Friday, December 18, 2020

My favorite literary heroine

CONTAINS SPOILERS

I fell in love with Jane Eyre the first time I read Charlotte Bronte's book many, many years ago. Her strength, passion, reserve, loyalty, intelligence, imagination and self respect were all things I greatly admired. I just finished rereading it for maybe the fourth time and find she inspires me still. 

Jane was someone who seemed quiet, but whose brain was very loud; who valued conversations of substance, but wasn't afraid of the quiet; who understood traditions and convention, but voiced dissatisfaction with the passive life expected of most women of her day. In this last point her character was very ahead of her time - a feminist in the best sense  - and one of the reasons the book received mixed reviews when it first came out. Here is an example of her voicing her frustration: 
“Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts, as much as their brothers do; they suffer from too rigid a restraint, to 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.”
These feelings didn't prevent her from cultivating "acceptable" feminine pursuits. Jane took her education seriously and enjoyed learning, including other languages (French, German and some Hindustani). She could play the piano (a little) and was a capable seamstress. While neither coquettish or disrespectful, Jane was an unorthodox conversationalist for a governess. She was also a talented artist, and used that medium to express her abundant imagination - taking an unconventional approach to a traditional medium. Her exchange with Mr. Rochester about her sketches is one of my favorites in the book (Chapter XIII): 

"...I perceive those pictures were done by one hand: was that hand yours?”

“Yes.”

“And when did you find time to do them? They have taken much time, and some thought.”

“I did them in the last two vacations I spent at Lowood, when I had no other occupation.”

“Where did you get your copies?”

“Out of my head.”

“That head I see now on your shoulders?”

“Yes, sir.”

“Has it other furniture of the same kind within?”

“I should think it may have: I should hope—better.”

He spread the pictures before him, and again surveyed them alternately.


Far from perfect, as a child Jane was docile enough until pushed too far, reacting explosively when she could no longer contain her dismay or disgust. All she wished was to be loved by her aunt and cousins, doing as she was told and trying not to get in the way. The lack of it fed her anger and resentment. Abuse - both verbal and physical - caused her to finally strike back, which lead to her being sent to an educational institution. Through the good example of Helen Burns (a beloved classmate who died Jane's first year at Lowood School) and one of the teachers (Miss Temple), she learned to control her passionate nature, forgive wrongdoing and hold steadfast to what was right. She became the master of her nature/personality, instead of allowing it to control her. She liked to please those she cared about, creating a quiet balance and harmony, but was willing to (strongly) voice an opinion when necessary.

Her fierier side made an appearance on several occasions, such as when she was being tormented by Mr. Rochester. He lead her to believe he was marrying another woman, hoping to insight her jealousy. Instead she resolved to find a new position, since she couldn't bear the thought of being near him when he belonged to another. Mr. Rochester pretended to find her a place as a governess in Ireland, which broke her heart. In her anguish, she spoke with less restraint than she would have under less emotional circumstances. This is a long passage to quote, but it's so good, I couldn't trim it more than this. I underlined my favorite parts, so just read those if you want the "highlights": 

“Jane, do you hear that nightingale singing in the wood? Listen!”

In listening, I sobbed convulsively; for I could repress what I endured no longer; I was obliged to yield, and I was shaken from head to foot with acute distress. When I did speak, it was only to express an impetuous wish that I had never been born, or never come to Thornfield.

“Because you are sorry to leave it?" 

The vehemence of emotion, stirred by grief and love within me, was claiming mastery, and struggling for full sway, and asserting a right to predominate, to overcome, to live, rise, and reign at last: yes,—and to speak.

“I grieve to leave Thornfield: I love Thornfield:—I love it, because I have lived in it a full and delightful life,—momentarily at least. I have not been trampled on. I have not been petrified. I have not been buried with inferior minds, and excluded from every glimpse of communion with what is bright and energetic and high. I have talked, face to face, with what I reverence, with what I delight in,—with an original, a vigorous, an expanded mind. I have known you, Mr. Rochester; and it strikes me with terror and anguish to feel I absolutely must be torn from you for ever. I see the necessity of departure; and it is like looking on the necessity of death.”

“Where do you see the necessity?” he asked suddenly.

“Where? You, sir, have placed it before me.”

“In what shape?”

“In the shape of Miss Ingram; a noble and beautiful woman,—your bride.”

“My bride! What bride? I have no bride!”

“But you will have.”

“Yes;—I will!—I will!” He set his teeth.

“Then I must go:—you have said it yourself.”

“No: you must stay! I swear it—and the oath shall be kept.”

“I tell you I must go!” I retorted, roused to something like passion. “Do you think I can stay to become nothing to you? Do you think I am an automaton?—a machine without feelings? and can bear to have my morsel of bread snatched from my lips, and my drop of living water dashed from my cup? Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong!—I have as much soul as you,—and full as much heart! And if God had gifted me with some beauty and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you. I am not talking to you now through the medium of custom, conventionalities, nor even of mortal flesh;—it is my spirit that addresses your spirit; just as if both had passed through the grave, and we stood at God’s feet, equal,—as we are!”

“As we are!” repeated Mr. Rochester—“so,” he added, enclosing me in his arms, gathering me to his breast, pressing his lips on my lips: “so, Jane!”

“Yes, so, sir,” I rejoined: “and yet not so; for you are a married man—or as good as a married man, and wed to one inferior to you—to one with whom you have no sympathy—whom I do not believe you truly love; for I have seen and heard you sneer at her. I would scorn such a union: therefore I am better than you—let me go!”

“Where, Jane? To Ireland?”

“Yes—to Ireland. I have spoken my mind, and can go anywhere now.”

“Jane, be still; don’t struggle so, like a wild frantic bird that is rending its own plumage in its desperation.”

“I am no bird; and no net ensnares me; I am a free human being with an independent will, which I now exert to leave you.”

Another effort set me at liberty, and I stood erect before him.

“And your will shall decide your destiny,” he said: “I offer you my hand, my heart, and a share of all my possessions.”

“You play a farce, which I merely laugh at.”

“I ask you to pass through life at my side—to be my second self, and best earthly companion.”

“For that fate you have already made your choice, and must abide by it.”

“Jane, be still a few moments: you are over-excited: I will be still too.”

A waft of wind came sweeping down the laurel-walk, and trembled through the boughs of the chestnut: it wandered away—away—to an indefinite distance—it died. The nightingale’s song was then the only voice of the hour: in listening to it, I again wept. Mr. Rochester sat quiet, looking at me gently and seriously. Some time passed before he spoke; he at last said—

“Come to my side, Jane, and let us explain and understand one another.”

“I will never again come to your side: I am torn away now, and cannot return.”

“But, Jane, I summon you as my wife: it is you only I intend to marry.”

I was silent: I thought he mocked me.

“Come, Jane—come hither.”

“Your bride stands between us.”

He rose, and with a stride reached me.

“My bride is here,” he said, again drawing me to him, “because my equal is here, and my likeness. Jane, will you marry me?”

Still I did not answer, and still I writhed myself from his grasp: for I was still incredulous.

“Do you doubt me, Jane?”

“Entirely.”

“You have no faith in me?”

“Not a whit.”

“Am I a liar in your eyes?” he asked passionately. “Little sceptic, you shall be convinced. What love have I for Miss Ingram? None: and that you know. What love has she for me? None: as I have taken pains to prove: I caused a rumour to reach her that my fortune was not a third of what was supposed, and after that I presented myself to see the result; it was coldness both from her and her mother. I would not—I could not—marry Miss Ingram. You—you strange, you almost unearthly thing!—I love as my own flesh. You—poor and obscure, and small and plain as you are—I entreat to accept me as a husband.”

“What, me!” I ejaculated, beginning in his earnestness—and especially in his incivility—to credit his sincerity: “me who have not a friend in the world but you—if you are my friend: not a shilling but what you have given me?”

