Charlotte Brontë’s Teaching Career

Beginning life as a governess was far more unpleasant for Charlotte Brontë and her sister Anne than it was for Jane Eyre. When only a little more than eighteen years old, Anne served for nine months (April–December 1839) as governess for the Ingham family in charge of their two oldest children. Her novel, Agnes Grey, recounts her disillusionment as she begins to learn what being a governess actually entails.

It opens with its eponymous heroine ironically recalling her happy anticipations: “How delightful it would be to be a governess! To go out into the world; to enter upon a new life; to act for myself; to exercise my unused faculties; to try my unknown powers.” In considering sources for John Reed, we have already met Agnes’ pupil Tom Bloomfield who introduces himself by showing her his trapped birds that he happily tortures. His sister Mary Ann, a six-year-old child, ignores her teacher, literally lying on the floor much of the time. Their mother persistently sides with the children and limits Agnes’ efforts to discipline them. A half year later, Anne Brontë became governess at Thorp Green Hall, where she was happier and remained for several years. After she left she began writing her governess novel Agnes Grey, which Charlotte had read before starting Jane Eyre.

Years later Charlotte Brontë, discussing Agnes Grey with Elizabeth Gaskell, told her: “none but those who had been in the position of a governess could ever realize the dark side of ‘respectable’ human nature…daily giving way to selfishness and ill-temper, till its [i.e., “respectable human nature’s”] conduct towards those dependent on it sometimes amount[s] to a tyranny.” Here she echoes Jane Eyre’s description of John Reed’s “violent tyrannies,” and she remembers as well the ruthless power of his mother Mrs. Reed. Charlotte thought about liberty and justice frequently throughout her adult life. In a letter from 1848, she repeats similar assertions saying that a governess lived “a life of inexpressible misery; tyrannized over, finding her efforts to please and teach utterly vain, chagrined, distressed, worried—so badgered so trodden-on, that she ceased almost at last to know herself…her oppressed mind…prisoned,” and so became unable to imagine that other people might treat her with respect and affection. Here the whole repertoire of Jane Eyre’s first scenes—tyranny, shame, imprisonment—reappears in Charlotte’s summary of what it means to be a governess. She remembered her experiences, and those of her sister Anne, as she sat down to write that novel’s first chapters.

Charlotte’s first “situation” as a temporary governess began in May 1839, at an estate named Stonegappe, a large house of three stories set on a hillside surrounded by woods, enjoying a vista in the distance of the valley of the River Aire. Charlotte was to care for a young girl and her brother—the stone-throwing son of the Sidgwick family we have seen as a model for John Reed. For the socially awkward and impoverished Brontë, at age twenty-three, the inferior position of governess in a wealthy family was an almost intolerable position, far worse than teaching at Roe Head. She was ignored by adult family members, charged with insolent and rebellious children, and denied respect by all, though she considered herself not only more than their equal in terms of intelligence and ability but also a potential writer of genius. She speaks vividly on the ambiguities of being a governess in a letter to her sister Emily, first acknowledging the attractions of living in the home of wealthy people: “The country, the house, and the grounds are…divine.” However, for her none of this was available. Working as a governess took all her time. Viewing her as an employee drawing wages, the woman of the house, responsible to her husband to be an able manager of the staff and its expenses, Mrs. Sidgwick wasn’t interested in befriending as an equal this poor clergyman’s daughter or even in engaging her in conversation. Instead, like a good midcentury Victorian factory owner, she wanted to get as much work out of Charlotte, per hour, as she could. Of Mrs. Sidgwick Charlotte writes, she “does not know my character & she does not wish to know it. I have never had five minutes of conversation with her since I came—except when she was scolding me.” What galls Brontë is not only Sidgwick’s bossiness but also and, more importantly, her indifference to Charlotte as a person. And so when one of the Sidgwick children at dinner one day put his hand in Charlotte’s saying, “I love ’ou, Miss Brontë,” the mother broke in, before all the children in a tone of disdain, “Love the governess, my dear!”

Winifred Gérin, in her beautifully written biography of Brontë, pictures Charlotte in the Sidgwick’s handsome country home during a “long summer evening when she sat alone, her lap filled with Mrs. Sidgwick’s ‘oceans of needlework’…no one from the noisy self- absorbed house-party below to share her solitude.” Gérin goes on to tell us of Charlotte’s private space, which she herself had explored.
Charlotte’s bedroom…had deep window seats and Georgian panes to its window-frames, and through them a lonely girl could look down unobserved on the arrivals and departures, the gentlemen on their horses and the ladies in their carriages, that animated the summer scene.
Judging herself to be the plausibly lively and witty equal of these people, Brontë could only feel the pain of her solitude. Her months at Stonegappe were, then, largely unhappy ones, despite her expensive accommodation and a “holiday” with the family in a residence near the opulent spa resort of Harrowgate. Charlotte left this employment in July.

What we now see is how much Brontë drew from these experiences as she began to write Jane Eyre, including the stone-throwing son, the feelings of alienation and solitude, and, most poignantly, the experience of a well-appointed, comfortable country home in which, like Jane Eyre later, Charlotte from the upper rooms watched people happily enjoying themselves utterly oblivious to her and to what she might have to offer.

Curiously and significantly, Brontë used her experiences of subordination, exploitation, and humiliation not for Jane Eyre’s work as a governess, which she describes as easy and pleasant, but instead for Jane’s much earlier experiences at Gateshead Hall. The most dramatic instance is the way she transforms Mrs. Sidgwick into Mrs. Reed. This is Mrs. Reed: “A woman of robust frame, square-shouldered and strong-limbed.” She has a large face, “the under-jaw being much developed and very solid.” Her brow is “low, her chin large and prominent.” She dresses well and has “a presence and port calculated to set off handsome attire.” Typically, Brontë, with her lifelong interest in issues such as phrenology and the relationship of body to sensibility, finds revelation in the close scrutiny of the physical details of this woman. Her intractable will, narrow range of mind, and proclivity to dominance emerge in her jaw, brow, and shoulders, which project her authority and power to, paradoxically, the point of a calculated physical attraction. She is someone not of conspicuous intelligence or culture, but rather clever in managing others, and so keeping them “under her control.” All of this—her physical characteristics, her insistence upon dominance, her categorical indifference to Jane, are a fictional reworking of Charlotte’s powerfully antagonistic responses to Mrs. Sidgwick. For the thin, short, plain Jane—as for Brontë, who was physically just like her—Mrs. Reed made a formidable adversary.

Read more >>>


Popular posts from this blog

Hanif Kureishi: Something Given - Reflections on Writing

Diego Rivera: The Flower Carrier

Emily Dickinson’s Singular Scrap Poetry