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Beth Howells
This first line of Charlotte Bronte’s Jane Eyre offers insights into the novel’s
structure, character, and themes. In terms of the meaning of the line and the themes it
“Call me Ishmael,” no “I was born…,” no first person “I.” Our main character, Jane Eyre,
doesn’t have license to tell her own story nor lead her own life. She isn’t even the subject
of the sentence. Instead, we have an invisible subject who, we learn, is thematically and
literally invisible within her adopted family. She is an orphan whose uncle has died,
leaving her with his wife and children who neither like her nor want her around. She is a
burden, a leech from their perspectives, who doesn’t even provide worth through serving
structure that opens the novel: Jane describes herself as “mounted into the window-seat:
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gathering up my feet, I sat cross-legged, like a Turk; and, having drawn the red moreen
curtain nearly close, I was shrined in double retirement” (10). She occupies a kind of
liminal space, neither within the domestic scene of the fireside gathering of her cousins
Eliza, John, and Georgianna, who are “clustered round their mamma in the drawing-
room…with her darlings about her…looking perfectly happy” (9), nor without, free in the
world to make her own way. In a culture structured by the ideology of separate spheres,
with the domestic sphere set opposed to and apart from the sphere of industry, Jane
doesn’t belong in either space, and as the sentence itself is structured, she is neither a
subject nor an agent. This image of Jane in the window is one that echoes throughout the
novel, linguistically, thematically, and visually. She returns to this space in between two
worlds in significant moments along her journey, from Gateshead to Lowood, from
Thornfield Hall to Marsh End, and ultimately to Ferndean. It is a novel very much about
her struggle to determine where she belongs. Jane Eyre’s returns to the window offer
invokes and inspires other similar literary and artistic moments in this symbolic
woman question.
Overall, this rich novel can be understood as a kind of echo chamber of Victorian
problems, customs, mores, concerns, and themes from issues of education to the role of
images in the novel stand in for the liminal space occupied by women of the era. The
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widely documented Victorian feminine ideal was confined to one side of many binary
oppositions: she was to be inside, not outside; saintly, not sexual; angelic, not fallen;
decorative, not useful; object, not subject; passive, not active; feminine, not masculine.
Novelists and poets of the day also turned to this space to signify a challenge to these
just an endorsement of the status quo but perhaps also a challenge to the ideology of
separate spheres. Art Historian Jan Marsh addresses this contradiction in this way:
The nineteenth century was a period of rapid and immense social and economic
and family life, together with the great expansion of the middle and professional
were both elevated and constrained, worshipped and restricted to specific roles.
(10)
Much as we see these images of women framed in art in these specific ways, we must
recognize that we are being directed to contend with how women in windows were
structures of feeling and presentation.” As Elizabeth Langland, among many other critics
over the past century and a half, has discussed, “Jane Eyre sounds an early clarion call for
freedom from the constraints of enforced leisure” (305). Bronte, and other thinkers of the
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era, ponder what happens if the woman peeks from the threshold, venturing beyond the
binary.
