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Bront's "Jane Eyre" and the Grimms' Cinderella Author(s): Micael M. Clarke Reviewed work(s): Source: Studies in English Literature, 1500-1900, Vol. 40, No. 4, The Nineteenth Century (Autumn, 2000), pp. 695-710 Published by: Rice University Stable URL: http://www.jstor.org/stable/1556246 . Accessed: 12/02/2013 03:47
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SEL 40,4 (Autumn2000)

ISSN0039-3657

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Bronte's JaneEyre and the Grimms' Cinderella

MICAEL M. CLARKE

toplace Charlotte Readers attempting Bronte'sJane Eyreintheninenoveltradition havebeen puzzledbyBronte's bold mixteenth-century ingofgenres and bytheimmense and powerful ideological dialectic that seems to "closedown"at thenovel'sconclusionto an apparently thin stream. this Richard Chaseexemplifies critical monological mystification: ofthedomestic "TheBrontes' tremendous displacement valuestoward the short ofultimate itfalls tragic andmythical, though achievement, gives their ' ofsuperiority overthat ofother worka margin Victorian novelists." have with Chase's statement reflects thedifficulties the manycritics of Jane Eyre,an ending leavesreaders that often conclusion wondering whathappenedto thewomanwho once so stirringly declared women's for desires independence, replaced bya Janenow apparently living only for Has Bronte toextricate hervision from Rochester. failed theapparently to achievethe"tragic "domestic" and mythical" and downward-tending to filfill thevisionshe seemedto offer women?Or is it therefore failed israising thedomestic tothelevelofthemythical? An that perhaps Bronte ofBronte's use oftheCinderella examination taleinJane Eyrepoints to tothemythical. thelatter fisesthedomestic conclusion:Jane Eyre A recurring question regardingJane Eyre is how to readthenovelin ofwomenand men.Attimes, seemsto offer a clearexpresterms Bronte as whenJanedeclaresthat sion ofwoman'sself-assertion, "womenfeel for for need exercise their faculties and a field their justas menfeel;they as muchas their brothers do."2 Andyet, atthenovel'sconclusion, efforts for herefforts one man-Rochester. Miss hasnarrowed thefield tojust Jane visit and Diana Rivers Templehas been swallowedup bymarriage. Mary whomJaneEyre and even Adele,an orphanwith Janejustonce a year,
inChicago. MicaelM.Clarkeisan associateprofessor ofEnglish atLoyolaUniversity ofThackeravandWomen. ofEmily include a study Sheistheauthor Hercurrent projects as ctulttural institution. Bronte's spiritual and ethical motifs, and a study ofthetiniversity

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be expected has been sentawayto schoolbecause might to sympathize, "time Jane's andcares werenowrequired byanother-my husband needed them all"(chap.38,p. 396).HasJaneEyre soldhersoul? Various analyses haveaccounted, often for a conclusion brilliantly, that onJaneas his"propand guide" leavesRochester and dependent injured (chap.37,p. 395).Chase,famously, viewedRochester's as a form injuries of"symbolic In TheMadwomanin the castration."3 Gilbert Attic, Sandra and SusanGubarinterpret offemale thenovelinterms is counragethat terbalanced that bya conclusion and incompletely a tentatively suggests worldofsexualequality." Othercritics have praisedBronte's conclusion. RichdeAdrienne scribes itas presenting alternatives "toconvention and traditional piety, yes,butalso to socialand cultural reflexes within thefemale internalized The mostimportant ofthesealternatives, psyche." to Rich, is according Bronte's radically redefined ofmarriage, understanding notas something that "stunts and diminishes thewoman;but[that ofthis is]a continuation ofherself."5 woman'screation AndJohn Maynard interprets thenovel's ofloving conclusion as "aclearassertion sexualunion," achievedonlyafter "the difficulties sees insexualopenness" havebeenovercome, [Bronte] andafter thefears, andrepressions that driveJane into suppressions, Eyre "panicked areincorporated flight" into thecomplex processofhersexual awakening. One ofthekeystothepowerofjane Eyreis Bronte's of deployment The realistic multiple genres. novelenableshertodelineate thedevelopment ofa character overtime indetail andtorepresent thesocialcircumstances that elements ofallegory shapeher. And, byincorporating andthe Bible,Bronte deploys elements oftheJudeo-Christian religious tradition, suchas itsthorough and perceptive ofmoral analysis judgment andfreedom ofwilland itsinclusion ofthesupernatural as an active inhuforce manlife. to theAnglicanism Bronte adhered that herfather, Patrick, preached inSt.Michael's next doortotheir Church, homeinHaworth, butherwork demonstrates considerable ambivalence cultural regarding Christianity's inreference legacy towomen. Thefairy taleelement that isso important a ofJane toinclude part EyreallowsBronte elements ofmagicandfantasy, andthus toescapetheepistemologically ofrealism. effects More restraining importantly, fairy taleenablesBronte toreach themoral beyond andethical constraints that sometimes Christianity enjoinsupon womenand to an alternative vision. convey religious The Cinderella taleis onlyone ofseveral fairy talesthat informJane Eyre; allusionsto "Beautyand the Beast"and to "Bluebeard'sCastle"

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present Rochester simultaneously as a good manhidden beneath an ugly and as an ogrehusbandwithmultiple exterior former wives,whomhe roominhiscastle. keeps hiddenina secret Allusions toArabianNights, herself as sheresists her furnished Rochester's toshower byJane attempts with luxurious gifts, suggest parallels between thepowerofa sultan over hisharem andthepoweroftheEnglish overwomen.Byassogentleman with Bronte asserts thepowerofnarrative: ciatingJane like Scheherezade, narrative tosave lives, herown as well Scheherezade, JaneEyre employs as thoseofother women,and,in NancyWorkman's words,to assert"a woman'sclaimto sexualautonomy and creative freedom."7 Neither the is anymoresusceptible talesnorArabianNights to easyinterpretafairy tion than andallserve toconvey isJaneEyre, Bronte's complex andsometimes ambivalent attitudes her toward materials. Thegeneral resemblances betweenJane Eyre andtheCinderella tale areobvious, andseveral critics haveelucidated them.8 Thisstudy proposes is morethan todemonstrate thatJane a "generic" Cinderella andthat Eyre novelresembles theGerman talein specific Bronte's ways.ThisresemblancetotheGerman Cinderella taleprovides animportant toBronte's key offemale ethic intelligence, activity, pleasure, andintegrity. Generic resemblances betweenJane Eyreand theCinderella figure lostmothers include andcruel mother substitutes.Jane's Aunt ReedparallelsCinderella's 'wickedstepmother" andhercousins ElizaandGeorgiana LikeCinderella,Jane Reedthestepsisters. becomesa kind ofservant: Eyre "Bessienow frequently me as a sort ofundernursery-maid, employed to theroom, dust thechairs, andis restricted toobserving thepleatidy etc.," suresofhermorefortunate siblings (chap. 4, p. 25). "From every enjoymentI was, of course,excluded: myshare of the gaietyconsistedin thedaily ofElizaand Georgiana, witnessing apparelling and seeingthem dressed outinthin I would descendtothedrawing-room, muslin frocks... from retire thestairhead and silent to thesolitary nursery: there, though somewhat as Rochester sad, I was notmiserable" (chap. 4, p. 23). Later, whomitseemshe,liketheprince inCinderella, entertains theladiesfrom is to choose a wife, in in is still exile JaneEyre thedomestic of regions from Rochester's "And with I sought castle: issuing my asylum precaution, whichconducted . .. I could notproa backstairs to thekitchen directly ... running ofbeingsurprised ceed to theschoolroom without therisk with issuedfrom thedrawingmycargoofvictualage...a soundofmusic room" (chap. 17, pp. 146-7). Inbothnarratives, oftesting, theCinderella a period figure undergoes marked "feminine" The Grimm Brothers' bya seriesofdemeaning tasks. ... bis schwere vor "musste von Abend Arbeit Cinderella, Morgen tun, fruih

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Tagaufstehn [sic], Wassertragen, Feuer anmachen, kochen undwaschen."9 [From morning until evening, shehadtoperform difficult work, rising early, thefire, andwashing.] carrying water, making Both Cinderella and cooking arerendered Jane Eyre unattractive bydull, shabby clothing, andboth long for escape totheexcitement, beauty, music, andperhaps thesexualpleasurerepresented by theball.Clearly, JaneEyreis theclassicCinderella: poor,despised, and mistreated. ButBronte wouldhaveknownboththe ofthetale,and itis significant French and theGerman versions she that chosetodeploytheGerman version inJane specifically Eyre. andWilhelm Grimm's first volume ofKinder undHausmarchen Jacob in in Berlin 1812 and was an in immediate appeared success,appearing seventeen editions between1812and 1858.The first English translation, entitled German byEdgar Taylor, appearedin 1823ina collection PopuinEngland. which was equally could easlarStories, popular Thus, Bronte twoversions oftheCinderella tale:theGrimms' ilyhaveknown version, first in Francein 1697in and CharlesPerrault's "Cendrillon," published Passi. Bronte Histoires ou Contes du Temps readbothFrench and GerinEnglish orintheir manand couldhavereadbothversions either originalpublication languages. toWalt Thanks most Americans with Disney, today aremorefamiliar inwhich Perrault's Cinderella rides totheballina pumpkin version, pulled a fairy intoa coach and has transformed bywhitemicethat godmother horses. ThisCinderella mustleave theball by midnight because,at the will stroke ofmidnight, hercoach a pumpkin turn into andherclothes into rags. The German version is rougher In the but,to mymind, preferable. Grimms' is toldbyherdying mother to be always version, Aschenputtel "fromm undgut... undichwillvomHimmel aufdichherabblicken" (p. 93) [piousandgood ... and I willwatchoveryoufrom heaven]. After her father ismadetosleepnext Cinderella tothehearth andamong remarries, thecinders orashes,henceherGerman One dayher name, Aschenputtel. father andaskshisdaughters what hecanbring them. goesona journey gift Thestepsisters fine clothes andjewelry, whileCinderella request asksonly for whatever branch first strikes hisreturn herfather's hatwhenhe begins home.Cinderella thebranch on hermother's plants it graveand waters with hertears so that a beautifuil hazeltreegrowsup overthegrave. And time every Aschenputtel goes to hermother's a gravetoweep and pray, bird comestofulfill shespeaks. anywishthat Whennewsoftheprince's ballreaches thefamily, thestepsisters commandCinderella todress them. at Theylaugh theideathat shemight wish togo too.Butshepleadsso persistently that herstepmother, toputheroff,