“You, Jane, I must have you for my own—entirely my own. Will you be mine? Say yes, quickly.”

“Mr. Rochester, let me look at your face: turn to the moonlight.”

“Why?”

“Because I want to read your countenance—turn!”

“There! you will find it scarcely more legible than a crumpled, scratched page. Read on: only make haste, for I suffer.”

His face was very much agitated and very much flushed, and there were strong workings in the features, and strange gleams in the eyes.

“Oh, Jane, you torture me!” he exclaimed. “With that searching and yet faithful and generous look, you torture me!”

“How can I do that? If you are true, and your offer real, my only feelings to you must be gratitude and devotion—they cannot torture.”

“Gratitude!” he ejaculated; and added wildly—“Jane accept me quickly. Say, Edward—give me my name—Edward—I will marry you.”

“Are you in earnest? Do you truly love me? Do you sincerely wish me to be your wife?”

“I do; and if an oath is necessary to satisfy you, I swear it.”

“Then, sir, I will marry you.”

“Edward—my little wife!”

“Dear Edward!”

“Come to me—come to me entirely now,” said he; and added, in his deepest tone, speaking in my ear as his cheek was laid on mine, “Make my happiness—I will make yours.”


Later in the story St. John was withholding information from her, which would not do. 

Of course these objections wrought my eagerness to a climax: gratified it must be, and that without delay; and I told him so.

“But I apprised you that I was a hard man,” said he, “difficult to persuade.”

“And I am a hard woman,—impossible to put off.”

“And then,” he pursued, “I am cold: no fervour infects me.”

“Whereas I am hot, and fire dissolves ice. The blaze there has thawed all the snow from your cloak; by the same token, it has streamed on to my floor, and made it like a trampled street. As you hope ever to be forgiven, Mr. Rivers, the high crime and misdemeanour of spoiling a sanded kitchen, tell me what I wish to know.”


Would that I had half her quick wit. 

I admire her backbone, self-worth and strong convictions, which saved Jane on several occasions. The two best scenes are too long to include, but first was her agony in having to leave Mr. Rochester once she realized she couldn't be his wife (he was still a married man). Desperately did he try to convince her that it wouldn't be wrong or a sin, that as far as he was concerned he was not married, since he had been tricked into marring Bertha Mason. Through all his entreaties she stood firm, though she "wanted to be weak that I might avoid the awful passage of further suffering I saw laid out for me." She held tight to the conviction that, should she give in and become his mistress, he would end up despising her as he had the other women with whom he had sought, and failed, to find solace. She was also determined to do what was right in the sight of God, and to follow His laws.
I was experiencing an ordeal: a hand of fiery iron grasped my vitals. Terrible moment: full of struggle, blackness, burning! Not a human being that ever lived could wish to be loved better than I was loved; and him who thus loved me I absolutely worshipped: and I must renounce love and idol. One drear word comprised my intolerable duty—“Depart!”
.....

Is it better to drive a fellow-creature to despair than to transgress a mere human law, no man being injured by the breach? for you have neither relatives nor acquaintances whom you need fear to offend by living with me?”

This was true: and while he spoke my very conscience and reason turned traitors against me, and charged me with crime in resisting him. They spoke almost as loud as Feeling: and that clamoured wildly. “Oh, comply!” it said. “Think of his misery; think of his danger—look at his state when left alone; remember his headlong nature; consider the recklessness following on despair—soothe him; save him; love him; tell him you love him and will be his. Who in the world cares for you? or who will be injured by what you do?”

Still indomitable was the reply—“I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself. I will keep the law given by God; sanctioned by man. I will hold to the principles received by me when I was sane, and not mad—as I am now. Laws and principles are not for the times when there is no temptation: they are for such moments as this, when body and soul rise in mutiny against their rigour; stringent are they; inviolate they shall be. If at my individual convenience I might break them, what would be their worth? They have a worth—so I have always believed; and if I cannot believe it now, it is because I am insane—quite insane: with my veins running fire, and my heart beating faster than I can count its throbs. Preconceived opinions, foregone determinations, are all I have at this hour to stand by: there I plant my foot.”