One reading would attribute the repetition to an aesthetic framing device—a frame
within a frame—that could draw the reader’s eye in and situate the woman as an object at
which to be looked. There is, a long history of the window as an “iconographical motif”
as critic Elaine Shefer describes it: it was prominent in seventeenth century Dutch
work. However, time and again, there are images of women in windows in the Victorian
era. As Shefer assesses it, “[h]undreds of paintings containing this motif were done from
the 1850s through the late 1890s” (127). Originally, if we look at these images
chronologically, the image of the woman in the window simply illustrated the location of
the “Angel of the House.” The walls divided such middle-class to upper-class women
from the outside, and the window indicates the parameters of the domain. Keepsake
images portrayed women waiting for their lovers. Scores of images depicted passive
eyes, never engaging in visual intercourse. These early images in Victorian art and
literature are sentimental representations that employ the window as a framing device,
which imprisons a woman waiting passively within. Critic Susan Casteras describes
Paintings of the Victorian era thus serve as visual correlatives of the fact that
politically, legally, culturally, and even sexually the Victorian wife and her
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daughters were quite housebound, enclosed by those same wainscoted walls that
The window is a barrier, a clear boundary between interior and exterior, and the woman
There is a realization, however, that it is not enough to follow Mrs. Sarah Stickney
Ellis’s advice to “suffer and be still.” We see John Ruskin addressing the role of women,
wrestling with the figure of Queen Victoria, both a mother of nine and Queen of the
Thus far, then, of the nature, thus far of the teaching, of woman, and thus of her
household office, and queenliness. We come now to our last, our widest
Generally we are under an impression that a man’s duties are public, and a
woman’s private. But this is not altogether so. A man has a personal work or duty,
relating to his own home, and a public work or duty, which is the expansion of the
other, relating to the state. So a woman has a personal work or duty, relating to her
own home, and a public work or duty, which is also the expansion of that. (1544)
The roles of women and men were being determined. The Woman Question, as it was
known contemporarily, was being asked. The barrier between the spheres was being
considered more permeable, and the chance for transgressionswas also perceived as
threatening. The end of the century is going to introduce Oscar Wilde and the New
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Woman, and Virginia Woolf’s “room of one’s own,” but before them, we have these
Later Victorian artists and writers seem to reconstruct and complicate this staid
image in art. In his 1955 article on the iconography of the open window, Lorenz Eitner,
one of the first to address the open window in the discussion of art, articulates its dual
It confines one within, but also gestures to what is without. This complex signification
also holds true when examining the motif in literature. As critic Joseph Nicholas asserts
in discussing Alfred Lord Tennyson’s “Mariana” and George Eliot’s Middlemarch, the
window signifies “the everbeckoning but frustrated prospect of release” (Nicholas 95).
These artists capitalize on the iconographic dynamic of this space not just as an
While the window may frame the woman as an object, the window might suggest
what she, as a subject, could see beyond the frame. If the culture was organized in terms
image of the woman in the window becomes an icon that signifies not only tension or
opposition of extremes, but also a conflict between the very poles which construct the
binary. The woman at the window no longer simply represents imprisonment, but can
threaten empowerment as well; the distinction between opposites is contested, is both set-
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up and up-set. Here in these images, she resides on the threshold, liminally, both and
neither. Film critic Laura Mulvey famously discusses the split in this way:
between active/male and passive/female. The determining male gaze projects its
exhibitionist role women are simultaneously looked at and displayed, with their
appearance coded for strong visual… impact so that they can be said to connote
ideology and psychical structures that back it up, the male figures cannot bear the
Thus, the window then can present a vexed space. The woman is framed appropriately
when one is outside looking in, but what is signified when she is looking outward and, in
the case, of Tennyson’s “The Lady of Shalott” is objectifying Lancelot? As critic Carl
Plasa describes it, “[a]ppropriating the gaze, the lady enters the position of the desiring
subject and so enacts at the scopic level-the crossing from ‘feminine’ to ‘masculine’
gender positions…” (Plasa 258). At this space the woman can be both objectified or
framed or seen or known and also can know and see, objectify and frame as a subject
The image of John Everett Millais’ “Mariana” is aptly chosen for the cover of the
1992 Bantam Classics edition of George Eliot’s Middlemarch with her ecclesiastical
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interior prison juxtaposed with her blatant desire for freedom and the natural world
beyond the artifice, not unlike some of the tensions in Dorothea’s world. In the poem and
painting pairing, we might examine the religious connotations juxtaposed with the sexual
ones. She is cloistered within but is weary for her lover without. The painting represents
Tennyson’s 1831 poem “Mariana in the Moated Grange” in which Mariana, at her
casement, describes the surroundings as “dreary” and herself as “aweary” and wishes she
“were dead.” Tennyson’s poem harkens to the previous Keepsake images of the woman
at the window framed and confined, passively pining for her lost love.
Tennyson’s woman at the window. In his lecture “The Three Colours of Pre-
Raphaelitism” in 1878, critic John Ruskin describes Sir John Everett Millais’s Mariana as
“On the whole the perfectest of his works and the representative picture of that
generation” (165). This image provides one of the quintessential examples of the
representations. The compositional contrasts Millais sets up here illustrate his thematic
juxtapositions. Despite the sacred, religious setting with its stained-glass windows and
corner shrine, the painting emphasizes not just the spiritual, but the sensual as well. The
striking deep rich blue velvet of her dress, for example, contrasts with the complementary
red-orange seat beside which she stands. A kind of confrontation is set up between the
sunlit garden outside and the opposing dark shadowy corner. Though the sun is shining
and the objects are beautifully colored, shadows mar the moment. The embroidery
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reveals tension in its very nature through the strings. The tautness of her hair further
and passivity—she is waiting. The natural leaves contrast with the artificial leaves of her
embroidery. Diagonally opposite from the quotidian household mouse stands the
heavenly stained-glass window illustrating the Annunciation. This chaste religious image
in turn confronts Mariana’s nubile posture which again reveals tension as she stretches
more than Tennyson’s “wearily.” Millais would have us poised in this moment of
imprisoned within a series of contrasting forces and on a threshold. The power of the
painting seems to depend on these tensions. She is active in the way her body represents
its desire for what is without. She is between these poles of the binary of sacred/sexual,
Similarly, Dorothea Brooke, the main character within this novel’s cover, also
stretches beyond her barriers as Mrs. Casaubon. Dorothea finds herself at the bow-
windowed room of her boudoir looking down “the avenue of limes” (Eliot 66). George
Eliot describes the room as “where one might fancy the ghost of a tight-laced lady
revisiting the scene of her embroidery” (66). There she laments her servitude to
Casaubon’s impossible ambitions and continually pines for “active duties” in the world
and “making [her] life good for anything” instead of suffering the “gentlewoman’s
oppressive liberty” (69). It is in this space upon her return from her disastrous
honeymoon that “[t]he duties of her married life, contemplated as so great beforehand,
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seemed to be shrinking with the furniture and the white vapour-walled landscape” (249).
As Joseph Nicholes has commented, “The unobstructed view down the row of limes is
destined to become a tantalizing emblem of freedom and release from the strictures of a
frustrating marriage” (97). And it is in this space, where she comes to learn that her
husband has banished Will Ladislaw from the community, thereby controlling her
interaction and communion with others through his possessiveness: “She had been so
used to struggle for and to find resolve in looking along the avenue toward the arch of
western light and that the vison itself had gained a communicating power” (338). And in
the end, even in marrying the man of her choosing, after Casaubon’s death, Dorothea is
returned to the domestic sphere after she had teetered on the threshold of what could be
beyond to live out “a hidden life” and “life of sacrifice” domestically as is described in
the novel’s conclusion. Dorothea’s story can very much be read as the story of a woman
on a threshold.
During this era, even literal angels, especially pPre-Raphaelite ones, flirt on the
edge of things in poems like Dante Gabriel Rossetti’s “Blessed Damozel” which centers
on an angelwarming the bar at her heavenly window overlooking and desiring her lost
lover below: “And still she bow’d herself and stoop’d/ Out of the circling charm;/ Until
her bosom must have made/ The bar she lean’d on warm” (43-46). Even God above
can’t satisfy her. She occupies the space between heaven and earth, angel of the house
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the window is something the pPre-Raphaelite Brotherhood was downright obsessed with
While Rossetti seems to worship this depiction of desire for what is beyond the
window’s space, Tennyson’s “Lady of Shalott” demonstrates the prohibition against such
The poem opens outlining the binary oppositions on either side of the river and the
horizon and then between the exterior world of industrialization and civilization and the
interior world of domesticity that signifies the natural external world through art: the
Lady of Shalott “weaves by night and day” and “A curse is on her” to “stay” and “look
down to Camelot.” She interacts through the world indirectly via the mirror she views to
capture the scenes she is weaving, mere "shadows of the world” as Tennyson describes it
and our heroine grows “half-sick of shadows,” not unlike Tennyson’s “weary” Mariana.