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several tasks before she can that Cinderella makesita condition perform After go:toremove first lentils, andthen peas,from theashesofthehearth. the bird from her mother's summons thefamily two leaves, however, grave a beautiful whitedoves to pickup thelentils and peas, and brings dress andgoldand silver (notglass)slippers. In theGrimms' "Es version, Aschenputtel leavestheballvoluntarily: bises Abend es nachHausgehen" tanzte da wollte war, (p. 96).[Shedanced until andthen wanted togo home.] Shegoestotheballthree evening, times infact, eachtime running awayandhiding from theprince, andeachtime for herfather search oncechopping downa tree helpstheprince her, with think an axe,once destroying a dovecoteinwhich sheis hiding. they At the conclusion of the Grimms' tale, the prince reaches thegoldenslipper Aschenputtel's homewith andthestepmother tells her tocutoff hertoeinorder eldestdaughter tofit intotheshoe,for, saysthe whenyouarequeenyouwillnotneedtowalk.But, as theprince mother, rides awaywith hisfalse bride, thebird callstohimthat he shouldlookat ofblood she leavesbehind, thetrail and he realizesthedeception. The is advisedbyhermother to cutoff second sister herheel,and againthe who returns birdcallsouttotheprince, once moretothehouse. Now theprince asksAschenputtel's father whether he has anyother andheanswers "No... there isonly a little daughters, stunted Aschenputtel be your bride" here;shecannot possibly (p. 98).Buttheprince insists, and washes herfaceand putson thegoldenslipper, Aschenputtel and the her. Asthey prince, drawing near, recognizes leavethe marriage ceremony, thebirds peckoutthetwostepsisters' eyes. The Grimms' versionof thetale includesimportant and religious intheFrench. elements The mother inheaven, hersuffermythic lacking on earth, andthebird ingdaughter that mediates between them a suggest that female holytrinity parallels Christianity's Father, Son,andHolySpirit. These arejoinedtothepre-Christian ofa treegrowing symbolism outof ofthehearth, themother's and ofthepeas and lentils that grave, signify connectionwitha powerful, benevolentmother-half-divine, halfthehearth, thedomestic, andfertility. human-andwith from Another element theGerman that theFrench verdistinguishes sionisthat, intheGrimms' leavestheballon herown initale,Cinderella ihmso geschwind, dass er nichtfolgen tiative; indeed,"es entsprang himso quickly he could not konnte" that (p. 97) [shesprang awayfrom and there is no threat of followher]. She seeks pleasure, nota husband, hertoleavetheball,as intheFrench version. toforce publichumiliation Abrief inmany Cinderella JaneEyreechoestheGerman ways. survey willdemonstrate how skillfully evokesthetale'scentral Bronte symbol

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JaneFyreandCinderella

the precious the hearth.Welcominghearths,forexample, signify MissTemple's caregiving qualitiesassociatedwiththehearthkeepers. and spirit, and this sahearth provides thefirst homefor Jane'sintellect associated with credspace is illuminated bythemoon,also traditionally theskybya rising wind, female deities: "Someheavy clouds,sweptfrom in window hadleft themoonbare;andherlight, a streaming through near, figure, whichwe at once shonefull bothon us and on theapproaching contained a good fire, and recognised as MissTemple... [Herapartment] on this lookedcheerful" Gradually, Bronte expands "good (chap.8,p. 61). fire, thepresence and kindness of fire": "Therefreshing meal,thebrilliant ... hadroused[HelenBurns's] powers within her. herbelovedinstrLictress ofhercheek... tint They woke,they kindled: first, they glowedinthebright ofhereyes . . . whichhad suddenly thenthey shonein theliquidlustre acquired... radiance" (chap.8,p. 63). in this with a hearth and doEvery homecoming novelis associated in muslin Mrs. Fairfax her atThornfield, "snowy apron," mestic caretaking: Eyre toher"snug, small room; with herknitting andhercat, welcomesJane must be cold;come a round table fire" with aninvitation, "you bya cheerful to visit herdying auntat to thefire" (chap. 11,p. 83). WhenJanereturns whohadtreated intheReedhousehold Gateshead, Bessie, theone person in a offairy tales,presides Janekindly and thesourceofherknowledge werehung is"very theornamental windows with cleanandneat: lodgethat was spotless; were little whitecurtains; thefloor thegrate and fire-irons burnt clear"(chap. 21,p. 199).In Bronte's burnished and thefire bright, thekindly Bessie bearsa close resemblance to "Tabby," private history, fedthechildren death, generously servant who,after Charlotte's mother's for their frail "cared Gerin's bodies.'l"1 and,inWinifred words, abouteighty-five refDavidLodgepoints outthatJane Eyre"contains fires" to hearths, as well as some dozen references erencesto domestic to fire, and tenliteral and four to aboutforty-three references figurative InJaneEyre,Lodgedemonstrates, hell-fire. Bronte conveys"a very sigofemotions develnificant cluster and values"bymeansoffire imagery, from remarkable literal into fluidity description oped and expandedwith " ofpassionate ofbeing. evocations andspiritual states lyrical AtMoorHouse,thehearth intellectual family, companionrepresents emotional as a shivering, and andevenlife itself, exhausted, ship, intimacy, coldanddarkness on a "room with looksinfrom theouter a starvingjane ofwalnut, sandedfloor, cleanscoured; a dresser with pewter plates ranged ofa glowing and radiance Near inrows, theredness peat-fire." reflecting therosypeace and warmth," sittwo "young thehearth, graceful "@amidst almost tosewomen-ladiesinevery Their faceslook "thoughtful point."

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(chap. lineament" with every "Iseemedintimate feels, andyet,Jane verity," Mary and namesare significant: their 28,pp. 292-3).LikeMissTemple's, chasfemale whosymbolize figures andmythical Christian Dianarepresent makesclear "bedoffire" hand, Rochester's On theother tity and integrity. uncontrolled intothedemonic, embers maybe fanned thedomestic that Bronte's (hernameindicates ofa madwife'srage,and HelenBurns fires diesby me," ... andhewillnotmiss who has"only a father deliberateness), ispreached ofself-abnegation that quality thedestrLictive a fever signifying Rivers suchas Brocklehurst and St. John ministers towomenbyChristian allthat is needftil, inJane Eyrerepresents (chap.9,p. 71).Thus,hearthfire devfor hasa terrifying potential which butalsothat andinspiring, desired, anddestruction. astation invisible in heaven? Bronte takesthis mother Andwhatofthesaintly her from theGrimms' taleand transforms intervening figure butactively female deiechoes ofancient resonates with powerful intoan imagethat convenIn doingso,shedefies ofthemoon-goddess. that especially ties, and presents a supernatural that thenovelbe realistic tional expectations in heavenwho a mother Cinderella: out of theGrimms' straight figure in moments. and inspires Jane crLcial guides, over, watches does themoonshine Notonly isessential Eyre. toJane Moonimagery associfillon MissTempleinthepassagequotedabove,itis also clearly in to decide in scene which mother the strLiggles Jane ated with Jane's hismadwifestill lives. that Rochester after learning with whether to stay ofthemoonbreaking clouds: through asleep and dreams Janefalls thesablefolds andwavedthem away;then, a handfirst penetrated shoneintheazure, inclining human form buta white nota moon, Itgazed andgazed and gazed on me. browearthward. a glorious was thetone,yetso distant immeasurably Itspoke to myspirit: fleetemptation!" inmyheart-"My daughter, itwhispered near, I will." "Mother, (chap.27,p. 281) doubtsaboutChristian teachings: The moon also illuminates Jane'sfirst inthegrave east... Andthen suchmajesty mymind moonrosewith "the intoit whathadbeen infused to comprehend earnest effort madeitsfirst time itrecoiled, baffled" thefirst andhell: andfor (chap. heaven concerning 9,p.69). it windownearmycrib," thenarrow "streamed through Moonlight "her with glorious andgleams Rochester, meeting brightens onjane's first

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andCinderella jane Fyre

before Bertha's gaze"rousesJane Eyre just first andilluminatesJane's attack, declaration oflove and independence (chap.5,p. 34). Rochester, too,remarks theeffect ofthemoonlight, as he reminds in Janethat she "glowed thecool moonlight last whenyoumutinied night, against fate, andclaimed rank as myequal"(chap.25,p. 230).Inevery your associates case,Bronte ofsacredpresence. themoonwith a kind Before theabortive marriage ceremony, themoonforeshadowsjane's isolation andsuffering. On theeveofJane's intended themoon's wedding, "disk was blood-red and half she seemedto throw on me one overcast; and buried herself inthedeep bewildered, dreary glance, againinstantly rift ofcloud."Soon afterward, she "shut herself wholly within herchamofdensecloud;thenight ber,and drewclose hercurtain rain grewdark; on thegale"(chap. 25,pp. 243-4).Butthat came driving fast verynight, Mason'svisit after Bertha toJaneEyre's whichshe ripsthe room, during bridal themoononce again"shone veil, as ifrelieved, peaceftilly," having herdaughter warned (chap.25,p. 251). Againand again,Bronteuses these symbols-thehearth and the moon-to represent a heavenly mother andvirgin offermoon-goddess, a spiritual intheversion ingJane Eyre ofChristianity integrity lacking represented byBrocklehurst and St. John Rivers. After St.JohnRivershas insistedthatJane Eyremarry him,for he would be possessedof "a wife: propriety's sake,and so that thesole I can influence inlife andretain helpmeet till efficiently absolutely death," themoonagainplaysa decisiveroleinJane'sperilofsoul (chap. 34,p. 357):"Icontended with inward my dimness ofvision, before which clouds I sincerely, yetrolled. deeply, fervently and longedto do whatwas right; 'Showme,showme thepath!' I entreated onlythat. ... Allthehousewas still ... theroomwasfull beatfast andthick; I heard ofmoonlight. Myheart itsthrob. itstoodstill to an inexpressible Suddenly, that it feeling thrilled andpassedatonce tomyheadandextremities through, ... I saw nothing: a voicesomewhere butI heard more" cry-'Jane!Jane!Jane!' nothing (chap. 35,p. 369,emphasis added). Again Janehas had a vision, interms described that stretch thelimits oftherealistic novelandthat isa religious, rather than a gothic, element. It isrelated totheconversion experience so typical ofVictorian autobiogracase a woman'sconversion phy-inthis experience: detained me. Itwas mytimeto assumeascendancy. Mypowers wereinplay, andinforce. I told him toforbear orremark; question I desired himtoleaveme:I must, andwouldbe alone.He obeyed
I broke from St. whowouldhavefollowed, John, andwouldhave