The last paragraph is an excellent summary of why I love Jane. Her spirit, determination, heart and passion are showcased so well!

The other important scene(s) of Jane showing strength and conviction are when she turns down St. John Rivers when he proposes they should be married so she can accompany him to India as a missionary's wife. He tells her she "was made for labor, not love,"* beating out Mr. Darcy for the worst proposal ever. Jane knows she cannot marry where there is no love, but has difficulty turning him down, as he's convinced it's God's will she join him as a missionary. He even goes so far as to tell her if she refuses, it's not him she's turning down, but God: 
"I shall be absent a fortnight—take that space of time to consider my offer: and do not forget that if you reject it, it is not me you deny, but God. Through my means, He opens to you a noble career; as my wife only can you enter upon it. Refuse to be my wife, and you limit yourself for ever to a track of selfish ease and barren obscurity. Tremble lest in that case you should be numbered with those who have denied the faith, and are worse than infidels!"
...and that she'll go to hell ("I cannot give you up to perdition as a vessel of wrath: repent—resolve, while there is yet time.") As someone she cares about (not only because St. John saved her life, but it turned out they were cousins), she hated disappointing him and was hurt by his harsh words and passive-aggressive behavior while "giving her time to think it over."  

One of the other things I like about the book in general is its Christian tone and references. Unlike other books we've read for book club - which I like and enjoy in their own right - God is actively involved and woven through the story, while not being preachy or specifically God-centric. A general Christianity is seen in Jane Austen's many books (mostly in the form of pesky clergymen and vicars) or understood in The Count of Monte Cristo, though very little religion is actually practiced or discussed in either...Fordyce's Sermons notwithstanding. 😊 

Edward Rochester is actually a good character to compare against the Count. Both were wronged - Edmond by false accusations and imprisonment, Edward exiled to Spanish Town, Jamaica and shackled to a madwoman via a marriage aimed at enlarging his family's fortune (he hadn't know this was the reason for the match). Both handled their situations poorly - Edmond becoming The Count, seeking vengeance as "God's angel of justice" (ego much?) and Edward in dissipation "- never debauchery;" (though I might argued with him on that point, with the whole mistresses thing...but details). The results are where their paths diverge. The Count accomplishes his vengeance, with little personal accountability or detrimental results, and sails off into the sunset with his ward-turned-love interest. Whether his story ends happily is up for debate. The consequences of Edward's attempt to trick Jane into committing bigamy and then trying to convince her to be his mistress was the pain of losing her, followed by the loss of his house, his hand and an eye when his insane wife set fire to Thornfield (he was injured trying to save her as she danced on the roof of the burning estate). This eventually lead to repentance and the ability to be reunited with Jane. 
“Jane! you think me, I daresay, an irreligious dog: but my heart swells with gratitude to the beneficent God of this earth just now. He sees not as man sees, but far clearer: judges not as man judges, but far more wisely. I did wrong: I would have sullied my innocent flower—breathed guilt on its purity: the Omnipotent snatched it from me. I, in my stiff-necked rebellion, almost cursed the dispensation: instead of bending to the decree, I defied it. Divine justice pursued its course; disasters came thick on me: I was forced to pass through the valley of the shadow of death. His chastisements are mighty; and one smote me which has humbled me for ever. You know I was proud of my strength: but what is it now, when I must give it over to foreign guidance, as a child does its weakness? Of late, Jane—only—only of late—I began to see and acknowledge the hand of God in my doom. I began to experience remorse, repentance; the wish for reconcilement to my Maker. I began sometimes to pray: very brief prayers they were, but very sincere.