It is upon seeing Lancelot who is objectified as “dazzling,” “golden,” and “silver and who
“flamed,” “glittered,” and “shone” that she rushes beyond the window in this striking
stanza:
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She saw the helmet and the plume,
Subject more than object, directed outside more than inside, our heroine occupies this
dangerous window space before venturing into the “real” world without. The insistent
“she” as subject of these sentences is an active agent of not only movement but desire,
positioning Lancelot as object. The order of the world has the potential to be upset here
and the curse arrives. In fact, many critics have wrestled with the Lady not just as a
woman but as a woman artist. She is objectifying and seeing and creating through her
weaving. She has been read as an allegory of the ways in which a male artist’s position,
Just over twenty years before Middlemarch was published, George Eliot/Mary
Ann Evan’s partner George Henry Lewes quotes specifically and extensively from the
window passage that opens Jane Eyre and describes our main character in that space in
particular: “Is not that vivid, real, picturesque? It reads like a page out of one’s own life”
(692). He continues: “it is soul speaking to soul; it is an utterance from the depths of a
the universality of this image, its connotativeness, as essential to the strength of the
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novel. George Eliot also celebrated the novel for its “strange power of subjective
representation” (Miller 16). The woman in the window image is something George Eliot
In her journey in Jane Eyre, our heroine travels and returns to windows at crucial
junctures. A number of critics over the past decades make note of spaces of significance
in the novel: a plethora of commentaries on the names of places, Gilbert and Gubar’s
discussion of the attic space in their groundbreaking response to the issue of the anxiety
of influence for pioneering woman writers in the nineteenth century in Madwoman in the
Attic, Peter Bellis’ examination of the role of vision in the novel “In the Window-Seat:
Vision and Power in Jane Eyre,andMicki Nyman’s recent identification of the role of the
window in“Portals of Desire in Charlotte Brontë’s Jane Eyre and Fanny Fern’s Ruth
Hall Undoubtedly, Jane experiences epiphanies at the window. After the initial scene in
the novel, Jane is driven into a rage by her cousins and is exiled to the Red Room and
then to Lowood School where she learns to possess herself and learns to control her
narrative if not her destiny. She returns to the window and expresses her desire and
I went to my window, opened it, and looked out. There were the two
wings of the building; there was the garden; there were the skirts
of Lowood; there was the hilly horizon. My eye passed all other
objects to rest on those most remote, the blue peaks; it was those I
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seemed prison-ground, exile limits. I traced the white road winding
that hill at twilight; an age seemed to have elapsed since the day
My vacations had all been spent at school: Mrs. Reed had never sent
for me to Gateshead; neither she nor any of her family had ever been
notions, and voices, and faces, and phrases, and costumes, and
And now I felt that it was not enough; I tired of the routine of
swept off into vague space: "Then," I cried, half desperate, "grant
She desires and gasps for “liberty,” but that desire and agency is checked. As a woman,
particularly a lowerclass woman, she has no control over that destiny; as a realist, Jane
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understands her limitations and checks her desire, instead longing for, more practically,
“a new servitude.”
Jane is granted this desire when she becomes employed as a governess at Mr.
Rochester’s Thornfield Hall. Before he arrives on the scene, she finds a spot from the
attic window where she pines for community beyond sweet Mrs. Fairfax and spoiled little
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
calm generally: but women feel just as men feel; they need exercise
for their faculties, and a field for their efforts, as much as their
brothers do; they suffer from too rigid a restraint, too absolute a
more than custom has pronounced necessary for their sex. (129-130)
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This is an unusual statement for both Jane and Bronte, not only about the character’s
situation, but about the plight of women more generally, suggesting again the impact of
this space as an example of synecdoche. It is in this liminal space that Jane feels both her
And ultimately, at the window, at the novel’s end, though she ran away from him
to Marsh End upon the gothic discovery of his wife Bertha Mason, confined in the attic,
she hears Rochester from her window, calling to her from his as Ferndean as he laments
her loss. They are shortly thereafter reunited in what Bronte would have us believe is a
companionate marriage which, through his injuries and her newly acquired inheritance,
inverts and, perhaps, balances out the conventional power structures of marriages at the
time.