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obediwellenough, tocommand is energy atonce.Wherethere lockedmyself in;fell I mounted to mychamber; fails. ence never to St.John's, different way in my way-a knees;andprayed on my neara very I seemedtopenetrate initsownfashion. buteffective I rose atHisfeet. outingratitude soulrushed andmy Spirit; Mighty a resolve-andlaydown,unscared, from thethanksgiving-took thedaylight. butfor enlightened-eager (chap.35,p. 370) infuses Cinderella Brothers' how theGrimm In orderto understand thetaleitself. consider we must significance, itsreligious JaneEyrewith tales, whocollected folklorists wereessentially Grimm JacobandWilhelm bothoraland anecdotes, jokes,and Sagen,from fables, myths, legends, mythoto"reconstruct theancient Their goalwas,inpart, sources. literary talehas a life The Cinderella Christianity."12 preceding logicalpantheon known vertheearliest orTeutonic traditions; oftheGermanic far outside inninth-century whereit China, was recorded a lostslipper siontofeature W.R.S. Ralston suroftheoraltradition.'3 a well-known part was already feature of that one significant ofvariants" thetaleandfound veyed"scores be able,even mother may is "the ideathat a loving variants share that most a dutiftil toblessandassist child."14 after herdeath, negatalereinforces theCinderella we must askiswhether Aquestion that thetaleposits passivofwomen.Somecritics charge tive stereotypes intheDisneysong,"Some ideal,suchas is exemplified as a feminine ity Complex"has come to WillCome."Andthe"Cinderella Day MyPrince istothetale, thenJaneEyre ofsuccess.Ifthis isallthere fear meana female infact, E. Rowe, Karen argues from its much borrowing. wouldnotbenefit itlacking" because ... andfinds the[Cinderella] "tests paradigm that Bronte and human equality."'15 theheroine's independence it"subverts withBronte's that is consistent is a wayto readCinderella Butthere folklorists Nitschke, that August Zipesnotes feminist themes.Jack spiritual and Heide Gottnerin Soziale Ordnungenim Spiegelder Mdrchen, talebackto theCinderella trace inDie Gottinund ihrHeros, Abendroth, moon with someofthetale'svariations andassociate societies matrilineal in TheProblems ' Marie Louisevon Franz, rites. and matriarchal worship from inthetalesfemale traces archetypes in FairyTales, Feminine ofthe ofmotherhood inparticular thedualimage represented Greek mythology, andrevenge. andalso ofsorrow andgrain goddessoffertility byDemeter, isnot that Cinderella inDie Frau imMdrchen, argues AndSigrid Frdih, who an active, scheming girl butrather clever, a demure, passivevictim that in her ash-stained kneel to her theprince dress, is,in makes ultimately

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herown identity, and that thetalerepresents theprince's suborultimate toAschenputtel's dination will! Inthefinal theCinderella analysis, taleoffers twoapparently conflictingperspectives onwomen's roles. On the one hand, Cinderella does seem toteach that humility, obedience, andlong-suffering ofhouseacceptance willbe rewarded holddrudgery andliving through marriage ever happily in triumph overall thosecompetitive after, other women.On theother hand,LouiseBernikow arguesinAmongWomen theCinderella that tale represents ofancient remnants inwhich pre-Christian religions thehearth was dedicated togoddessessuchas VestaandHeraandtended bypriestthetale'shearth, and peas and lentils esses,and that tree, (grain)all symbolize the sacred. Cinderella'sassociation withthe hearthand her visit tohermother's ritual thrice-daily link herinparticular toVesta, grave goddessofthehearth, andtotheVestal ofancient Virgins Rome, powerftil ofthesacredfires ofhomeandstate. guardians to Bernikow, theCinderella According talerepresents a conflict between offemale twokinds themother principles: theimportance, signifies eventhesacredness, ofwomen'srolesand work, including housework, as symbolized association with thehearth. byCinderella's The other femaleprinciple is represented bythestepmother and is malecentered, alwithother ways in competition womenformale approval, hopingfor idleness ("When youareQueenyouwillnothavetowalk")andwilling to 17 mutilate one's self andone's daughters togaintheprize, a husband. is essentially JaneEyre's family likeCinderella's, as this is a novel but, andnota fairy is able touse thenovel'srealism tale, toexplore Bronte the socialandpsychological forces that women's destroy Mrs. integrity. Reed's continual ofherson'sselfish for indulgence cruelty, example, represents ofthemale,and,after overvaluation society's yearsofprofligacy, John Reed'ssuicidekills them both. Elizaand Georgiana Reedrepresent thedilemma many womenconfront or spinsterhood regarding marriage (a recurring Brontean theme). is described Eliza in terms Georgiana reminiscent ofMary by hersister Wollstonecraft: on some other yourfeebleness "youseek onlyto fasten ifno one can be found person's strength: toburden willing herorhimself withsuch a fat, weak,puffy, useless thing, you cryout that you are illtreated, miserable" neglected, (chap.21,p. 207).Georgiana makes finally "anadvantageous match with a wealthy, manoffashion," worn-out while Elizachoosestheonly alternative sheknows andhasherself, injaneEyre's view,"walled convent" up aliveina French this (chap.22,p. 212).Putting behind continues family herpilgrim's insearch her, JaneEyre of progress a better way.