I appreciate Bronte's avoidance of a "Disney-ending" - everything coming together and hero/heroine living happily ever after. The story wraps up with Jane saying it's been ten years since they were married, sharing some of the joys and trials they've faced together. While they are happy and have a joyful marriage, it's not without difficulties, some of which helped them to build a stronger friendship and foundation for their life together. 

An interesting aside are the similarities and differences between Mr. Rochester and St. John Rivers, some of which were brought to my attention by a post I now can't find**. Both men were driven by a mission - Rochester in wanting freedom and Jane, and St. John by ambition. They are convinced they know God's will, or at least, the right path forward...and both were wrong. Physically they were quite different from each other. Mr. Rochester was dark, brooding, broad chested without being particularly handsome, but with sparkling eyes and a genial smile when he was happy. St. John was described as handsome, with a Grecian profile, "tall, fair with blue eyes." Each had a strong personality, but in very different ways. Rochester was fire - passionate, consuming and warm, while St. John was ice - cold, hard and impassive. They both tried to force their wills on Jane, Rochester doing so out of selfish love and St. John out of an obsessive sense of duty. They also embody different aspects of Jane's character - independence, passion, faith, duty and sacrifice...which are all found in her relationship with Rochester once she's able to honorably be with him, giving her a full and complete life.  

I read part of the introduction by Susan Ostrov Weisser (I rarely do so) and learned some interesting things about Charlotte Bronte...and why the book's original title was Jane Eyre: An Autobiography. Charlotte was one of six children - Maria, Elizabeth, Charlotte, Patrick Branwell (known as Branwell), Emily and Anne. After the death of their mother, the four oldest girls were sent to Cowan Bridge School run by Reverend William Carus-Wilson, which became the template for Lowood School and Mr. Brocklehurst in Jane Eyre. The "harsh daily regimes, unhealthy conditions, poor quality food and lack of heat" lead to the deaths of Maria and Elizabeth, the former being the model for the character of Helen. Though the remaining four children received little formal education for the next few years, they were all avid readers, highly imaginative and collaborated on writing "numerous plays, historical fantasies, poems and homemade miniature books." Charlotte eventually attended Roe House, where she also taught for several years before becoming a governess, which she reportedly hated. There her path diverges from Jane's, especially in the romance department. While she appears to have had feelings for several gentlemen over the course of her life, she married unexpectedly at the age of thirty-eight, to a poor curate who had attempted to court her for years. Unfortunately their happiness was brief, for she died the next year, most likely from tuberculosis (like her sisters) or typhoid. Fun fact: Charlotte Bronte was close friends with Elizabeth Gaskell, the author of Wives & Daughters, North & South and Cranford...and The Life of Charlotte Bronte, published about two years after Bronte passed away. 
 
While Charlotte Bronte wrote several books, Jane Eyre has been her most popular legacy. It has been adapted many times over the years, the BBC mini series from 1983 with Timothy Dalton and Zelah Clarke, and the 2011 movie*** with Michael Fassbender and Mia Wasikowska (Jamie Bell is excellent as St. John) being my two favorites.  The mini series is really long (about 4 hours!), but it's a very faithful adaptation of the book. The 2011 movie is about half that length, but makes smart cuts and definitely hits all the right beats. I would watch either any day, any time. 😊 πŸ’—

Sadly the same can't be said of the National Theatre production of Jane Eyre (2015). After finishing the book earlier this week, I decided to finally watched the recorded performance (courtesy of Sam). I acknowledging I judge it harshly because of my love of the book and character, but I was quite disappointed. They made several poor choices, from the set to the casting. I can appreciate a minimalist staging, but there was too little to differentiate locations - from Mrs. Reed's house to Lowood School (which should seem dismal and decrepit) to Thornfield Manor, which is large and picturesque. While the suspended windows were a smart addition, they should have thrown up some tapestries or something to convey grandeur. Out of necessity parts were removed, but what bothered me was some of the best dialogue/repartee was left out and replaced by extraneous segments that offered nothing to further the story. One of the best scenes - when Rochester proposes to Jane - was oddly short, as was their confrontation before she flees Thornfield. The ending was also quite rushed. 