So over and over in art and literature, from the Bronte sisters and George Eliot,
from Elizabeth Gaskell and Charles Dickens, from Tennyson and Arnold, from the pPre-
moments of transition, even in moments of transgression. This trope of the woman at the
window demonstrates not the rigidity of the ideology of separate spheres but its
burgeoning fluidity—both the threat and possibility of transgressions. Art Historian Jan
Marsh, in specific reference to the Lady of Shalott, but also in reference to the broader
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prohibited by virtue of her sex alone—and the dire consequences attendant on
immediately to ostracism and social death. The enclosed rooms in which these
ladies live, looking out on inviting sunlit landscapes, and the tangled strands
signifying the docile, passive, reflective and domestic role that dominated
Victorian ideas of femininity. The lady cannot break free from her constraints: her
chose to depict this particular moment, so that their ladies are frozen forever in
Some writers offered cautionary tales, such as Tennyson’s, about the dangers of
Raphaelites, but our women writers take pause and offer some significant meditations at
this space, this threshold, this aperture to possibility. Our female novelists like Bronte
seem to recognize the necessity of such a space where contemplating, if not attempting,
In the Bronte Myth, Lucasta Miller traces the path by which the Brontes became
myth, the novel Jane Eyre became a modern myth, and Charlotte Bronte became a
legend. One part of the development involved Charlotte Bronte’s own self construction:
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If Charlotte Bronte was her own mythologizer, she invented two distinct and
conflicting myths, the second designed to deflect attention from the first. One was
heroines… who forge their own sense of selfhood in conflict with their social
Elizabeth Gaskell’s Life of Charlotte Bronte, was a quiet and trembling creature,
whose sins against convention, if she had unwittingly committed any, could be
explained by her isolated upbringings and the sufferings she had endured. Both
had their elements of truth in aspects of Charlotte Bronte’s private character, but
This ambitious young woman not only wrote to poet laureate Robert Southern confessing
her desire “to be for ever known” but also internalized his response that “literature cannot
be the business of a woman’s life: & it ought not to be.” This young woman wrote a
novel that invoked the Romantic poets and gothic novels she read, her childhood
fantasies of Glass Town, the religious doctrine she had been raised on, the conventional
social rules she had internalized, as well as the passion and experience she pined for.
There was space for all of these selves to be invoked through Jane’s situation at the
window in the novel, perhaps with a view of that riven chestnut tree.
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WORKS CITED
Bellis, Peter J. “In the Window-Seat: Vision and Power in Jane Eyre.” ELH, vol. 54, no.
Eitner, Lorenz. “The Open Window and the Storm-Tossed Boat: An Essay in the
Iconography of Romanticism.” The Art Bulletin, vol. 37, no. 4, 1955, pp. 281–290.
Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: The Woman Writer
Langland, Elizabeth. “Careers for Middle-Class Women.” The Brontes in Context, edited
Lewes, George Henry “Recent Novels: French and English. Review of Jane Eyre”
Fraser's Magazine for Town and Country v. 1-8-: (Feb. 1830-Dec. 1869). pp. 686-
695.
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Millais, John Everett. Mariana. 1851. Oil paint on mahogany. Tate, London.
Mulvey, Laura. Visual and Other Pleasures. Second edition. ed., Palgrave Macmillan,
2009.
Nicholes, Joseph. "Dorothea in the Moated Grange: Millais's Mariana & the
pp. 93-124.
Nyman, Micki. “Portals of Desire in Charlotte Bronte’s Jane Eyre and Fanny Fern’s Ruth
Hall.” Bronte Studies: The Journal of the Bronte Society, vol. 42, no. 2, Apr.
Plasa, Carl. "'Cracked from Side to Side': Sexual Politics in 'The Lady of Shalott'."
Rossetti, Dante Gabriel. “The Blessed Damozel.” The Longman Anthology of British
Literature vol. 2B, edited by Damrosch et al, 4th ed., Pearson, 2010, pp. 1612-
1615.
Ruskin, John. “from Of Sesame and Lilies: Of Queens’ Gardens” The Longman
Anthology of British Literature vol. 2B, edited by Damrosch et al, 4th ed., Pearson,
Shefer, Elaine. "The Woman at the Window in Victorian Art and Christina Rossetti as the
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Thormahlen, Marianne, ed. The Brontes in Context. Cambridge UP, 2012.
Tennyson, Alfred Lord. “Mariana.” The Longman Anthology of British Literature vol.
2B, edited by Damrosch et al, 4th ed., Pearson, 2010, pp. 1179-1180.
--- ---. “The Lady of Shalott.” The Longman Anthology of British Literature vol. 2B,
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