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prince, thetoo-powerful JaneEyrerunsawayfrom LikeCinderella, sell themselves dailyto such men,even,step-sister-like, though others in a vainattempt The to meettheir requirements. themselves deforming martheinterrupted Rochester after Eyre andEdward issuebetweenJane ofBertha Mason'sexistence isnotso much andrevelation riage ceremony hisstill-living northemoral concerning question deception, Rochester's Thishasbeen ofmalepowerversus female as itisa question integrity. wife, them from thefirst. theissuebetween ofcharacter, byRochester's strength Although JaneEyreis attracted to misusetheir itina worldwheremenareencouraged power. she fears prickly indepenFrom wariness, hersometimes beginning,Jane's thevery toRochester, andherrefusal toaccepthisgifts bantering replies dence,her a issue them. And indeed, Rochester has establish between poweras key for money, using as a youngman,he married longabused hisprivileges: to possess them with no obligaexclusively womenfor sex butwishing He is a distant domestic tionsinreturn. despotwho mocksthefeminine no close attachments butliestoand ofhiswardAdeleandforms qualities insohe ismuch admired andsought after teaseswomenmercilessly. Yet, To paraphrase that isallthat OscarWilde, needbe saidaboutsociety. ciety. engagement isfilled Thescene-moonlit, ofcourse-that leadstotheir ofequality:Jane's emotion asserts its"right topredomiwith thelanguage that addresseshis,"equal-as we are!"and he responds nate," herspirit (chap.23,p. 223).Shortly "My brideis here... because myequal is here" Mrs. oftheir whenRochester hasinformed Fairfax planstomarry, thereafter, ofinequality: ofwarnings "He is a proud on thetheme shebeginsa litany andfortune is often alofposition advisable.. . He might man," "Equality at a distance ... mostbe yourfather," and keep Mr.Rochester and,"Try inhisstation to marry their arenotaccustomed Gentlemen governesses" (chap.24,pp. 232-3). ofviolencewhenhe resort tothreats Mosttelling ofall is Rochester's willnotworkand that hisdeception he maybe balkedofhis that realizes I'lltry viowillyou hearreason? ... because,ifyouwon't, desires: "'Jane! voice man... beware!'...hisstill I amnota gentle-tempered lence... Jane, when ofa lionrising." makes theunderlying issueclear wasthepant Bronte "Itwouldnotbe wickedtoloveme"with "It toRochester's Janeresponds wouldtoobeyyou"(chap.27,p. 278). a doublefunchumble socialposition Cinderella's, has,like Jane Eyre's on ofunjust limitations As emblems tion. Jane'spoverty placed women, andteacher offer as under-housekeeper, ofservice andherlife governess, also asserts theworth ButBronte ofwomen'ssubjection. a socialcritique Itsvalueis suggested ofwomen'swork. imagesofdomestic bythemany

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nourishment offered bywomenattheir peace andintellectual andspiritual if freely, isnoble, andpromotes good hearthsides. Suchservice, performed inothers. ofthenovel, ofMiss atthehearths Temple, Bessie, Inthelarger pattern with Mrs. andMary andDiana Rivers, isassociated redomesticity Fairfax, ofa tainted andwith a sistance tothelife-denying socialsystem principles is notanti-Christian, butthat seeksto reintegrate ancient spirituality that and hiscuintotheChristianity that Bronte's father maternalist principles morepower, Bronte seemstosay, rates preached. Had thehearthkeepers for oftheworld andtheir desire couldfulfill their ambitions theJane Eyres freedom. wrote: toElizabeth Gaskell dated27August Ina letter 1850, Bronte ofwomeninanother than Menbegintoregard theposition light are fine and used to do; and a fewmen,whose sympathies they think a canwhosesenseofjustice is strong, and speakofitwith commands dorthat Theysay,however-and,to myadmiration. ofourcondition theamelioration an extent depends truly-that will on ourselves. there areevilswhichourown efforts Certainly in bestreach;butas certainly there areother evils-deep-rooted ofthesocialsystem-which no efforts ofourscan thefoundations ofwhichitis advisable not ofwhich we cannot complain; touch; tothink.18 toooften ofa larger Rochester ispart Distinctive as heisinhisByronic attractiveness, ofmasculine videJohn dominance: Reed,theRev.Brocklehurst, pattern ofthis of Atthecenter dominance is a displacement and St. Rivers. John therightftil relations that between menandwomenbya religious system JaneEyrereflects: "Myfuture places manbetweenwomanand heaven. husband tomemy andmorethan theworld; was becoming wholeworld; of almost thought myhope ofheaven.He stoodbetweenme and every as an eclipseintervenes between manandthebroadsun.I could religion, ofwhomI had madean idol" inthosedays, not, see God for hiscreature: (chap.25,p. 241). either becomeruthlessly andpettily competitive Women, bycontrast, cruel ineffect, having, (Georgiana Reed,Mrs. Reed,andBlancheIngram), ofthemselves toplease men,orthey cutoff a part areswallowedup bya world thatdoes not value them(Helen Burnsand Miss Temple), as willhappento her. Cinderella The third alternative, and "the choice fears oflife" for bythehearth, a "sacred space"where women, isthat represented isnourished Cinderella's serthrough divine help,andwhereloving spirit

