrow minded in their more privileged fellowcreatures 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. The passage contains notable particularities; in a paragraph, Bronte inserts several political words: revolt, rebellions, restraint ,narrow-minded, privileged. Some of these words do not refer to a political party or a social class but the status of women. Thus the political is put into direct link to the woman as an individual. The words restraint and stagnation show that woman are condemned at inactivity, they are prevented from progressing. The traditional women occupations are listed not because they are unpleasant of humiliating but because these activities prevent women from carrying more useful tasks. The novel addresses a number of feminine roles. Jane interacts at certain points with all of them and compares with them. There are 2 main categories of female roles: one includes the women who display independence and moral attractiveness; the other one contains the physically attractive women, dependent on men. In the first category can be listed Helen Burns, Rosamund Oliver, Miss Temple, Diana and Mary Rivers. Helen stands between a positive and a negative role against Jane: on the positive side can be mentioned her intellectual qualities and her sweetness of character, while her religious resignation and her acceptance of illness, suffering and death are hardly acceptable for Jane, in spite of her love to Helen. Rosamund is more complex individual as she is both beautiful as a woman and compassionate: she has no vanities like most of the attractive women, she is independent and is able to use her wealth for good purposes. Miss Temple has prominent intellectual qualities and helped Jane to become the person she was when she left Lowood. Diana and Mary are Janes friends, examples of good companions At the other extreme are situated Celine Varens, Blanche Ingram and Georgiana Reed. Celine is entirely at disposal of men, she is supported and indulged by various men and whom she treats badly. Blanche is a commodity in the social marriage market, looking for a buyer. Georgiana Reed is a woman driven by vanity, whose life is dominate by the values of a superficial social world. Most interesting of all is Bertha Mason. Although she is Rochesters wife, she is always called Bertha Mason. Bertha is unable to give an account of herself. Her personal voice is never hears (ecept through her incontrollable actions). Viewed through the eyes of the post-colonial reader, Bertha can be viewed as a victim of British colonialism: she was removed from the culture she belonged and obliged to marry into a culture she dont know. Although the novel contains criticisms to the social roles of the genders, to the abuse of wealth in relation to women (John Reed, Brocklehurst)), and to the religious hypocrisy (Brockelhurst, St John Rivers), it is pro women without being against men: all sympathetic women characters Jane, are married at the end of the novel . What is socially important is somebodys values and

strength of character not his or her gender. The positive characters belong to both genders. At the end of the novel Jane became equal partner of Rochester instead of playing the role he intended for her as in the past she didnt play the role St John proposed to her. Social concerns and feminism, although strongly represented in the novel, are not the central topic. Shirley (1849) was the Charlottes Bronte novel specifically addressing socio-political issues. Jane Eyre novel does not argue for a fundamental structural change of the society. It presents the situation as it is: the hypocrisy of religion, the abuse of wealth and mens privileges in relations to women. One of the roles of Jane character is to revitalize the upper class morality which become caught up in dishonesty and arrogance. One of the novels ideas is that the upper class need to restore the genuine social values by discovering in the middle class the pure moral values and the high work ethic, like Rochester discovered in Jane purity and freshness. At novels end, Rochester admits the error of his lifestyle. His excessive passion was punished and he is reborn as a proper, mild-mannered husband, happily dependent on his i wifes moral and intellectual guidance

Bibliography: BRONTE, Charlotte Jane Eyre, London, Harper Press, 2013

www.victorianweb.org http://www.crossref-it.info/textguide/Jane-Eyre/9/0; http://www.cliffsnotes.com/literature/j/jane-eyre/critical-essays/a-marxist-approach-to-the-novel;

http://www.cliffsnotes.com/literature/j/jane-eyre/critical-essays/a-marxist-approach-to-the-novel