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Rochester establishes him as a mysterious figure. The master is traveling when she arrives at this grand mansion in the English countryside, and her first encounter with Mr. Oddly, Brontë devotes comparatively little space to Jane’s years in this all-female community after the death of Helen Burns, the story leaps ahead eight years to the point at which Jane, now 18 and a teacher at Lowood, decides to leave the school and finds a job as a governess at Thornfield Hall. Jane receives a lesson in Christian forbearance from Helen Burns, an older girl at the school, but this new friend soon dies of consumption. (In the new movie he’s played by the wonderful character actor Simon McBurney, who specializes in upper-crust villains.) Jane gets off one of her most memorable fuck-you lines when Brocklehurst asks her how she plans to avoid the fires of hell and the little girl replies, “I must keep in good health, and not die.” But this proves easier said than done once Jane arrives at Lowood School, whose students are ill-clothed and ill-fed, in line with Brocklehurst’s ideal of physical mortification, and whose location in a boggy dell makes it an incubator for typhus. Brocklehurst, the priggish founder of a Calvinist boarding school for girls who’s summoned to take Jane away shortly after the opening fracas. We’re barely two chapters into the book, and already the only male characters are a little sadist and two ghostly figures.Ĭousin John’s adult counterpart soon arrives in the form of Mr. This awful notion, combined with the eerie aspect of her uncle’s death chamber, so terrifies Jane that eventually she keels over. “If you don’t repent, something bad might be permitted to come down the chimney, and fetch you away,” a servant tells her. After railing at him, Jane is punished for the incident instead of John, locked in the little “red room” where her uncle died years earlier.
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Now ten years old, Jane lives in a fine house with her maternal aunt, who despises her, and suffers the bullying of her vicious cousin, John, who smacks her in the head with a book so hard that he draws blood. Jane’s father, a poor clergyman, died when she was a toddler, as did her mother, whose wealthy family had disapproved of the marriage. Harboring a deep, dark secret from his past, Rochester epitomizes the male animal, which may be the reason so many movie versions of Jane Eyre have stood or fallen on the skill of the actor playing him.įrom the novel’s opening pages, Brontë presents men as unknowable at best and stupidly violent at worst. The most perplexing of all is Edward Fairfax Rochester, the brooding landowner who becomes her boss when she lands a position as governess to his young ward, Adele.
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Yet Jane, a hardheaded pragmatist, knows full well that the world is governed by men, and the narrative centers on her ongoing efforts to make sense of these powerful, often cruel, always mysterious creatures. Brontë struck a mighty blow for her gender when she created her title character and narrator, an orphaned girl who matures into a formidably self-possessed young woman Jane’s moral sensibility is so detailed, so fully realized, that no reader could think her any less a person than the men surrounding her. Given the book’s reputation as a protofeminist tale, what most surprised me about Jane Eyre was how preoccupied it is with men. Now I can inflict my wacky interpretation of Jane Eyre on the whole world instead of handing it in to a single reader and getting it back with a B–. Moreover, reading a classic on your own time can be a bigger intellectual adventure than reading it for college credit, when you know you’ll be graded on having learned the book’s standard interpretation and the professor might be pouring that conventional wisdom into your head before you’ve even finished the text. A heavy diet of movies can make you crave the immersive power of a great novel, the sense of being plunged deep into another person’s consciousness, that so few filmmakers promise and even fewer deliver.
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Somehow I managed to earn two English degrees without ever reading Jane Eyre, so when Focus Features announced a release date for the latest screen adaptation of Charlotte Brontë’s 1847 masterpiece, I resolved to crack the book at long last.
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