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a place wherewomencan,inVirrepresents joy.The hearth vice brings being for no human bogey, Milton's "lookpastUohn] s words, Woolf ginia 9 outtheview."' shouldshut there rage(though offemale expression a simple Thisbook isneither and rolesofnurse tothedevaluedfemale init), nora capitulation is anger ofvaluesthat ofa maternalist system an expression Itis,rather, servant. Nineteenth-century was known and debated in Bronte'slifetime.20 Engels,ElizabethCady such as J.J.Bachofen,Friedrich maternalists human evolved society Gilman believed that Perkins andCharlotte Stanton, Some, itwas notalways patriarchal.21 ofstages, andthat a number through heconinstinct whosematernal woman, that believed Bagehot, Walter like ofcivilization. thefoundation provided thesourceofallaltruism, sidered on to matriarchy superior patriarchy considered Bachofen Although saw feminists nineteenth-century socialdevelopment, thescaleofhuman offemale subordination: denialoftheuniversality hope inthematernalist be themore"natural" betweenthesexes might that equality itsuggested for women.And,inthe alternatives of positing form socialorganization, was figures ofmother-goddess evidence century, archeological nineteenth ofthe to support theories ofpurposes, sometimes a variety deployedfor toargue, as didSydney Owenson, ofwomen, sometimes moral superiority woman'srightftil in Womanand Her Master(1840),that LadyMorgan, in byhistorians and suppressed hadbeen hidden history place inhuman tokeepwomeninsubjection. order betweenthe visionof relations an alternative offered Maternalism andWillandwriters suchas Bronte thinkers sexestonineteenth-century is to Bronte Thatsuchideaswerenotforeign iamMakepeaceThackeray. sitHelstone and in when Caroline Keeldar, Shirley demonstrated Shirley, over "curates ... hammer within thechurch, inthechurchyard while, ting "what EvewaswhensheandAdamstood discuss their orations," prepared he "tried to AndwhatEve was,was notMilton's Eve,for alone on earth." as Rather the first Eve, see thefirst woman;but... Itwas hiscook he saw." 'a woman-Titan," was "heaven-born," describes "grand," "vast," her, Shirley an "undying, being" who yielded the mighty "Jehovah's daughter," millenniafter excellence ... which, life and uncorrupted "tinexhausted ThatBronte a Messiah."22 forth ... couldconceiveandbring umsofcrimes such who was based on herbelovedsister Emily wouldgivetheheroine them comherself found that wordsand ideas strongly Bronte suggests pelling. those are exactly theethosshe represents, virtues Cinderella's then, use andBronte's women'svirtues, heldtobe peculiarly that theVictorians mothervariant's a fusing oftheGerman ofthetaleinJane Eyrerepresents

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goddess implications withcertain nineteenth-century ideas concerning humanevolution and altruism as a female principle. LiketheCinderella one systems, tale,thenovelis structured upon twocompeting religious It and Christian. female-centered and pre-Christian, theother patriarchal Brontn's isonly whenthetwoareviewedtogether that we canunderstand offierce and romantic, antidialectic seemingly particular independence ideasaboutwomen, andaltruistic feminist, duty, caretaking. mythology, Thestructure ofJane Eyreisa complexfusion ofclassical and fairy in a feminist a Christian allegory, allegory, tale,resulting finally inwhichthoseelements woman'sPilgrim's ofChristianity that Progress, andintegrity areassessedand demeanwomen'sintelligence, will, desire, of found is a Christianity reclaimed wanting. Bronte's bythe(re)insertion a maternalist for women'swork. InJane Eyre, was able to Bronte respect for thereligion of reconcile grief a lostmother and ambivalence toward intothenoveloftheGrimm herfather. Anditis theinsertion Brothers' withitsresonances ofthesupernatural and themythic, that Cinderella, this feminist ethic.23 conveys
NOTES
'RichardChase, "The Brontes, inFormsofModernFicor,Myth Domesticated," (Minneapolis: Univ.ofMinnesota Press,1948),pp. 102-19,119.Thisarticle was origiinKR9, 1 (Autumn nally published 1947):487-506,buttheoriginal article does notcontainthis sentence. one instance, all references to Chase's essaywillbe to Exceptinthis theKR version. 2Charlotte ed. Richard Critical Edn.(New York: Bronte,Jane Eyre, J.Dunn,Norton toJane Eyrewillbe to W.W.Norton, 1971),chap. 12,p. 96. Henceforth all references inthetext, this edition andwillappear parenthetically and page designated bychapter numbers. 3Chase,p. 495. 4 SandraM. Gilbert and Susan Gubar,The Madwoman in the Attic: The Woman 1979),pp. 368-71. 5Adrienne Rich, "Jane Eyre: The Temptations ofa Motherless Woman," inOn Lies, 89-106,106. 6John Maynard, Charlotte Bronte and Sexuality (Cambridge: CambridgeUniv. Press,1984),pp. 143-4. "Scheherezade atThornfield: Mythic Elements injane Eyre," 7Nancy V.Workman, EL WIU15,2 (Fall 1988):177-92,190. 8 For discussionsof Bronte'suse of the Cinderella tale,see especiallyElizabeth (New York: St.Martin's Press, 1989),with particular reference tochapter 8,"Fairy Tales," pp.69-80.Other discussions include KarenE.Rowe,"'Fairy-born andhuman-bred':Jane
Imlay, Charlotte Bronte and the Mysteriesof Love. Myth and Allegory in 'Jane Eyre" Secrets,and Silence. Selected Prose, 1966-1978 (New York: W W. Norton, 1979), pp. WriterandtheNineteenth-CenturyLiteraryImagination(New Haven: Yale Univ.Press, tion: Essays Collected in Honor ofJoseph Warren Beach, ed. William Van O'Connor

