About 'university methodist'|Old Postcard Wednesday--Southern Methodist University, Dallas, Texas
Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë ｗａｓ ｂｏｒｎ Ａｐｒｉｌ 21, 1816. Ｏｎｅ ｏｆ ｆｉｖｅ ｄａｕｇｈｔｅｒｓ ｂｏｒｎ ｔｏ Ｒｅｖｅｒｅｎｄ Ｐａｔｒｉｃｋ Ｂｒｏｎｔë ａｎｄ Ｍａｒｉａ Ｂｒａｎｗｅｌｌ Ｂｒｏｎｔë, Ｃｈａｒｌｏｔｔｅ ｌｉｖｅｄ ａ ｓｈｅｌｔｅｒｅｄ ｌｉｆｅ, ｓｐｅｎｄｉｎｇ ｍｏｓｔ ｏｆ ｈｅｒ ｙｅａｒｓ ｃｏｎｆｉｎｅｄ ｔｏ Ｈａｗｏｒｔｈ Ｐａｒｓｏｎａｇｅ. Ｗｉｔｈ Ｃｈａｒｌｏｔｔｅ'ｓ ｌｉｍｉｔｅｄ ｋｎｏｗｌｅｄｇｅ ｏｆ ｔｈｅ ｗｏｒｌｄ, ｉｔ ｓｈｏｕｌｄ ｃｏｍｅ ａｓ ｎｏ ｓｕｒｐｒｉｓｅ ｔｈａｔ ｔｈｅ ｐｌｏｔ ｏｆ ｈｅｒ ｆｉｒｓｔ ｐｕｂｌｉｓｈｅｄ ｎｏｖｅｌ, Ｊａｎｅ Ｅｙｒｅ, ｃｏｎｔａｉｎｓ ｍａｎｙ ｐａｒａｌｌｅｌｓ ｔｏ ｈｅｒ ｏｗｎ ｌｉｆｅ - ｓｏｍｅ ｖｅｒｙ ｌｉｋｅｌｙ ｉｎｔｅｎｔｉｏｎａｌ, ｗｈｉｌｅ ｏｔｈｅｒｓ ｍａｙ ｂｅ ｓｕｂｃｏｎｓｃｉｏｕｓ ｏｒ ｅｖｅｎ ｍｅｒｅｌｙ ｃｏｉｎｃｉｄｅｎｔａｌ. Ｒｅｇａｒｄｌｅｓｓ ｏｆ ｈｅｒ ｉｎｔｅｎｔｉｏｎｓ ｗｈｉｌｅ ｗｒｉｔｉｎｇ Ｊａｎｅ Ｅｙｒｅ, ｉｔ ｉｓ ｃｌｅａｒ ｔｈａｔ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë ｄｒｅｗ ｈｅａｖｉｌｙ ｏｎ ｈｅｒ ｏｗｎ ｉｄｅｎｔｉｔｙ ａｎｄ ｅｘｐｅｒｉｅｎｃｅｓ ｉｎ ｃｒｅａｔｉｎｇ ｔｈｅ ｃｈａｒａｃｔｅｒ ｏｆ Ｊａｎｅ. Ｊａｎｅ Ｅｙｒｅ'ｓ ｃｈｉｌｄｈｏｏｄ ｓｅｅｍｓ ｉｎ ｓｏｍｅ ｒｅｓｐｅｃｔｓ ｔｏ ｈａｖｅ ｂｅｅｎ ｍｏｄｅｌｅｄ ａｆｔｅｒ Ｂｒｏｎｔë'ｓ. Ｌｉｋｅ Ｃｈａｒｌｏｔｔｅ ｈｅｒｓｅｌｆ, Ｊａｎｅ'ｓ ｆａｔｈｅｒ ｗａｓ "ａ ｐｏｏｒ ｃｌｅｒｇｙｍａｎ" (Ｂｒｏｎｔë 26). Ｊａｎｅ'ｓ ｐａｒｅｎｔｓ ｂｏｔｈ ｄｉｅｄ ｗｈｅｎ ｓｈｅ ｗａｓ ａ ｂａｂｙ; ｗｈｅｒｅａｓ Ｃｈａｒｌｏｔｔｅ'ｓ ｆａｔｈｅｒ ｏｕｔｌｉｖｅｄ ａｌｌ ｈｉｓ ｃｈｉｌｄｒｅｎ, ｔｈｅｉｒ ｍｏｔｈｅｒ ｄｉｅｄ ｗｈｅｎ Ｃｈａｒｌｏｔｔｅ ｗａｓ ｆｉｖｅ ｙｅａｒｓ ｏｌｄ (Ｃｏｄｙ, Ｅｖｅｒｅｔｔ). Ａｆｔｅｒ Ｍｒｓ. Ｂｒｏｎｔë'ｓ ｄｅａｔｈ, ｈｅｒ ｕｎｍａｒｒｉｅｄ ｓｉｓｔｅｒ, Ｅｌｉｚａｂｅｔｈ Ｂｒａｎｗｅｌｌ, ｍｏｖｅｄ ｉｎ ｗｉｔｈ ｔｈｅ ｆａｍｉｌｙ ｔｏ ｃａｒｅ ｆｏｒ ｔｈｅ ｓｉｘ Ｂｒｏｎｔë ｃｈｉｌｄｒｅｎ. Ｐａｕｌｉｎｅ Ｎｅｓｔｏｒ, ｉｎ ｈｅｒ ｂｉｏｇｒａｐｈｙ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë, ｄｅｓｃｒｉｂｅｓ Ｅｌｉｚａｂｅｔｈ Ｂｒａｎｗｅｌｌ ａｓ "ａ ｓｅｖｅｒｅ ｃｈａｒａｃｔｅｒ, ｉｌｌ-ｓｕｉｔｅｄ ｔｏ ｔｈｅ ｒｏｌｅ ｔｈｒｕｓｔ ｕｐｏｎ ｈｅｒ", ａｎｄ ｍａｋｅｓ ｍｅｎｔｉｏｎ ｏｆ ｔｈｅ ｒｏｌｅ "ｈｅｒ ｓｔｒｉｃｔ Ｃａｌｖｉｎｉｓｍ" ｐｌａｙｅｄ ｉｎ ｒａｉｓｉｎｇ ｔｈｅ ｃｈｉｌｄｒｅｎ (Ｎｅｓｔｏｒ 3). Ｌｉｋｅｗｉｓｅ, Ｍａｕｒｅｅｎ Ｐｅｔｅｒｓ, ｉｎ ｈｅｒ ｂｏｏｋ Ａｎ Ｅｎｉｇｍａ ｏｆ Ｂｒｏｎｔëｓ, ｄｅｓｃｒｉｂｅｓ Ａｕｎｔ Ｂｒａｎｗｅｌｌ'ｓ ｓａｃｒｉｆｉｃｅ ｉｎ ｒａｉｓｉｎｇ ｈｅｒ ｓｉｓｔｅｒ'ｓ ｃｈｉｌｄｒｅｎ: "Ａｓ ａ ｓｔｒｉｃｔ Ｍｅｔｈｏｄｉｓｔ, Ａｕｎｔ Ｂｒａｎｗｅｌｌ ｋｎｅｗ ｗｈｅｒｅ ｈｅｒ ｄｕｔｙ ｌａｙ, ｂｕｔ ｓｈｅ ａｐｐｅａｒｓ ｔｏ ｈａｖｅ ｄｅｒｉｖｅｄ ｎｅｉｔｈｅｒ ｐｌｅａｓｕｒｅ ｎｏｒ ｃｏｎｔｅｎｔｍｅｎｔ ｆｒｏｍ ｔｈｅ ｄｏｉｎｇ ｏｆ ｉｔ" (17). Ｉｎ Ｊａｎｅ Ｅｙｒｅ, Ｊａｎｅ ｉｓ ｒａｉｓｅｄ ｂｙ ｈｅｒ Ａｕｎｔ Ｒｅｅｄ, ｗｈｏ, ｌｉｋｅ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë'ｓ Ａｕｎｔ Ｂｒａｎｗｅｌｌ, ｄｏｅｓ ｓｏ ｒｅｌｕｃｔａｎｔｌｙ ａｎｄ ｏｕｔ ｏｆ ａ ｓｅｎｓｅ ｏｆ ｄｕｔｙ. Ｗｈｅｎ ｔｈｅ ｇｒｏｗｎ Ｊａｎｅ ｒｅｔｕｒｎｓ ｔｏ ｖｉｓｉｔ ｈｅｒ ａｕｎｔ ｏｎ ｈｅｒ ｄｅａｔｈｂｅｄ, Ｍｒｓ. Ｒｅｅｄ ｒａｍｂｌｅｓ ｄｅｌｉｒｉｏｕｓｌｙ ａｂｏｕｔ Ｊａｎｅ ａｓ ａ ｂａｂｙ ａｎｄ ｈｅｒ ａｎｉｍｏｓｉｔｙ ｔｏｗａｒｄ ｈｅｒ: "Ｉ ｈａｔｅｄ ｉｔ ｔｈｅ ｆｉｒｓｔ ｔｉｍｅ Ｉ ｓｅｔ ｍｙ ｅｙｅｓ ｏｎ ｉｔ…ａｎｄ ｂｕｔ ａｎ ｈｏｕｒ ｂｅｆｏｒｅ [Ｍｒ. Ｒｅｅｄ] ｄｉｅｄ, ｈｅ ｂｏｕｎｄ ｍｅ ｂｙ ｖｏｗ ｔｏ ｋｅｅｐ ｔｈｅ ｃｒｅａｔｕｒｅ" (Ｂｒｏｎｔë 232). Ｔｈｅ ｐａｒａｌｌｅｌｓ ｂｅｔｗｅｅｎ Ａｕｎｔ Ｂｒａｎｗｅｌｌ ａｎｄ Ｍｒｓ. Ｒｅｅｄ ｃｏｎｔｉｎｕｅ ｉｎｔｏ ａｄｕｌｔｈｏｏｄ; Ｊａｎｅ'ｓ ｒｅｔｕｒｎ ｄｕｒｉｎｇ Ｍｒｓ. Ｒｅｅｄ'ｓ ｉｌｌｎｅｓｓ ａｐｐｅａｒｓ ｂａｓｅｄ ｏｆｆ ｏｆ Ｃｈａｒｌｏｔｔｅ ａｎｄ Ｅｍｉｌｙ Ｂｒｏｎｔë'ｓ ｓｕｍｍｏｎｓ ｈｏｍｅ ｆｒｏｍ ｓｃｈｏｏｌ ｉｎ Ｂｒｕｓｓｅｌｓ ｔｈｅｉｒ ａｕｎｔ ｆｅｌｌ ｉｌｌ. Ｈｏｗｅｖｅｒ, Ａｕｎｔ Ｂｒａｎｗｅｌｌ ｄｉｅｄ ｂｅｆｏｒｅ ｔｈｅ Ｂｒｏｎｔë ｓｉｓｔｅｒｓ ｅｖｅｎ ｄｅｐａｒｔｅｄ (Ｇａｓｋｅｌｌ). Ｏｆ ｃｏｕｒｓｅ, ｔｈｅ ｓｉｍｉｌａｒｉｔｉｅｓ ｂｅｔｗｅｅｎ Ａｕｎｔ Ｂｒａｎｗｅｌｌ ａｎｄ Ｍｒｓ. Ｒｅｅｄ ａｒｅ ｂａｌａｎｃｅｄ ｂｙ ｔｈｅ ｄｉｆｆｅｒｅｎｃｅｓ; ｅｖｅｎ ｔｈｏｕｇｈ Ａｕｎｔ Ｂｒａｎｗｅｌｌ ｌｉｋｅｌｙ ｗａｓ ｔｈｅ ｉｎｓｐｉｒａｔｉｏｎ ｆｏｒ Ｍｒｓ. Ｒｅｅｄ, ｉｔ ｓｅｅｍｓ ｍｏｒｅ ｐｒｏｂａｂｌｅ ｔｈａｔ Ｍｒｓ. Ｒｅｅｄ ｗａｓ ａｎ ｅｘａｇｇｅｒａｔｉｏｎ ｏｆ Ａｕｎｔ Ｂｒａｎｗｅｌｌ, ｒａｔｈｅｒ ｔｈａｎ ａｎ ａｕｔｈｅｎｔｉｃ ｃｏｐｙ. Ｓｏｍｅ ｐａｒｔｓ ｏｆ Ｊａｎｅ Ｅｙｒｅ'ｓ ｃｈｉｌｄｈｏｏｄ ｗｅｒｅ ｔａｋｅｎ ｄｉｒｅｃｔｌｙ ｆｒｏｍ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë'ｓ ｍｅｍｏｒｉｅｓ; ｎｏ ｍａｔｔｅｒ ｈｏｗ ｅｘｔｒｅｍｅ ｓｅｅｍ ｔｈｅ ｃｏｎｄｉｔｉｏｎｓ ｏｆ Ｌｏｗｏｏｄ, ｔｈｅ ｓｃｈｏｏｌ ｉｓ, ｉｎ ｆａｃｔ, ｉｎｔｅｎｔｉｏｎａｌｌｙ ｍｏｄｅｌｅｄ ａｆｔｅｒ Ｃｈａｒｌｏｔｔｅ'ｓ ｏｗｎ ｅｘｐｅｒｉｅｎｃｅｓ ａｔ Ｃｏｗａｎ Ｂｒｉｄｇｅ. Ｉｎ ｈｅｒ ｂｉｏｇｒａｐｈｙ Ｔｈｅ Ｌｉｆｅ ｏｆ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë, Ｅｌｉｚａｂｅｔｈ Ｇａｓｋｅｌｌ, ａ ｆｒｉｅｎｄ ａｎｄ ｆｅｌｌｏｗ ｗｒｉｔｅｒ ｏｆ Ｂｒｏｎｔë, ｓａｉｄ ｏｆ ｔｈｅ ｒｅｌａｔｉｏｎｓｈｉｐ ｂｅｔｗｅｅｎ ｔｈｅ ｔｗｏ ｓｃｈｏｏｌｓ: "Ｍｉｓｓ Ｂｒｏｎｔë ｍｏｒｅ ｔｈａｎ ｏｎｃｅ ｓａｉｄ ｔｏ ｍｅ, ｔｈａｔ ｓｈｅ ｓｈｏｕｌｄ ｎｏｔ ｈａｖｅ ｗｒｉｔｔｅｎ ｗｈａｔ ｓｈｅ ｄｉｄ ｏｆ Ｌｏｗｏｏｄ ｉｎ Ｊａｎｅ Ｅｙｒｅ, ｉｆ ｓｈｅ ｈａｄ ｔｈｏｕｇｈｔ ｔｈｅ ｐｌａｃｅ ｗｏｕｌｄ ｈａｖｅ ｂｅｅｎ ｓｏ ｉｍｍｅｄｉａｔｅｌｙ ｉｄｅｎｔｉｆｉｅｄ ｗｉｔｈ Ｃｏｗａｎ Ｂｒｉｄｇｅ, ａｌｔｈｏｕｇｈ ｔｈｅｒｅ ｗａｓ ｎｏｔ ａ ｗｏｒｄ ｉｎ ｈｅｒ ａｃｃｏｕｎｔ ｏｆ ｔｈｅ ｉｎｓｔｉｔｕｔｉｏｎ ｂｕｔ ｗｈａｔ ｗａｓ ｔｒｕｅ ａｔ ｔｈｅ ｔｉｍｅ ｗｈｅｎ ｓｈｅ ｋｎｅｗ ｉｔ" (Ｇａｓｋｅｌｌ). Ａｓ Ｌｏｗｏｏｄ ｗａｓ ｏｂｖｉｏｕｓｌｙ ｍｅａｎｔ ｔｏ ｂｅ Ｃｏｗａｎ Ｂｒｉｄｇｅ, ｄｅｓｐｉｔｅ Ｂｒｏｎｔë'ｓ ｒｅｌｕｃｔａｎｃｅ ｔｏ ｈａｖｅ ｏｔｈｅｒｓ ａｗａｒｅ ｏｆ ｉｔ, ｔｈｅ ｓｉｍｉｌａｒｉｔｉｅｓ ｂｅｔｗｅｅｎ ｔｈｅ ｔｗｏ ｓｃｈｏｏｌｓ ｍｅｒｉｔ ａｄｄｉｔｉｏｎａｌ ａｎａｌｙｓｉｓ. Ｇａｓｋｅｌｌ ｄｅｓｃｒｉｂｅｓ ｔｈｅ Ｃｏｗａｎ Ｂｒｉｄｇｅ ｓｃｈｏｏｌ ａｓ ａ ｃｈａｒｉｔｙ ｓｃｈｏｏｌ ｆｏｒ ｄａｕｇｈｔｅｒｓ ｏｆ ｐｏｏｒ ｃｌｅｒｇｙｍａｎ, ｔｈａｔ ｔｈｅｙ ｍｉｇｈｔ ｂｅ ｅｄｕｃａｔｅｄ ａｓ ｂｅｆｉｔｔｉｎｇ ｔｈｅｉｒ ｓｔａｔｉｏｎ. Ｔｈｅ ｓｃｈｏｏｌ ｗａｓ ｅｓｔａｂｌｉｓｈｅｄ ｂｙ "ａ ｗｅａｌｔｈｙ ｃｌｅｒｇｙｍａｎ…ｔｈｅ Ｒｅｖｅｒｅｎｄ Ｗｉｌｌｉａｍ Ｃａｒｕｓ Ｗｉｌｓｏｎ," ｗｈｏ "ｄｅｖｉｓｅｄ ａ ｓｃｈｅｍｅ, ｂｙ ｗｈｉｃｈ ａ ｃｅｒｔａｉｎ ｓｕｍ ｗａｓ ｒａｉｓｅｄ ａｎｎｕａｌｌｙ ｉｎ ｓｕｂｓｃｒｉｐｔｉｏｎ, ｔｏ ｃｏｍｐｌｅｔｅ ｔｈｅ ａｍｏｕｎｔ ｒｅｑｕｉｒｅｄ ｔｏ ｆｕｒｎｉｓｈ ａ ｓｏｌｉｄ ａｎｄ ｓｕｆｆｉｃｉｅｎｔ Ｅｎｇｌｉｓｈ ｅｄｕｃａｔｉｏｎ, ｆｏｒ ｗｈｉｃｈ ｔｈｅ ｐａｒｅｎｔ'ｓ ｐａｙｍｅｎｔ ｏｆ £14 ａ ｙｅａｒ ｗｏｕｌｄ ｎｏｔ ｈａｖｅ ｂｅｅｎ ｓｕｆｆｉｃｉｅｎｔ" (Ｇａｓｋｅｌｌ). Ｔｈｅ Ｌｏｗｏｏｄ ｓｃｈｏｏｌ ｄｅｐｉｃｔｅｄ ｉｎ Ｊａｎｅ Ｅｙｒｅ ｉｓ ａｌｓｏ "ｐａｒｔｌｙ ａ ｃｈａｒｉｔｙ-ｓｃｈｏｏｌ", ａｓ Ｈｅｌｅｎ Ｂｕｒｎｓ ｔｅｌｌｓ Ｊａｎｅ (Ｂｒｏｎｔë 50). Ｈｏｗｅｖｅｒ, ｉｎｓｔｅａｄ ｏｆ ｂｅｉｎｇ ａ ｓｃｈｏｏｌ ｆｏｒ ｃｌｅｒｇｙｍａｎ'ｓ ｄａｕｇｈｔｅｒｓ, ａｓ ｗａｓ Ｃｏｗａｎ Ｂｒｉｄｇｅ, Ｌｏｗｏｏｄ ｉｓ "ａｎ ｉｎｓｔｉｔｕｔｉｏｎ ｆｏｒ ｅｄｕｃａｔｉｎｇ ｏｒｐｈａｎｓ" (Ｂｒｏｎｔë 50). Ｌｉｋｅ Ｃｏｗａｎ Ｂｒｉｄｇｅ, ｅａｃｈ ｓｔｕｄｅｎｔ ａｔ Ｌｏｗｏｏｄ ｍｕｓｔ ｐａｙ ｏｎｌｙ £15 ａ ｙｅａｒ, ｗｈｉｌｅ ｔｈｅ ｒｅｓｔ ｉｓ ｐａｉｄ ｆｏｒ ｂｙ ｓｕｂｓｃｒｉｐｔｉｏｎ (Ｂｒｏｎｔë 50). Ｎｏｒ ｄｏ ｔｈｅ ｓｔｒｉｋｉｎｇ ｓｉｍｉｌａｒｉｔｉｅｓ ｓｔｏｐ ｈｅｒｅ - ｔｈｅ ｃｏｎｄｉｔｉｏｎｓ ａｔ Ｌｏｗｏｏｄ ａｒｅ ａｌｓｏ ｓｔｒｏｎｇｌｙ ｓｕｐｐｏｒｔｅｄ ｂｙ ｔｈｅ Ｃｈａｒｌｏｔｔｅ'ｓ ｍｅｍｏｒｉｅｓ ｏｆ Ｃｏｗａｎ Ｂｒｉｄｇｅ. Ｔｈｅ ｆｏｏｄ - ｏｒ ｌａｃｋ ｏｆ ｉｔ - ｅｓｐｅｃｉａｌｌｙ ｓｅｅｍｅｄ ｔｏ ｂｅ ａ ｐｏｉｎｔ ｏｆ ｃｏｎｔｅｎｔｉｏｎ ｗｉｔｈ Ｃｈａｒｌｏｔｔｅ. Ｐｅｔｅｒｓ ｄｅｓｃｒｉｂｅｓ Ｃｏｗａｎ Ｂｒｉｄｇｅ: "Ｔｈｅｙ ｓｌｅｐｔ ｉｎ ｌｏｎｇ, ｎａｒｒｏｗ, ｕｎｈｅａｔｅｄ ｄｏｒｍｉｔｏｒｉｅｓ ａｎｄ ａｔｅ ｆｏｏｄ ｓｏ ｂａｄｌｙ ｃｏｏｋｅｄ ａｓ ｔｏ ｂｅ ａｌｍｏｓｔ ｉｎｅｄｉｂｌｅ. Ａｌｌ ｈｅｒ ｌｉｆｅ Ｃｈａｒｌｏｔｔｅ ｒｅｍｅｍｂｅｒｅｄ, ｗｉｔｈ ｌｏａｔｈｉｎｇ, ｔｈｅ ｂｕｒｎｔ ｏａｔｍｅａｌ, ｔｈｅ ｓｔｅｗｓ ｗｉｔｈ ｌｕｍｐｓ ｏｆ ｒａｎｃｉｄ ｆａｔ ａｎｄ ｔｈｅ ｓｏｕｒ ｒｉｃｅ ｐｕｄｄｉｎｇ" (19). Ｉｎｄｅｅｄ, ｔｈｅ ｆｏｏｄ ａｔ Ｃｏｗａｎ Ｂｒｉｄｇｅ ｌｅｆｔ ｓｕｃｈ ａｎ ｉｍｐｒｉｎｔ ｏｎ Ｃｈａｒｌｏｔｔｅ'ｓ ｍｅｍｏｒｙ, ｔｈａｔ ｓｈｅ ｄｅｓｃｒｉｂｅｓ, ｔｈｒｏｕｇｈ Ｊａｎｅ, ｔｈｅ ｆｏｏｄ ａｔ Ｌｏｗｏｏｄ ｑｕｉｔｅ ｖｉｖｉｄｌｙ: "Ｂｕｒｎｔ ｐｏｒｒｉｄｇｅ ｉｓ ａｌｍｏｓｔ ａｓ ｂａｄ ａｓ ｒｏｔｔｅｎ ｐｏｔａｔｏｅｓ; ｆａｍｉｎｅ ｉｔｓｅｌｆ ｓｏｏｎ ｓｉｃｋｅｎｓ ｏｖｅｒ ｉｔ… Ｂｒｅａｋｆａｓｔ ｗａｓ ｏｖｅｒ, ａｎｄ ｎｏｎｅ ｈａｄ ｂｒｅａｋｆａｓｔｅｄ" (Ｂｒｏｎｔë 46). Ａｎｄ ｔｈｅｎ ｄｉｎｎｅｒ: "Ｔｈｅ ｏｄｏｕｒ ｗｈｉｃｈ ｎｏｗ ｆｉｌｌｅｄ ｔｈｅ ｒｅｆｅｃｔｏｒｙ ｗａｓ ｓｃａｒｃｅｌｙ ｍｏｒｅ ａｐｐｅｔｉｚｉｎｇ ｔｈａｎ ｔｈａｔ ｗｈｉｃｈ ｈａｄ ｒｅｇａｌｅｄ ｏｕｒ ｎｏｓｔｒｉｌｓ ａｔ ｂｒｅａｋｆａｓｔ: ｔｈｅ ｄｉｎｎｅｒ ｗａｓ ｓｅｒｖｅｄ ｉｎ ｔｗｏ ｈｕｇｅ ｔｉｎ-ｐｌａｔｅｄ ｖｅｓｓｅｌｓ, ｗｈｅｎｃｅ ｒｏｓｅ ａ ｓｔｒｏｎｇ ｓｔｅａｍ ｒｅｄｏｌｅｎｔ ｏｆ ｒａｎｃｉｄ ｆａｔ" (Ｂｒｏｎｔë 51). Ａｎｄ ｔｈｅｎ, ｆｉｎａｌｌｙ ａ ｓｍａｌｌ ｔｈｏｕｇｈ ｅｄｉｂｌｅ ｍｅａｌ: "Ｉ ｄｅｖｏｕｒｅｄ ｍｙ ｂｒｅａｄ ａｎｄ ｄｒａｎｋ ｍｙ ｃｏｆｆｅｅ ｗｉｔｈ ｒｅｌｉｓｈ; ｂｕｔ Ｉ ｓｈｏｕｌｄ ｈａｖｅ ｂｅｅｎ ｇｌａｄ ｏｆ ａｓ ｍｕｃｈ ｍｏｒｅ - Ｉ ｗａｓ ｓｔｉｌｌ ｈｕｎｇｒｙ" (Ｂｒｏｎｔë 52). Ａｓ ｈｏｒｒｉｆｙｉｎｇ ａｎｄ ｉｎｃｒｅｄｉｂｌｅ ａｓ ａｒｅ Ｊａｎｅ'ｓ ａｃｃｏｕｎｔｓ ｏｆ ｔｈｅ ｎｏｉｓｏｍｅ ｆｏｏｄ ａｎｄ ｐｒｅｖａｉｌｉｎｇ ｈｕｎｇｅｒ ａｔ Ｌｏｗｏｏｄ, ｉｔ ｉｓ ｓｔｉｌｌ ｍｏｒｅ ｈｏｒｒｉｆｙｉｎｇ ｔｏ ｒｅａｌｉｚｅ ｔｈａｔ ｔｈｅｓｅ ｓｃｅｎｅｓ ｗｅｒｅ ｗｒｉｔｔｅｎ ｆｒｏｍ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë'ｓ ｏｗｎ ｍｅｍｏｒｙ. Ｍｒ. Ｂｒｏｃｋｌｅｈｕｒｓｔ, ｔｈｅ ｈｅａｄｍａｓｔｅｒ ｏｆ Ｌｏｗｏｏｄ, ａｌｓｏ ｏｗｅｓ ｈｉｓ ｃｈａｒａｃｔｅｒ ｔｏ ａ ｒｅａｌ ｐｅｒｓｏｎａｌｉｔｙ. Ｔｈｅ Ｒｅｖｅｒｅｎｄ Ｗｉｌｌｉａｍ Ｃａｒｕｓ Ｗｉｌｓｏｎ ｒａｎ ｔｈｅ Ｃｏｗａｎ Ｂｒｉｄｇｅ ｓｃｈｏｏｌ, ａｎｄ ｉｓ ｄｅｓｃｒｉｂｅｄ ｂｙ Ｐｅｔｅｒｓ ａｓ ｈａｖｉｎｇ ｄｅｌｉｂｅｒａｔｅｌｙ ｐｕｔ ｔｈｅ ｃｈｉｌｄｒｅｎ ｔｈｒｏｕｇｈ ｈａｒｄｓｈｉｐｓ ｉｎ ｏｒｄｅｒ ｔｏ ｍａｋｅ ｔｈｅｍ ｉｎｔｏ "ｒｅｓｐｏｎｓｉｂｌｅ, Ｇｏｄ-ｆｅａｒｉｎｇ ａｄｕｌｔｓ" (Ｐｅｔｅｒｓ 19). Ｗｉｔｈ ｔｈｉｓ ｇｏａｌ ｉｎ ｍｉｎｄ ｔｈｅ ｃｈｉｌｄｒｅｎ'ｓ ｔｒｅａｔｍｅｎｔ ｗａｓ ｊｕｓｔｉｆｉｅｄ ａｓ ｔｈｅ ｍｅａｎｓ ｔｏ ａ ｒｉｇｈｔｅｏｕｓ ｅｎｄ. Ｌｉｋｅｗｉｓｅ, Ｍｒ. Ｂｒｏｃｋｌｅｈｕｒｓｔ, ｗｈｅｎ ｈｅ ｆｉｎｄｓ ｔｈａｔ Ｍｉｓｓ Ｔｅｍｐｌｅ ｈａｓ ｆｅｄ ｔｈｅ ｃｈｉｌｄｒｅｎ ｗｉｔｈ ｂｒｅａｄ ａｎｄ ｃｈｅｅｓｅ ｗｈｅｎ ｔｈｅｉｒ ｂｒｅａｋｆａｓｔ ｈａｓ ｂｅｅｎ ｉｎｅｄｉｂｌｅ, ｐｒｏｔｅｓｔｓ: Ｙｏｕ ａｒｅ ａｗａｒｅ ｔｈａｔ ｍｙ ｐｌａｎ ｉｎ ｂｒｉｎｇｉｎｇ ｕｐ ｔｈｅｓｅ ｇｉｒｌｓ ｉｓ, ｎｏｔ ｔｏ ａｃｃｕｓｔｏｍ ｔｈｅｍ ｔｏ ｈａｂｉｔｓ ｏｆ ｌｕｘｕｒｙ ａｎｄ ｉｎｄｕｌｇｅｎｃｅ, ｂｕｔ ｔｏ ｒｅｎｄｅｒ ｔｈｅｍ ｈａｒｄｙ, ｐａｔｉｅｎｔ, ｓｅｌｆ-ｄｅｎｙｉｎｇ. Ｓｈｏｕｌｄ ａｎｙ ｌｉｔｔｌｅ ａｃｃｉｄｅｎｔａｌ ｄｉｓａｐｐｏｉｎｔｍｅｎｔ ｏｆ ｔｈｅ ａｐｐｅｔｉｔｅ ｏｃｃｕｒ, ｓｕｃｈ ａｓ ｔｈｅ ｓｐｏｉｌｉｎｇ ｏｆ ａ ｍｅａｌ, ｔｈｅ ｕｎｄｅｒ ｏｒ ｔｈｅ ｏｖｅｒ ｄｒｅｓｓｉｎｇ ｏｆ ａ ｄｉｓｈ, ｔｈｅ ｉｎｃｉｄｅｎｔ ｏｕｇｈｔ ｎｏｔ ｔｏ ｂｅ ｎｅｕｔｒａｌｉｚｅｄ ｂｙ ｒｅｐｌａｃｉｎｇ ｗｉｔｈ ｓｏｍｅｔｈｉｎｇ ｍｏｒｅ ｄｅｌｉｃａｔｅ ｔｈｅ ｃｏｍｆｏｒｔ ｌｏｓｔ, ｔｈｕｓ ｐａｍｐｅｒｉｎｇ ｔｈｅ ｂｏｄｙ ａｎｄ ｏｂｖｉａｔｉｎｇ ｔｈｅ ａｉｍ ｏｆ ｔｈｉｓ ｉｎｓｔｉｔｕｔｉｏｎ; ｉｔ ｏｕｇｈｔ ｔｏ ｂｅ ｉｍｐｒｏｖｅｄ ｔｏ ｔｈｅ ｓｐｉｒｉｔｕａｌ ｅｄｉｆｉｃａｔｉｏｎ ｏｆ ｔｈｅ ｐｕｐｉｌｓ, ｂｙ ｅｎｃｏｕｒａｇｉｎｇ ｔｈｅｍ ｔｏ ｅｖｉｎｃｅ ｆｏｒｔｉｔｕｄｅ ｕｎｄｅｒ ｔｈｅ ｔｅｍｐｏｒａｒｙ ｐｒｉｖａｔｉｏｎ (Ｂｒｏｎｔë 62-62). Ｂｙ ｃｏｍｐａｒｉｎｇ ｔｈｅ ｒｅｃｏｒｄｓ ｏｆ Ｒｅｖｅｒｅｎｄ Ｗｉｌｓｏｎ'ｓ ｔｒｅａｔｍｅｎｔ ｏｆ ｔｈｅ ｃｈｉｌｄｒｅｎ, ａｎｄ ｈｉｓ ｇｏａｌｓ ｆｏｒ ｒａｉｓｉｎｇ ｔｈｅｍ, ｗｉｔｈ Ｊａｎｅ'ｓ ａｃｃｏｕｎｔｓ ｏｆ ｔｈｅ ｈｅａｄｍａｓｔｅｒ ａｔ Ｌｏｗｏｏｄ, ｉｔ ｉｓ ｃｌｅａｒ ｔｈａｔ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë ｒｅｐｌｉｃａｔｅｄ Ｗｉｌｓｏｎ'ｓ ｃｈａｒａｃｔｅｒ ｉｎ Ｍｒ. Ｂｒｏｃｋｌｅｈｕｒｓｔ. Ｉｎ ｈｏｎｏｒ ｏｆ ｔｈｅ ｅｌｄｅｒ Ｂｒｏｎｔë ｓｉｓｔｅｒｓ, Ｍａｒｉａ ａｎｄ Ｅｌｉｚａｂｅｔｈ, ｗｈｏ ｆｅｌｌ ｉｌｌ ｕｎｄｅｒ ｔｈｅ ｃｏｎｄｉｔｉｏｎｓ ａｔ Ｃｏｗａｎ Ｂｒｉｄｇｅ ａｎｄ ｄｉｅｄ ｉｍｍｅｄｉａｔｅｌｙ ｆｏｌｌｏｗｉｎｇ ｔｈｅｉｒ ｒｅｔｕｒｎ ｈｏｍｅ, Ｃｈａｒｌｏｔｔｅ ｃｒｅａｔｅｄ ｔｈｅ ｃｈａｒａｃｔｅｒ ｏｆ Ｈｅｌｅｎ Ｂｕｒｎｓ. Ｇａｓｋｅｌｌ ｐｏｉｎｔｓ ｏｕｔ, "Ｉ ｎｅｅｄ ｈａｒｄｌｙ ｓａｙ, ｔｈａｔ Ｈｅｌｅｎ Ｂｕｒｎｓ ｉｓ ａｓ ｅｘａｃｔ ａ ｔｒａｎｓｃｒｉｐｔ ｏｆ Ｍａｒｉａ Ｂｒｏｎｔë ａｓ Ｃｈａｒｌｏｔｔｅ'ｓ ｗｏｎｄｅｒｆｕｌ ｐｏｗｅｒ ｏｆ ｒｅｐｒｏｄｕｃｉｎｇ ｃｈａｒａｃｔｅｒ ｃｏｕｌｄ ｇｉｖｅ." Ｍａｒｉａ ｉｓ ｄｅｓｃｒｉｂｅｄ ａｓ ｂｅｉｎｇ "ｆａｒ ｓｕｐｅｒｉｏｒ ｉｎ ｍｉｎｄ ｔｏ ａｎｙ ｏｆ ｈｅｒ ｐｌａｙ-ｆｅｌｌｏｗｓ ａｎｄ ｃｏｍｐａｎｉｏｎｓ, ａｎｄ ｗａｓ ｌｏｎｅｌｙ ａｍｏｎｇｓｔ ｔｈｅｍ ｆｒｏｍ ｔｈａｔ ｖｅｒｙ ｃａｕｓｅ; ａｎｄ ｙｅｔ ｓｈｅ ｈａｄ ｆａｕｌｔｓ ｓｏ ａｎｎｏｙｉｎｇ ｔｈａｔ ｓｈｅ ｗａｓ ｉｎ ｃｏｎｓｔａｎｔ ｄｉｓｇｒａｃｅ ｗｉｔｈ ｈｅｒ ｔｅａｃｈｅｒｓ, ａｎｄ ａｎ ｏｂｊｅｃｔ ｏｆ ｍｅｒｃｉｌｅｓｓ ｄｉｓｌｉｋｅ ｔｏ ｏｎｅ ｏｆ ｔｈｅｍ, ｗｈｏ ｉｓ ｄｅｐｉｃｔｅｄ ａｓ "Ｍｉｓｓ Ｓｃａｔｃｈｅｒｄ" ｉｎ Ｊａｎｅ Ｅｙｒｅ" (Ｇａｓｋｅｌｌ). Ｔｈｅ ｒｅａｌ-ｌｉｆｅ Ｍｉｓｓ Ｓｃａｔｃｈｅｒｄ, ａ ｗｏｍａｎ ｂｙ ｔｈｅ ｎａｍｅ ｏｆ Ｍｉｓｓ Ａｎｄｒｅｗｓ, ａｐｐｅａｒｓ ｔｏ ｈａｖｅ ｂｅｅｎ ｔｈｅ ｉｎｓｔｉｇａｔｏｒ ｏｆ ｔｈｅ ｈａｒｓｈ ｐｕｎｉｓｈｍｅｎｔ Ｍａｒｉａ ｓｕｆｆｅｒｅｄ. Ｎｏｎｅ ｏｆ ｔｈｅ Ｂｒｏｎｔë ｇｉｒｌｓ ｃｏｍｐｌａｉｎｅｄ ａｂｏｕｔ ｔｈｅｉｒ ｔｒｅａｔｍｅｎｔ, ｐｅｒｈａｐｓ ｂｅｃａｕｓｅ Ｍａｒｉａ ｐｅｒｓｕａｄｅｄ ｈｅｒ ｙｏｕｎｇｅｒ ｓｉｓｔｅｒｓ ｔｏ ｅｎｄｕｒｅ ｔｈｅｉｒ ｔｒｅａｔｍｅｎｔ ｉｎ ｓｉｌｅｎｃｅ (Ｐｅｔｅｒｓ 20). Ｈａｖｉｎｇ ｗａｔｃｈｅｄ Ｍａｒｉａ ｓｕｆｆｅｒ ｈａｒｓｈ ｄｉｓｃｉｐｌｉｎｅ ａｎｄ ｈｅｒ ｗｏｒｓｅｎｉｎｇ ｉｌｌｎｅｓｓ ｗｉｔｈｏｕｔ ｃｏｍｐｌａｉｎｔ, Ｃｈａｒｌｏｔｔｅ ｎｏ ｄｏｕｂｔ ｒｅｍｅｍｂｅｒｅｄ ｈｅｒ ｏｌｄｅｒ ｓｉｓｔｅｒ ｗｉｔｈ ａｎ ｉｍｐｒｅｓｓｉｏｎ ｏｆ ｓａｉｎｔｌｉｎｅｓｓ, ｗｉｔｈ ｗｈｉｃｈ ｓｈｅ ｉｍｂｕｅｄ ｔｈｅ ｃｈａｒａｃｔｅｒ ｏｆ Ｈｅｌｅｎ Ｂｕｒｎｓ. Ｌｉｋｅ Ｍａｒｉａ Ｂｒｏｎｔë, Ｈｅｌｅｎ ｉｓ ｄｅｐｉｃｔｅｄ ａｓ ｂｅｉｎｇ ｉｎｔｅｌｌｉｇｅｎｔ ａｎｄ ｉｓｏｌａｔｅｄ; Ｊａｎｅ'ｓ ｆｉｒｓｔ ｉｎｔｒｏｄｕｃｔｉｏｎ ｔｏ Ｈｅｌｅｎ ｉｓ ｄｕｒｉｎｇ ａｎ ｏｕｔｄｏｏｒ ｒｅｃｅｓｓ, ｗｈｅｒｅ Ｈｅｌｅｎ ｉｓ ｓｈｕｎｎｉｎｇ ｔｈｅ ｃｏｍｐａｎｙ ｏｆ ｏｔｈｅｒ ｃｈｉｌｄｒｅｎ ｉｎ ｏｒｄｅｒ ｔｏ ｒｅａｄ (Ｂｒｏｎｔë 49). Ｌａｔｅｒ, ｉｎ ｃｌａｓｓ, Ｊａｎｅ ｏｂｓｅｒｖｅｓ Ｍｉｓｓ Ｓｃａｔｃｈｅｒｄ'ｓ ａｐｐａｒｅｎｔ ｄｉｓｌｉｋｅ ｏｆ Ｈｅｌｅｎ, ｃｏｍｍｅｎｔｉｎｇ ｔｈａｔ "Ｍｉｓｓ Ｓｃａｔｃｈｅｒｄ ｃｏｎｔｉｎｕｅｄ ｔｏ ｍａｋｅ ｈｅｒ ａｎ ｏｂｊｅｃｔ ｏｆ ｃｏｎｓｔａｎｔ ｎｏｔｉｃｅ" (Ｂｒｏｎｔë 53). Ｄｅｓｐｉｔｅ Ｍｉｓｓ Ｓｃａｔｃｈｅｒｄ'ｓ ｔｒｅａｔｍｅｎｔ ｏｆ ｈｅｒ, Ｈｅｌｅｎ ｒｅｆｕｓｅｄ ｔｏ ｃｒｉｔｉｃｉｚｅ ｈｅｒ, ｓａｙｉｎｇ ｉｎｓｔｅａｄ ｔｈａｔ ｓｈｅ ｄｅｓｅｒｖｅｄ ｔｏ ｂｅ ｐｕｎｉｓｈｅｄ ｆｏｒ ｈｅｒ ｆａｕｌｔｓ. Ｈｅｌｅｎ ａｄｍｏｎｉｓｈｅｓ Ｊａｎｅ'ｓ ｆｉｅｒｙ ｔｅｍｐｅｒ ａｎｄ ｄｅｓｉｒｅ ｔｏ ｆｉｇｈｔ ｂａｃｋ: "Ｉｔ ｉｓ ｆａｒ ｂｅｔｔｅｒ ｔｏ ｅｎｄｕｒｅ ｐａｔｉｅｎｔｌｙ ａ ｓｍａｒｔ ｗｈｉｃｈ ｎｏｂｏｄｙ ｆｅｅｌｓ ｂｕｔ ｙｏｕｒｓｅｌｆ, ｔｈａｎ ｔｏ ｃｏｍｍｉｔ ａ ｈａｓｔｙ ａｃｔｉｏｎ ｗｈｏｓｅ ｅｖｉｌ ｃｏｎｓｅｑｕｅｎｃｅｓ ｗｉｌｌ ｅｘｔｅｎｄ ｔｏ ａｌｌ ｃｏｎｎｅｃｔｅｄ ｗｉｔｈ ｙｏｕ - ａｎｄ, ｂｅｓｉｄｅｓ, ｔｈｅ Ｂｉｂｌｅ ｂｉｄｓ ｕｓ ｒｅｔｕｒｎ ｇｏｏｄ ｆｏｒ ｅｖｉｌ" (Ｂｒｏｎｔë 55). Ｇｉｖｅｎ ｔｈａｔ ｔｈｅ ｃｈａｒａｃｔｅｒ ｏｆ Ｈｅｌｅｎ Ｂｕｒｎｓ ｉｓ ａｃｋｎｏｗｌｅｄｇｅｄ ｔｏ ｂｅ ａ ｆａｉｔｈｆｕｌ ｒｅｐｒｅｓｅｎｔａｔｉｏｎ ｏｆ Ｍａｒｉａ Ｂｒｏｎｔë, ｉｔ ｃａｎ ｏｎｌｙ ｂｅ ａｓｓｕｍｅｄ ｔｈａｔ ｔｈｉｓ ｗａｓ ｉｎｄｅｅｄ Ｍａｒｉａ'ｓ ｖｉｅｗ ｏｆ ｔｈｅｉｒ ｓｉｔｕａｔｉｏｎ ａｔ Ｃｏｗａｎ Ｂｒｉｄｇｅ. Ｔｈｅ ｆｅｖｅｒ ｔｈａｔ ｉｓ ｄｅｓｃｒｉｂｅｄ ｉｎ Ｊａｎｅ Ｅｙｒｅ ｉｓ ａｌｓｏ ｂａｓｅｄ ｏｆｆ ｏｆ ｅｖｅｎｔｓ ａｔ Ｃｏｗａｎ Ｂｒｉｄｇｅ. Ｔｈｅ ｇｉｒｌｓ ａｔ Ｃｏｗａｎ Ｂｒｉｄｇｅ, ｌｉｋｅ ｔｈｅ ｇｉｒｌｓ ｏｆ Ｌｏｗｏｏｄ, ｗｅｒｅ ｖｕｌｎｅｒａｂｌｅ ｔｏ ｔｈｅ ｓｐｒｅａｄ ｏｆ ｔｈｅ ｆｅｖｅｒ, ｍｏｓｔ ｌｉｋｅｌｙ ｔｙｐｈｏｉｄ; ｉｎ ｔｈｅ ｃｏｎｆｕｓｉｏｎ ｃｒｅａｔｅｄ ｂｙ ｔｈｅ ｓｐｒｅａｄ ｏｆ ｔｈｅ ｆｅｖｅｒ, Ｍａｒｉａ'ｓ ｓｙｍｐｔｏｍｓ ｏｆ ｗｏｒｓｅｎｉｎｇ ｃｏｎｓｕｍｐｔｉｏｎ ｗｅｒｅ ｏｖｅｒｌｏｏｋｅｄ, ｏｒ ｐｅｒｈａｐｓ ｉｎｔｅｎｔｉｏｎａｌｌｙ ｉｇｎｏｒｅｄ ｏｒ ｂｌａｍｅｄ ｏｎ ｈｅｒ ｌａｚｉｎｅｓｓ. Ｂｙ ｔｈｅ ｔｉｍｅ ｔｈｅ ｓｅｒｉｏｕｓｎｅｓｓ ｏｆ ｈｅｒ ｃｏｎｄｉｔｉｏｎ ｗａｓ ｕｎｄｅｒｓｔｏｏｄ, ｔｈｅ ｃｏｎｓｔａｎｔ ｈｕｎｇｅｒ ａｎｄ ｃｏｌｄ ｈａｄ ｔａｋｅｎ ｉｔｓ ｔｏｌｌ, ａｎｄ Ｍａｒｉａ ｄｉｅｄ ｓｈｏｒｔｌｙ ａｆｔｅｒ ｒｅｔｕｒｎｉｎｇ ｈｏｍｅ, ｓｏｏｎ ｔｏ ｂｅ ｆｏｌｌｏｗｅｄ ｂｙ Ｅｌｉｚａｂｅｔｈ (Ｃｏｄｙ, Ｅｖｅｒｅｔｔ). Ｔｈｅ ｆｅｖｅｒ, ｗｈｉｃｈ Ｂｒｏｎｔë ｄｅｓｃｒｉｂｅｓ ａｓ "ｔｙｐｈｕｓ", ｉｓ ｒｅｐｒｏｄｕｃｅｄ ｉｎ ｔｈｅ ｐａｇｅｓ ｏｆ Ｊａｎｅ Ｅｙｒｅ (76). Ｓｉｍｉｌａｒ ｔｏ ｔｈｅ ｄｉｓｃｕｓｓｉｏｎ ｏｆ Ｃｏｗａｎ Ｂｒｉｄｇｅ ｂｙ Ｇａｓｋｅｌｌ ａｎｄ ｏｔｈｅｒ ｂｉｏｇｒａｐｈｅｒｓ ｏｆ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë, Ｊａｎｅ ｂｌａｍｅｓ ｔｈｅ ｉｍｐａｃｔ ｏｆ ｔｙｐｈｏｉｄ ｏｎ ｔｈｅ ｃｏｎｄｉｔｉｏｎｓ ａｔ Ｌｏｗｏｏｄ: "Ｓｅｍｉ-ｓｔａｒｖａｔｉｏｎ ａｎｄ ｎｅｇｌｅｃｔｅｄ ｃｏｌｄｓ ｈａｄ ｐｒｅｄｉｓｐｏｓｅｄ ｍｏｓｔ ｏｆ ｔｈｅ ｐｕｐｉｌｓ ｔｏ ｒｅｃｅｉｖｅ ｉｎｆｅｃｔｉｏｎ" (Ｂｒｏｎｔë 76). Ｉｎ ｔｈｉｓ ｅｎｖｉｒｏｎｍｅｎｔ, Ｈｅｌｅｎ Ｂｕｒｎｓ ｗｏｒｓｅｎｓ, ａｎｄ ｆｉｎａｌｌｙ ｄｉｅｓ, ｌｉｋｅ Ｍａｒｉａ, ｏｆ ｃｏｎｓｕｍｐｔｉｏｎ. Ａｌｔｈｏｕｇｈ ｔｈｅ ｓｔｒｏｎｇｅｓｔ ｐａｒａｌｌｅｌｓ ｂｅｔｗｅｅｎ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë'ｓ ｌｉｆｅ ａｎｄ Ｊａｎｅ Ｅｙｒｅ ｏｃｃｕｒ ｉｎ ｃｈｉｌｄｈｏｏｄ, ｔｈｅ ｓｉｍｉｌａｒｉｔｉｅｓ ｃｏｎｔｉｎｕｅ ｔｈｒｏｕｇｈｏｕｔ ｔｈｅ ｒｅｓｔ ｏｆ ｔｈｅ ｎｏｖｅｌ ａｓ ｗｅｌｌ. Ｃｈａｒｌｏｔｔｅ ｃｒｅａｔｅｄ Ｊａｎｅ ａｆｔｅｒ ｈｅｒ ｏｗｎ ｉｍａｇｅ ｏｆ ｈｅｒｓｅｌｆ, ｒｅｐｕｔｅｄｌｙ ｔｅｌｌｉｎｇ ｈｅｒ ｓｉｓｔｅｒｓ, "Ｉ ｗｉｌｌ ｓｈｏｗ ｙｏｕ ａ ｈｅｒｏｉｎｅ ａｓ ｐｌａｉｎ ａｎｄ ａｓ ｓｍａｌｌ ａｓ ｍｙｓｅｌｆ, ｗｈｏ ｓｈａｌｌ ｂｅ ａｓ ｉｎｔｅｒｅｓｔｉｎｇ ａｓ ａｎｙ ｏｆ ｙｏｕｒｓ" (Ｇａｓｋｅｌｌ). Ｅｌｉｚａｂｅｔｈ Ｇａｓｋｅｌｌ ｄｅｓｃｒｉｂｅｓ Ｃｈａｒｌｏｔｔｅ ａｓ ｈａｖｉｎｇ ａ "ｇｒａｖｅ ｓｅｒｉｏｕｓ ｃｏｍｐｏｓｕｒｅ", ａｎｄ ｈｅｒ ｆｅａｔｕｒｅｓ ａｓ ｂｅｉｎｇ "ｐｌａｉｎ, ｌａｒｇｅ, ａｎｄ ｉｌｌ ｓｅｔ" (Ｇａｓｋｅｌｌ). Ｌｉｋｅｗｉｓｅ, Ｊａｎｅ ｉｓ ｄｅｓｃｒｉｂｅｄ ｂｙ Ｒｏｃｈｅｓｔｅｒ ａｓ ｈａｖｉｎｇ "ｔｈｅ ａｉｒ ｏｆ ａ ｌｉｔｔｌｅ ｎｏｎｎｅｔｔｅ; ｑｕａｉｎｔ, ｑｕｉｅｔ, ｇｒａｖｅ, ａｎｄ ｓｉｍｐｌｅ," ｗｈｉｌｅ ｈｅｒ ｃｏｕｓｉｎ Ｓｔ. Ｊｏｈｎ ｃａｌｌｓ ｈｅｒ "ｎｏｔ ａｔ ａｌｌ ｈａｎｄｓｏｍｅ" (Ｂｒｏｎｔë 131, 339). Ｊａｎｅ ｔａｋｅｓ ｏｎ ｎｏｔ ｏｎｌｙ Ｃｈａｒｌｏｔｔｅ'ｓ ｔｈｏｕｇｈｔｓ ａｎｄ ｍｅｍｏｒｉｅｓ, ｂｕｔ ｈｅｒ ａｐｐｅａｒａｎｃｅ ａｓ ｗｅｌｌ. Ｊａｎｅ'ｓ ｃｈｏｉｃｅｓ ｏｆ ｗｏｒｋ ａｌｓｏ ｒｅｆｌｅｃｔ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë'ｓ ｏｗｎ ｅｘｐｅｒｉｅｎｃｅｓ ｗｉｔｈ ｗｈａｔ ｗｏｒｋ ｔｈｅ Ｖｉｃｔｏｒｉａｎ ｗｏｒｌｄ ｐｒｏｖｉｄｅｄ ｆｏｒ ｗｏｍｅｎ. Ｎｅｓｔｏｒ ｄｅｓｃｒｉｂｅｓ ｔｈｅ Ｂｒｏｎｔë ｇｉｒｌｓ' ｕｐｂｒｉｎｇｉｎｇ ａｓ ｅｓｔａｂｌｉｓｈｉｎｇ "ｔｈｅ ｅｘｐｅｃｔａｔｉｏｎ ｔｈａｔ ｔｈｅｙ ｗｏｕｌｄ ｎｅｅｄ ｔｏ ｅａｒｎ ｔｈｅｉｒ ｏｗｎ ｌｉｖｉｎｇ" (3). Ｂｅｓｉｄｅｓ ｍａｒｒｉａｇｅ ｏｒ ｒｅｍａｉｎｉｎｇ ａ ｄｅｐｅｎｄｅｎｔ ｏｆ ｔｈｅ ｆａｍｉｌｙ, ｔｈｅ ｏｎｌｙ ｏｐｔｉｏｎ ａｖａｉｌａｂｌｅ ｔｏ ｗｏｍｅｎ ｗａｓ ｔｅａｃｈｉｎｇ. Ａｓ ａ ｒｅｓｕｌｔ, ｅｖｅｎ ｔｈｏｕｇｈ ｓｈｅ ｄｉｓｌｉｋｅｄ ｃｈｉｌｄｒｅｎ, Ｃｈａｒｌｏｔｔｅ ｗｏｒｋｅｄ ａｓ ａ ｔｅａｃｈｅｒ, ａｔ Ｍｉｓｓ Ｗｏｏｌｅｒ'ｓ ｓｃｈｏｏｌ ａｔ Ｒｏｅ Ｈｅａｄ ａｎｄ ａｔ ｔｈｅ Ｐｅｎｓｉｏｎｎａｔ Ｈｅｇｅｒ, ａｓ ａ ｇｏｖｅｒｎｅｓｓ ｔｗｉｃｅ, ｅａｃｈ ｔｉｍｅ ｆｏｒ ａ ｐｅｒｉｏｄ ｏｆ ｏｎｌｙ ｍｏｎｔｈｓ, ａｎｄ ａｔｔｅｍｐｔｅｄ ｔｏ ｏｐｅｎ ａ ｓｃｈｏｏｌ ａｔ Ｈａｗｏｒｔｈ Ｐａｒｓｏｎａｇｅ ｗｉｔｈ ｈｅｒ ｓｉｓｔｅｒｓ (Ｃｏｄｙ, Ｅｖｅｒｅｔｔ). Ｂｅｉｎｇ ｆａｍｉｌｉａｒ ｗｉｔｈ ｔｈｅｓｅ ｔｒａｄｅｓ, ｉｔ ｉｓ ｎｏ ｓｕｒｐｒｉｓｅ ｔｈａｔ Ｊａｎｅ ｆｉｎｄｓ ｔｈｅ ｓａｍｅ ｓｏｒｔｓ ｏｆ ｗｏｒｋ: ｆｉｒｓｔ ａｓ ａ ｔｅａｃｈｅｒ ａｔ Ｌｏｗｏｏｄ ａｆｔｅｒ ｆｉｎｉｓｈｉｎｇ ｈｅｒ ｓｔｕｄｉｅｓ, ｔｈｅｎ ａｓ ａ ｇｏｖｅｒｎｅｓｓ ｆｏｒ Ｍｒ. Ｒｏｃｈｅｓｔｅｒ, ａｎｄ ｆｉｎａｌｌｙ ａｓ ｔｈｅ ｔｅａｃｈｅｒ ｏｆ ａ ｌｉｔｔｌｅ ｓｃｈｏｏｌ ｆｏｒ ｆａｒｍｅｒｓ' ｄａｕｇｈｔｅｒｓ ａｔ Ｗｈｉｔｃｒｏｓｓ. Ｗｈｅｎ, ａｓ ｉｎ Ｃｈａｒｌｏｔｔｅ'ｓ ｏｗｎ ｌｉｆｅ, Ｊａｎｅ ｉｓ ｓｕｍｍｏｎｅｄ ｔｏ ａｔｔｅｎｄ ｔｈｅ ｄｅａｔｈｂｅｄ ｏｆ ｈｅｒ ａｕｎｔ, ｓｈｅ ｌｅａｒｎｓ ｏｆ ｔｈｅ ｄｉｓｇｒａｃｅｆｕｌ ｌｉｆｅ ｔｈａｔ ｈｅｒ ｃｏｕｓｉｎ Ｊｏｈｎ Ｒｅｅｄ ｈａｓ ｌｅｄ, ｕｐ ｕｎｔｉｌ ｈｉｓ ｒｅｃｅｎｔ ｓｕｉｃｉｄｅ. Ｔｈｅ Ｇａｔｅｓｈｅａｄ ｓｅｒｖａｎｔ, Ｒｏｂｅｒｔ, ｗｈｏ ｈａｓ ｃｏｍｅ ｔｏ ｆｅｔｃｈ ｈｅｒ, ｔｅｌｌｓ Ｊａｎｅ, "Ｈｉｓ ｌｉｆｅ ｈａｓ ｂｅｅｎ ｖｅｒｙ ｗｉｌｄ: ｔｈｅｓｅ ｌａｓｔ ｔｈｒｅｅ ｙｅａｒｓ ｈｅ ｇａｖｅ ｈｉｍｓｅｌｆ ｕｐ ｔｏ ｓｔｒａｎｇｅ ｗａｙｓ; ａｎｄ ｈｉｓ ｄｅａｔｈ ｗａｓ ｓｈｏｃｋｉｎｇ (Ｂｒｏｎｔë 221). Ｔｈｅ ｌａｓｔ ｔｈｒｅｅ ｙｅａｒｓ ｏｆ ｈｉｓ ｌｉｆｅ, ｔｈｅ ｙｏｕｎｇ Ｍｒ. Ｒｅｅｄ ｓｐｅｎｔ ｄｒｉｎｋｉｎｇ, ｇａｍｂｌｉｎｇ, ａｎｄ ｏｔｈｅｒｗｉｓｅ ｓｑｕａｎｄｅｒｉｎｇ ｔｈｅ ｆａｍｉｌｙ ｅｓｔａｔｅ. Ｗｈｅｔｈｅｒ ｉｔ ｉｓ ｃｏｉｎｃｉｄｅｎｃｅ ｏｒ ｂａｓｅｄ ｉｎ ｔｈｅ ｒｅａｌｉｔｙ ｔｈａｔ Ｃｈａｒｌｏｔｔｅ ｋｎｅｗ, ｈｅｒ ｂｒｏｔｈｅｒ Ｂｒａｎｗｅｌｌ ｓｐｅｎｔ ｔｈｅ ｌａｓｔ ｔｈｒｅｅ ｙｅａｒｓ ｏｆ ｈｉｓ ｌｉｆｅ ａｓ ａｎ ａｌｃｏｈｏｌｉｃ ａｎｄ ａｎ ｏｐｉｕｍ ａｄｄｉｃｔ, ｄｙｉｎｇ ｔｈｅ ｙｅａｒ ａｆｔｅｒ Ｊａｎｅ Ｅｙｒｅ ｗａｓ ｐｕｂｌｉｓｈｅｄ (Ｇａｓｋｅｌｌ). Ａｌｔｈｏｕｇｈ Ｃｈａｒｌｏｔｔｅ ｃｏｕｌｄ ｎｏｔ ｈａｖｅ ｋｎｏｗｎ ｔｈａｔ ｈｅｒ ｏｗｎ ｂｒｏｔｈｅｒ ｗｏｕｌｄ ｄｉｅ ａｆｔｅｒ ｔｈｒｅｅ ｙｅａｒｓ ｏｆ ｍｉｓｃｏｎｄｕｃｔ, ｓｕｒｅｌｙ ｈｅｒ ｅｘｐｅｒｉｅｎｃｅｓ ｏｆ ｗａｔｃｈｉｎｇ Ｂｒａｎｗｅｌｌ'ｓ ｄｉｓｉｎｔｅｇｒａｔｉｏｎ ｃｏｎｔｒｉｂｕｔｅｄ ｔｏ ｔｈｅ ｆａｔｅ ｏｆ ｈｅｒ ｃｈａｒａｃｔｅｒ Ｊｏｈｎ Ｒｅｅｄ. Ｉｎｄｅｅｄ, Ｌｕｃａｓｔａ Ｍｉｌｌｅｒ ｓｔａｔｅｓ ｔｈａｔ "Ｂｒａｎｗｅｌｌ'ｓ ｆａｌｌ" ｂｅｇａｎ ｓｈｏｒｔｌｙ ｂｅｆｏｒｅ Ｃｈａｒｌｏｔｔｅ ｃｏｍｍｅｎｃｅｄ ｗｒｉｔｉｎｇ Ｊａｎｅ Ｅｙｒｅ (78). Ｔｈｅ ｔｉｍｉｎｇ ｏｆ Ｂｒａｎｗｅｌｌ'ｓ ｄｉｓｇｒａｃｅｆｕｌ ｂｅｈａｖｉｏｒ ｃｌｅａｒｌｙ ａｒｇｕｅｓ ｆｏｒ ｔｈｅ ｉｎｆｌｕｅｎｃｅ ｈｅ ｈａｄ ｏｎ ｔｈｅ ｃｏｕｒｓｅ ｏｆ ｔｈｅ ｎｏｖｅｌ'ｓ ｓｕｂｐｌｏｔｓ. Ｔｈｅ ｒｅｌａｔｉｏｎｓｈｉｐ ｂｅｔｗｅｅｎ Ｊａｎｅ ａｎｄ ｈｅｒ ｅｍｐｌｏｙｅｒ, Ｍｒ. Ｒｏｃｈｅｓｔｅｒ, ｍａｙ ｈａｖｅ ａｌｓｏ ｂｅｅｎ ｓｕｇｇｅｓｔｅｄ ｂｙ ｅｖｅｎｔｓ ｉｎ Ｃｈａｒｌｏｔｔｅ'ｓ ｏｗｎ ｌｉｆｅ. Ｄｕｒｉｎｇ ｈｅｒ ｓｔａｙ ｉｎ Ｂｒｕｓｓｅｌｓ, Ｃｈａｒｌｏｔｔｅ ａｐｐａｒｅｎｔｌｙ ｆｅｌｌ ｉｎ ｌｏｖｅ ｗｉｔｈ Ｍ. Ｈｅｇｅｒ, ｗｈｏ ｗａｓ ｆｉｒｓｔ ｈｅｒ ｔｅａｃｈｅｒ, ａｎｄ ｔｈｅｎ ｈｅｒ ｅｍｐｌｏｙｅｒ, ａｓ ｓｈｅ ａｃｃｅｐｔｅｄ ａ ｔｅａｃｈｉｎｇ ｐｏｓｉｔｉｏｎ ａｔ ｔｈｅ ｓｃｈｏｏｌ ａｔ ｔｈｅ ｅｎｄ ｏｆ ｈｅｒ ｓｔｕｄｉｅｓ ｔｈｅｒｅ. Ｔｈｅ ｂａｓｉｓ ｆｏｒ ｈｅｒ ｆｅｅｌｉｎｇｓ ｆｏｒ Ｍ. Ｈｅｇｅｒ ｗａｓ ａｐｐａｒｅｎｔｌｙ ｉｎｔｅｌｌｅｃｔｕａｌ, ａｓ ｓｈｅ ｄｅｓｃｒｉｂｅｄ ｈｉｍ ｔｏ ｈｅｒ ｆｒｉｅｎｄ Ｅｌｌｅｎ Ｎｕｓｓｅｙ ａｓ "ａ ｌｉｔｔｌｅ, ｂｌａｃｋ, ｕｇｌｙ ｂｅｉｎｇ" (Ｐｅｔｅｒｓ 86). Ｃｈａｒｌｏｔｔｅ'ｓ ｉｎｆａｔｕａｔｉｏｎ ｆｏｒ Ｍ. Ｈｅｇｅｒ ｄｉｓｔａｎｃｅｄ ｈｅｒ ｆｒｏｍ ｈｉｓ ｗｉｆｅ ａｎｄ ｅｖｅｎｔｕａｌｌｙ ｍａｄｅ ｈｅｒ ｕｎｗｅｌｃｏｍｅ ｉｎ ｔｈｅｉｒ ｈｏｍｅ ｏｒ ａｔ ｔｈｅｉｒ ｓｃｈｏｏｌ. Ｏｆ ｈｅｒ ｄｅｐａｒｔｕｒｅ ｆｒｏｍ Ｂｒｕｓｓｅｌｓ, Ｃｈａｒｌｏｔｔｅ ｗｒｏｔｅ, "Ｉ ｔｈｉｎｋ, ｈｏｗｅｖｅｒ ｌｏｎｇ Ｉ ｌｉｖｅ, Ｉ ｓｈａｌｌ ｎｏｔ ｆｏｒｇｅｔ ｗｈａｔ ｔｈｅ ｐａｒｔｉｎｇ ｗｉｔｈ Ｍ. Ｈｅｇｅｒ ｃｏｓｔ ｍｅ" (Ｇａｓｋｅｌｌ). Ｃｈａｒｌｏｔｔｅ ｗｒｏｔｅ ｔｏ Ｍ. Ｈｅｇｅｒ ｆｏｒ ｓｏｍｅ ｔｉｍｅ ａｆｔｅｒ ｈｅｒ ｒｅｔｕｒｎ ｈｏｍｅ; ｔｈｅ "ｕｎｑｕｅｓｔｉｏｎａｂｌｙ ｐａｓｓｉｏｎａｔｅ" ｎａｔｕｒｅ ｏｆ ｈｅｒ ｌｅｔｔｅｒｓ ｌｅａｖｅｓ ｎｏ ｄｏｕｂｔ ｏｆ ｈｅｒ ｆｅｅｌｉｎｇｓ ｆｏｒ ｈｉｍ. Ｃｈａｒｌｏｔｔｅ'ｓ ｓｅｃｒｅｔ ｕｎｒｅｑｕｉｔｅｄ ｌｏｖｅ ｌｅｄ ｔｏ ｔｈｅ ｃｒｅａｔｉｏｎ ｏｆ ｈｅｒ ｆｉｒｓｔ ｎｏｖｅｌ, Ｔｈｅ Ｐｒｏｆｅｓｓｏｒ, ｂｕｔ ｔｈｅ ｉｎｆｌｕｅｎｃｅ ｉｔ ａｌｓｏ ｈａｄ ｏｎ Ｊａｎｅ Ｅｙｒｅ ｉｓ ｕｎｄｅｎｉａｂｌｅ. Ｊａｎｅ ｓａｙｓ ｏｆ Ｍｒ. Ｒｏｃｈｅｓｔｅｒ, "Ｉ ａｍ ｓｕｒｅ ｍｏｓｔ ｐｅｏｐｌｅ ｗｏｕｌｄ ｈａｖｅ ｔｈｏｕｇｈｔ ｈｉｍ ａｎ ｕｇｌｙ ｍａｎ," ａｎｄ ｓｈｅ ｃｏｎｔｉｎｕａｌｌｙ ｄｅｓｃｒｉｂｅｓ ｈｉｍ ａｓ ｂｅｉｎｇ ｄａｒｋ ｏｒ ｂｌａｃｋ, ｍｕｃｈ ｌｉｋｅ Ｃｈａｒｌｏｔｔｅ'ｓ ｄｅｓｃｒｉｐｔｉｏｎ ｏｆ Ｍ. Ｈｅｇｅｒ'ｓ ｐｈｙｓｉｏｇｎｏｍｙ. Ｄｅｓｐｉｔｅ Ｒｏｃｈｅｓｔｅｒ'ｓ ａｐｐｅａｒａｎｃｅ, ｈｏｗｅｖｅｒ, Ｊａｎｅ ｆａｌｌｓ ｉｎ ｌｏｖｅ, ａｎｄ ｉｓ ｓｏｏｎ ｅｎｇａｇｅｄ ｔｏ ｂｅ ｍａｒｒｉｅｄ ｔｏ ｈｉｍ, ｕｎｔｉｌ ｓｈｅ ｆｉｎｄｓ ｏｕｔ ｔｈａｔ ｈｅ ｉｓ ａｌｒｅａｄｙ ｍａｒｒｉｅｄ ｔｏ ｔｈｅ ｃｒａｚｙ ｗｏｍａｎ ｈｅ ｋｅｅｐｓ ｌｏｃｋｅｄ ｕｐ ｉｎ ｔｈｅ ａｔｔｉｃ. Ｊａｎｅ ｄｅｃｉｄｅｓ ｓｈｅ ｍｕｓｔ ｌｅａｖｅ Ｒｏｃｈｅｓｔｅｒ, ｌａｍｅｎｔｉｎｇ ａｓ ｓｈｅ ｒｕｎｓ ａｗａｙ, "Ｗｉｔｈ ａｇｏｎｙ Ｉ ｔｈｏｕｇｈｔ ｏｆ ｗｈａｔ Ｉ ｌｅｆｔ… Ｉ ｌｏｎｇｅｄ ｔｏ ｂｅ ｈｉｓ" (Ｂｒｏｎｔë 321). Ｊａｎｅ'ｓ ｇｒｉｅｆ ａｔ ｌｅａｖｉｎｇ ｒｅｆｌｅｃｔｓ ｔｈｅ ｄｉｓｔｒｅｓｓ Ｃｈａｒｌｏｔｔｅ ｗｒｏｔｅ ａｂｏｕｔ ａｆｔｅｒ ｌｅａｖｉｎｇ Ｍ. Ｈｅｇｅｒ. Ｏｎｅ ｃａｎ ｏｎｌｙ ｉｍａｇｉｎｅ ｔｈａｔ ｔｈｅ ｈａｐｐｙ ｅｎｄｉｎｇ ｏｆ Ｊａｎｅ Ｅｙｒｅ ｉｓ ａｌｓｏ ａ ｒｅｆｌｅｃｔｉｏｎ ｏｆ Ｃｈａｒｌｏｔｔｅ'ｓ ｔｈｏｕｇｈｔｓ - ｐｅｒｈａｐｓ ｔｈｅ ｅｘｐｒｅｓｓｉｏｎ ｏｆ ｈｅｒ ｆａｎｔａｓｉｅｓ ｒｅｇａｒｄｉｎｇ Ｍ. Ｈｅｇｅｒ. Ｂｅｆｏｒｅ Ｊａｎｅ ｅａｒｎｓ ｈｅｒ ｈａｐｐｙ ｅｎｄｉｎｇ, ｈｏｗｅｖｅｒ, ｓｈｅ ｍｕｓｔ ｆｉｒｓｔ ｓｈｏｗ ｔｈａｔ ｓｈｅ ｉｓ ｄｅｓｉｒａｂｌｅ, ｄｅｓｐｉｔｅ ｈｅｒ ｐｌａｉｎ ｆａｃｅ - ｍｕｃｈ ａｓ Ｃｈａｒｌｏｔｔｅ ｈｅｒｓｅｌｆ ｓｈｏｗｅｄ ｂｙ ｔｕｒｎｉｎｇ ｄｏｗｎ ｐｒｏｐｏｓａｌｓ ｆｒｏｍ ｔｈｒｅｅ ｄｉｆｆｅｒｅｎｔ ｍｅｎ, ｔｗｏ ｏｆ ｔｈｅｍ ｂｅｆｏｒｅ ｅｖｅｒ ｍｅｅｔｉｎｇ Ｍ. Ｈｅｇｅｒ. Ｔｈｅ ｆｉｒｓｔ ｍａｎ ｔｏ ｐｒｏｐｏｓｅ ｔｏ Ｃｈａｒｌｏｔｔｅ ｗａｓ Ｒｅｖｅｒｅｎｄ Ｈｅｎｒｙ Ｎｕｓｓｅｙ, ｔｈｅ ｂｒｏｔｈｅｒ ｏｆ ｏｎｅ ｏｆ ｈｅｒ ｃｌｏｓｅｓｔ ｆｒｉｅｎｄｓ, Ｅｌｌｅｎ (Ｅｖｅｒｅｔｔ). Ｈｅｎｒｙ Ｎｕｓｓｅｙ ｄｒｅａｍｅｄ ｏｆ ｂｅｉｎｇ ａ ｍｉｓｓｉｏｎａｒｙ ａｎｄ ｈａｄ ｃｈｏｓｅｎ Ｃｈａｒｌｏｔｔｅ ｂｅｃａｕｓｅ ｈｅ ｔｈｏｕｇｈｔ ｈｅｒ ａｐｐｒｏｐｒｉａｔｅ ｆｏｒ ａ ｍｉｓｓｉｏｎａｒｙ'ｓ ｗｉｆｅ (Ｐｅｔｅｒｓ 41). Ｃｈａｒｌｏｔｔｅ ｒｅｆｕｓｅｄ, ｆｅｅｌｉｎｇ ｔｈａｔ ｓｈｅ ｗａｓ "ｉｌｌ-ｓｕｉｔｅｄ" ｔｏ ｂｅ ｔｈｅ ｗｉｆｅ Ｈｅｎｒｙ ｗａｎｔｅｄ, ａｎｄ ｎｏｔ ｗｉｓｈｉｎｇ ｔｏ ｍａｒｒｙ ｗｉｔｈｏｕｔ ｌｏｖｅ (Ｎｅｓｔｏｒ 10). Ｃｈａｒｌｏｔｔｅ ｗｒｏｔｅ: "Ｉ ｈａｄ ａ ｋｉｎｄｌｙ ｌｅａｎｉｎｇ ｔｏｗａｒｄｓ ｈｉｍ, ｂｅｃａｕｓｅ ｈｅ ｉｓ ａｎ ａｍｉａｂｌｅ ａｎｄ ｗｅｌｌ-ｄｉｓｐｏｓｅｄ ｍａｎ. Ｙｅｔ Ｉ ｈａｄ ｎｏｔ, ａｎｄ ｃｏｕｌｄ ｎｏｔ ｈａｖｅ, ｔｈａｔ ｉｎｔｅｎｓｅ ａｔｔａｃｈｍｅｎｔ ｗｈｉｃｈ ｗｏｕｌｄ ｍａｋｅ ｍｅ ｗｉｌｌｉｎｇ ｔｏ ｄｉｅ ｆｏｒ ｈｉｍ; ａｎｄ ｉｆ Ｉ ｅｖｅｒ ｍａｒｒｙ, ｉｔ ｍｕｓｔ ｂｅ ｔｈａｔ ｌｉｇｈｔ ｏｆ ａｄｏｒａｔｉｏｎ ｔｈａｔ Ｉ ｗｉｌｌ ｒｅｇａｒｄ ｍｙ ｈｕｓｂａｎｄ" (Ｇａｓｋｅｌｌ). Ａｌｓｏ ｅｘｐｒｅｓｓｉｎｇ ｈｅｒ ｓｅｎｓｅ ｔｈａｔ ｔｈｅｙ ｗｅｒｅ ｎｏｔ ｓｕｉｔｅｄ ｆｏｒ ｏｎｅ ａｎｏｔｈｅｒ, Ｃｈａｒｌｏｔｔｅ ｓａｉｄ, "Ｗｈｙ! ｉｔ ｗｏｕｌｄ ｓｔａｒｔｌｅ ｈｉｍ ｔｏ ｓｅｅ ｍｅ ｉｎ ｍｙ ｎａｔｕｒａｌ ｈｏｍｅ ｃｈａｒａｃｔｅｒ… Ｉ ｃｏｕｌｄ ｎｏｔ ｓｉｔ ａｌｌ ｄａｙ ｌｏｎｇ ｍａｋｉｎｇ ａ ｇｒａｖｅ ｆａｃｅ ｂｅｆｏｒｅ ｍｙ ｈｕｓｂａｎｄ" (Ｇａｓｋｅｌｌ). Ｊａｎｅ ｍｕｓｔ ａｌｓｏ ｏｖｅｒｃｏｍｅ ｓｕｃｈ ａ ｐｒｏｐｏｓａｌ, ｆｒｏｍ ｈｅｒ ｃｏｕｓｉｎ, Ｓｔ. Ｊｏｈｎ, ａ ｃｌｅｒｇｙｍａｎ ｗｈｏ ａｌｓｏ ｄｒｅａｍｓ ｏｆ ｂｅｉｎｇ ａ ｍｉｓｓｉｏｎａｒｙ. Ｓｔ. Ｊｏｈｎ ａｓｋｓ Ｊａｎｅ ｔｏ ａｃｃｏｍｐａｎｙ ｈｉｍ ｔｏ Ｉｎｄｉａ ａｓ ｈｉｓ ｗｉｆｅ, ｓａｙｉｎｇ, "Ｙｏｕ ａｒｅ ｆｏｒｍｅｄ ｆｏｒ ｌａｂｏｕｒ, ｎｏｔ ｆｏｒ ｌｏｖｅ… Ｉ ｃｌａｉｍ ｙｏｕ - ｎｏｔ ｆｏｒ ｍｙ ｐｌｅａｓｕｒｅ, ｂｕｔ ｆｏｒ ｍｙ Ｓｏｖｅｒｅｉｇｎ'ｓ ｓｅｒｖｉｃｅ" (Ｂｒｏｎｔë 402). Ｊａｎｅ ｉｍａｇｉｎｅｓ ｈｅｒ ｆａｔｅ ａｓ Ｓｔ. Ｊｏｈｎ'ｓ ｗｉｆｅ: "ａｌｗａｙｓ ｒｅｓｔｒａｉｎｅｄ, ａｎｄ ａｌｗａｙｓ ｃｈｅｃｋｅｄ - ｆｏｒｃｅｄ ｔｏ ｋｅｅｐ ｔｈｅ ｆｉｒｅ ｏｆ ｍｙ ｎａｔｕｒｅ ｃｏｎｔｉｎｕａｌｌｙ ｌｏｗ" (Ｂｒｏｎｔë 408). Ｊｕｓｔ ａｓ Ｓｔ. Ｊｏｈｎ ｐｒｏｐｏｓｅｓ ｔｏ Ｊａｎｅ ｗｉｔｈ ａ ｐｕｒｐｏｓｅ ｔｈａｔ ｍｉｒｒｏｒｓ Ｈｅｎｒｙ Ｎｕｓｓｅｙ'ｓ, Ｊａｎｅ ｒｅｆｕｓｅｓ ｈｉｍ ｆｏｒ ｍｕｃｈ ｏｆ ｔｈｅ ｓａｍｅ ｒｅａｓｏｎｓ ｔｈａｔ Ｃｈａｒｌｏｔｔｅ ｒｅｆｕｓｅｄ Ｈｅｎｒｙ. Ｈａｖｉｎｇ ｃｏｎｆｉｒｍｅｄ ｈｅｒ ｉｎａｌｉｅｎａｂｌｅ ｒｉｇｈｔ ｔｏ ｍａｋｅ ｈｅｒ ｏｗｎ ｃｈｏｉｃｅ ｏｆ ａ ｈｕｓｂａｎｄ, Ｊａｎｅ ｒｅｔｕｒｎｓ ｔｏ Ｒｏｃｈｅｓｔｅｒ, ｔｈｅｒｅｂｙ ｐｌａｙｉｎｇ ｏｕｔ ａ ｆａｎｔａｓｙ ｅｎｄｉｎｇ ｆｏｒ Ｃｈａｒｌｏｔｔｅ'ｓ ｏｗｎ ｅｘｐｅｒｉｅｎｃｅｓ. Ｔｈａｔ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë ｄｒｅｗ ｏｎ ｈｅｒ ｏｗｎ ｌｉｍｉｔｅｄ ｌｉｆｅ ｅｘｐｅｒｉｅｎｃｅｓ ｉｎ ｔｈｅ ｃｒｅａｔｉｏｎ ｏｆ Ｊａｎｅ Ｅｙｒｅ ｉｓ ｄｅｍｏｎｓｔｒａｔｅｄ ｂｙ ｔｈｅ ｍａｎｙ ｐａｒａｌｌｅｌｓ ｂｅｔｗｅｅｎ Ｃｈａｒｌｏｔｔｅ'ｓ ｌｉｆｅ ａｎｄ ｈｅｒ ｈｅｒｏｉｎｅ'ｓ. Ｊａｎｅ ｅｖｉｎｃｅｓ ｍａｎｙ ｏｆ ｔｈｅ ｃｈａｒａｃｔｅｒｉｓｔｉｃｓ ｏｆ ｈｅｒ ｃｒｅａｔｏｒ, ｔｏ ｔｈｅ ｐｏｉｎｔ ｔｈａｔ Ｊａｎｅ Ｅｙｒｅ ｉｓ ａ ｐｏｒｔｒａｉｔ ｏｆ Ｃｈａｒｌｏｔｔｅ ｈｅｒｓｅｌｆ. Ｉｔ ｉｓ ｃｌｅａｒ ｔｈａｔ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë ｐｕｔ ｎｏｔ ｏｎｌｙ ｈｅｒ ｈｅａｒｔ ａｎｄ ｓｏｕｌ ｉｎｔｏ ｈｅｒ ｗｒｉｔｉｎｇ, ｂｕｔ ｈｅｒ ｖｅｒｙ ｌｉｆｅ. Ｗｏｒｋｓ Ｃｉｔｅｄ Ｂｒｏｎｔë, Ｃｈａｒｌｏｔｔｅ. Ｊａｎｅ Ｅｙｒｅ. Ｏｘｆｏｒｄ: Ｏｘｆｏｒｄ Ｕｎｉｖｅｒｓｉｔｙ Ｐｒｅｓｓ, 2000. Ｃｏｄｙ, Ｄａｖｉｄ. Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë: Ａ Ｂｒｉｅｆ Ｂｉｏｇｒａｐｈｙ. 27 Ｎｏｖ 2004. Ｈａｒｔｗｉｃｋ Ｃｏｌｌｅｇｅ. ｈｔｔｐ://ｗｗｗ.ｖｉｃｔｏｒｉａｎｗｅｂ.ｏｒｇ/ａｕｔｈｏｒｓ/ｂｒｏｎｔｅ/ｃｂｒｏｎｔｅ/ｂｒｏｎｔｂｉｏ.ｈｔｍｌ. Ｅｖａｎｓ, Ｂａｒｂａｒａ ａｎｄ Ｇａｒｅｔｈ Ｌｌｏｙｄ. Ｔｈｅ Ｓｃｒｉｂｎｅｒ Ｃｏｍｐａｎｉｏｎ ｔｏ ｔｈｅ Ｂｒｏｎｔëｓ. Ｎｅｗ Ｙｏｒｋ: Ｃｈａｒｌｅｓ Ｓｃｒｉｂｎｅｒ'ｓ Ｓｏｎｓ, 1982. Ｇａｓｋｅｌｌ, Ｅｌｉｚａｂｅｔｈ. Ｔｈｅ Ｌｉｆｅ ｏｆ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë. 1857. 27 Ｎｏｖ. 2004. ｈｔｔｐ://ｌａｎｇ.ｎａｇｏｙａ-ｕ.ａｃ.ｊｐ/~ｍａｔｓｕｏｋａ/ＥＧ-Ｃｈａｒｌｏｔｔｅ.ｈｔｍｌ Ｅｖｅｒｅｔｔ, Ｇｌｅｎｎ. Ａ Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë Ｃｈｒｏｎｏｌｏｇｙ. 27 Ｎｏｖ. 2004. Ｕｎｉｖｅｒｓｉｔｙ ｏｆ Ｔｅｎｎｅｓｓｅｅ ａｔ Ｍａｒｔｉｎ. 1987. ｈｔｔｐ://ｗｗｗ.ｖｉｃｔｏｒｉａｎｗｅｂ.ｏｒｇ/ａｕｔｈｏｒｓ/ｂｒｏｎｔｅ/ｃｂｒｏｎｔｅ/ｂｒｏｎｔｅｔｌ.ｈｔｍｌ. Ｍｉｌｌｅｒ, Ｌｕｃａｓｔａ. Ｔｈｅ Ｂｒｏｎｔë Ｍｙｔｈ. Ｎｅｗ Ｙｏｒｋ: Ａｌｆｒｅｄ Ａ. Ｋｎｏｐｆ, 2001. Ｎｅｓｔｏｒ, Ｐａｕｌｉｎｅ. Ｃｈａｒｌｏｔｔｅ Ｂｒｏｎｔë. Ｔｏｔｏｗａ, Ｎｅｗ Ｊｅｒｓｅｙ: Ｂａｒｎｅｓ & Ｎｏｂｌｅ Ｂｏｏｋｓ, 1987. Ｐｅｔｅｒｓ, Ｍａｕｒｅｅｎ. Ａｎ Ｅｎｉｇｍａ ｏｆ Ｂｒｏｎｔëｓ. Ｎｅｗ Ｙｏｒｋ: Ｓｔ. Ｍａｒｔｉｎ'ｓ Ｐｒｅｓｓ, 1974. |
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