View source for Jane Eyre (Charlotte Brontë, 1847)

Charlotte Brontë. Jane Eyre. Pub. 1847. Ed. Richard Dunn. New York: Norton, 2001. Print.

* Pub 3 vol by Smith, Elder

==Reading Notes==
* '''Good for: old canon books, her radical-self assertion through advertising in a newspaper''' 
* The bibliographical universe of Jane's childhood is notably religious and old canon (in [[St Clair 2004]]'s terminology) - the way the socioeconomic structures of reading play out in (fictional) experience (see too JE's lit crit on 316)
** 6 Bewick, History of British Birds (6) - diegetic
*** which John Reed throws at Jane -- [[Price 2012]]
** 7 Richardson, Pamela (1740) - allusion
** John Wesley, Henry Earl of Moreland (1781) - allusion
** 8 Goldsmith, History of Rome - allusion
** 10, 16, 47 Bible allusions; 49 - diegetic
*** 27 reading Bible with Brocklehurst - diegetic 
*** 38 reading Bible (collect) aloud at Lowood, again on 44 - diegetic
** 16 Gulliver's Travels  - diegetic
** 17 Ballad by Rainsford (1840s) and one by Bronte herself  - diegetic
*** the ballad is from the 1840s but the novel is set in 1800 - not strict representational realism
** 29 religious children's magazine - diegetic
**41 Johnson, Rasselas (with Helen Burns)  - diegetic
*22 "...for it seemed as if my tongue pronounced words without my will consenting to their utterance: something spoke out of me over which I had no control."
*30 Mrs Reed sizing JE up as an "opponent of adult age": it's JE's self-possession that most troubles the category "child"
*31 JE's mind-as-heath, wonderful
** again on 72
*40 description of the lessons at Lowood - repetition
*41 "my reflections were too undefined and fragmentary to merit record": a different idea of realism than, say, To the Lighthouse
** Esther appeals to this rhetorical strategy repeatedly in [[Bleak House (1853)]]
*46-7 the wind rouses something inside JE
* her convo with Helen B
*57 her courage and vision after Brocklehurst's abominable judgment
*59 the "science" of physiognomy on the moral vision of these characters
** [[Middlemarch (Eliot, 1872)]] tweaks reliance on this; [[Woloch 2003]] discusses influence of this in character building
*63 spring coming on after her name is cleared: will this patterning of the relationship btwn external and internal world continue?
*79 "A new chapter in a novel is something like a new scene in a play": why the theatrical analogy? 
*83 "externals have a great effect on the young"
*92-3 JE's meditations: serious, restless, resentful of cant and stifling convention. Wonderful.
*202 JE's sententious lines about feeling and judgment
** perhaps like Eliot, or designed with anthologizing in mind ([[Price 2000]])
*211 again JE shifts to present tense: it seems to happen when she enters an almost visionary mode of engagement with her surroundings
** the "First Bluestocking" vision in [[Shirley (Charlotte Brontë, 1849)]] also goes into present tense
*218 again the pattern of weather in seeming sympathy with Jane - the storm in the garden when R proposes
** Wordsworthian?
*234 description of J & R's playful intimacy
*245 "flushing eyes" echoes Coleridge, later on 249 she uses the phrase "mad, bad" - could it be an echo of Lamb's description of Byron?
*252 weather patterning again
*253 powerful paragraph beginning with "But, then, a voice within me averred that I could do it..."
*262 R's description of Bertha's fit during "a fiery West Indian night" - this time the weather patterning xferred to R
** the colonial context also ties to [[Freedgood 2006]]
*272 how was the ellipsis depicted in early eds?
*273 a print metaphor when she leaves to go toward Millcote: "Not one thought was to be given either to the past or the future. The first was a page so heavenly sweet - so deadly sad - that to read one line of it would dissolve my courage and break down my energy. The last was an awful blank: something like the world when the deluge was gone by."
** [[Chartier 1994#Epilogue]] on the book as a powerful metaphor for time and experience
*274 weather as emotional metaphor: "may your eyes..."
*305 again the shifting to present tense beginning of Ch 31
*312 the passage with "romantic chance" - to what extent is this novel an extended negotiation with the cultural/moral politics of Romanticism
*316 JE dabbles in literary criticism (Scott's Marmion is the only other named piece of English lit with Rasselas, which Helen read at Lowood)
*361 "A lover finds his mistress asleep on a mossy bank..." (thanks, K)
*379 sacrifice or not: kind of the summation of J's moral vision
*384 Dunn's second note: the image of JE as Eve "completes the cycle that began with her realization at the end of Ch 24 that she had made an idol of R"

==Class Notes==
===CLP Seminar 10-15===
* what do we learn about the c19 from JE?
** religiosity
** material culture: houses, furniture, dress
** cultural indebtedness to Romanticism
** a woman's sense of self-worth is dangerous and unconventional
** time works differently: how long it takes to get places
** intimacy with death
*"I have as much soul as you" - p. 216
** conflicted: she participates in class discrimination and yet she says she transcends
**teaching how it feels to be engaged in this kind of conflict
*the power of what JE feels
* intimacy with death
** Helen teaches restraint, plain faith, flintiness, self-control
*** religious self-effacement building to JE's self control but she ends up growing away by going back to Rochester
*** pragmatism: you can be free internally but properly comport yourself in the world
* parallels between Bertha and Helen: Bertha burns, Helen is consumed
* JE is weird: very few characters (vs Dickens or Tolstoy)
** left Mrs Reed -> going back
** weird, tightly linked world
* stakes of p.72 (when she advertises as a governess)
** limitedness, self-imposed and externally
** dramatization of thinking
** wants to leave -> I need to solve this problem -> so  much effort to come to a simple conclusion
** ladies don't advertise: this is radical self assertion