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in 7he Voyage ed. In: Fictions ofFemale Development, Eyre'sEducationinRomance," and ElizabethLangland(Hanover NH and London: Elizabeth Hirsch, Abel,Marianne Bronte'sWorld Keefe,Charlotte Univ.PressofNew England, 1983),pp. 69-89; Robert ofDeath (Austin and London:Univ.ofTexas Press,1979),pp. 113-22;Paula Sullivan, Burkhart, inJPC12,1 (Summer 1978):61-74;Charles "Fairy Tale Elements inJaneEyre," Gollancz,1973), ofHerNovels (London:Victor CharlotteBronte.-A PsychosexualStudy pp. 69-73. "Aschenputtel," inKinderund Hausmdrchen(Ber9Jacoband Wilhelm Grimm, lin: WilhelmHertz, 1888), pp. 93-9, 93. Subsequent referencesto thisedition of inthetext. willappear parenthetically "Aschenputtel" Clarendon Bronte:7he EvolutionofGenius(Oxford: '"Winifred Gerin, Charlotte Press,1967),pp. 34-9. ' David Lodge,"Fire Elements," in The Charlotte BrontesWarofEarthly and Eyre: Novel(Lonand VerbalAnalysis oftheEnglish Language ofFiction: Essaysin Criticism don: Routledge and Kegan Paul,1966),pp. 114-43,116-7. ofChicagoPress,1966),p. viii. Folktales (Chicago:Univ. '2Kurt Ranke, ofGermany ed. Alan inChina," inCinderella:A Folklore '3R. D.Jameson, "Cinderella Casebook, 1982),pp. 71-97. Dundes (New Yorkand London:GarlandPublishing, in Cinderella:A Folklore Casebook,pp. 30-56,36. 14W. R.S. Ralston, "Cinderella," '5Rowe,pp. 71,70. FromEnchantedForests totheModernWorld '6Jack Grimm: Zipes, TheBrothers 1988),pp. 137-8. (New Yorkand London:Routledge, (New York: HarperColophonBooks, 1980),p. '7Louise Bernikow, AmongWomen 28. 18 Elizabeth ed. and withan intro. byAngtis Bronte, Gaskell,TheLifeofCharlotte Easson(Oxford: Oxford to"afewmen... whose Press, 1996),p. 356.The reference Univ. whomBronte toWilliam isstrong" refers MakepeaceThackeray, sense ofjustice surely inthepreface to thesecond editionofJaneEyre. praisesso strongly 19 A Room ofOne s Own (New York:Harcourt BraceJovanovich, Woolf, Virginia 1929),p. 118. Bachofen's 20See andMother-Right(1861), Myth, Religion, especiallyjohannjakob Woman Charlotte Perkins also Sydney Morgan's Owenson,Lady andHerMaster(1840), Gilman's Womenand Economics(1861), Herbert Spencer's PrinciplesofSociology and Politics Engels'sOriginof (1869),Friedrich (1876-1896), Walter Bagehot'sPhysics theFamily(1871),EleanorMarx'sTheWomanQuestion(1887),Mona Caird's7heMos Swiney's TheAwakening ofWomen: rality ofMarriage (1897),andFrances Or,Women Part in Evolution(1897). I am indebtedto FlorenceBoos's discussionoftheideologiof inher"AHistory writers and difference cal axes ofagreement amongtheseand other Feminist deliveredbeforethe TheirOwn: Late Nineteenth-Century FamilyHistory," discusses the StudiesAssociationin Aprilof 1992.Gerda Lerner MidwestVictorian in"Orioftheideas ofmatriarchy and maternalism workings problematic yetinfluential Oxford Press,1986), in TheCreationofPatriarchy (New Yorkand Oxford: UJniv. gins," pp. 15-35. 21 Lerner, p. 26. ClarendonPress,1979),book 2,chap. 7,pp. 319-21. 22Bronte, Shirley (Oxford: 23 Marianne TheBrontes and Religion(Cambridge: Thormahlen's recentstudy, this Univ. Thormaihlen's essayhadbeen written. Cambridge Press, 1999),appearedafter that a she demonstrates analysisis compatiblewiththeviews expressedhere,in that characterizes alltheBronte andconduct" into thought, feeling, "tradical enquiry religious ofAnglicanism Charlotte's works(p. 219).Moreover, she correctly represents critique

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as a sign, ofthechurch, notofrejection butofa loving desiretoreform it. Thormnlhlen's istobe commendedfor study itsimpressive demonstration oftheneed for greater conoftheroleofreligion innineteenth-century temuporary appreciation literature. Thormn ihlen'sstudy, however, focuseson theextent towhichChristian institutions and ideas informn theBronte whilemypurposeistoshowthat inJane novels, EvreCharlotteBronteincludesreligious elemnents that rangebeyondthose providedby Chrisalone. tianity

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