The cast for Jane Eyre was extremely small, which meant everyone but Jane played multiple roles. While practical, they made several terrible choices - the same actor who plays young John Reed, Jane's cousin and tormentor as a child, is Mr. Rochester...which is super not cool. I will say he did a decent job as Mr. Rochester, but he should have never played both those parts. Another is Mrs. Fairfax, the nice old lady housekeeper. The actress who played her was also Jane's evil aunt, Mrs. Reed! The worst part was they even wore the same costume...the only real difference between characters was Mrs. Fairfax had a limpy gait. Bessie (the Reed's housemaid) is also Blanche Ingram and Diana Rivers...thankfully they had different costumes, which helped to differentiate them. And the actress who plays Helen Burns and Adele also plays St. John, Grace Poole and Abbot. 😐 I will say she did a good job, as did the actor who played the rolls of Mr. Brocklehurst (from Lowood School), Richard Mason (Rochester's brother-in-law) and Pilot (Rochester's dog). Actually, his portrayal of Pilot might have been my favorite part of the play. πŸ˜„πŸΆ



The casting choice for Jane seemed a little...odd. Jane is supposed to be eighteen when the story begins (about twenty when she's reunited with Mr. Rochester) and when the play was first performed, the actress (Madeleine Worrell) was 37 years old and in no way appeared a teenager. I would not be surprised if she's older than Felix Hayes, the actor playing Mr. Rochester (I couldn't find his DOB). She also played the roll overly timid in parts, looking like she was about to burst into tears any second, and then belligerently in others. It created a rather incongruous tone for her character...not that I have any opinions on the subject. 😁

Overall I felt the production didn't understand Jane Eyre and missed the spirit of Bronte's classic. 

Thank you for coming to my TED Talk. (pushes glasses up nose) 😎




~ Katie Q. 🐧


* "God and nature intended you for a missionary’s wife. It is not personal, but mental endowments they have given you: you are formed for labour, not for love. A missionary’s wife you must—shall be. You shall be mine: I claim you—not for my pleasure, but for my Sovereign’s service.” Worst...proposal...ever. 😣

** Found it! It was in the Spark Notes Study Guide. πŸ˜„ Another resource was York Notes.

*** UPDATE 12/23 - I watched the 2011 movie last night and while I wish it was about ten minutes longer, I still really like it. They needed to include an additional scene or two with Jane and Mr. Rochester that set up a foundation for their relationship/having feelings for each other. There were a couple of times when Jane was thoughtful and silent when she should have had dialogue. Speaking of which, they left out context for some of Rochester's lines when he was trying to talk Jane into staying. I highlighted the lines they included in the movie (or close version of those lines):
“Never,” said he, as he ground his teeth, “never was anything at once so frail and so indomitable. A mere reed she feels in my hand!” (And he shook me with the force of his hold.) “I could bend her with my finger and thumb: and what good would it do if I bent, if I uptore, if I crushed her? Consider that eye: consider the resolute, wild, free thing looking out of it, defying me, with more than courage—with a stern triumph. Whatever I do with its cage, I cannot get at it—the savage, beautiful creature! If I tear, if I rend the slight prison, my outrage will only let the captive loose. Conqueror I might be of the house; but the inmate would escape to heaven before I could call myself possessor of its clay dwelling-place. And it is you, spirit—with will and energy, and virtue and purity—that I want: not alone your brittle frame. Of yourself you could come with soft flight and nestle against my heart, if you would: seized against your will, you will elude the grasp like an essence—you will vanish ere I inhale your fragrance. Oh! come, Jane, come!”
Especially at the beginning, without the context of the lines around it, it just sounds like he's threatening her with violence, whereas he is comparing the strength of her will and resolve to the slightness of her frame. What whole scene is much longer in the book (so heart wrenching!) and something is definitely lost by condensing it so much. 

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