This course paper is devoted to the description of The Charlotte Brontё’s life (Historical Background), her impact to the English speaking countries. The aim of the work

Jane Eyre and other novels of Charlotte Brontë
Life.
Her father was Patrick Brontë (1777–1861), an Anglican clergyman. Irish-born, he had changed his name from the more commonplace Brunty. After serving in several parishes, he moved with his wife, Maria Branwell Brontë, and their six small children to Haworth amid the Yorkshire moors in 1820, having been awarded a rectorship there. Soon after, Mrs. Brontë and the two eldest children (Maria and Elizabeth) died, leaving the father to care for the remaining three girls Charlotte, Emily, and Anne and a boy, Branwell. Their upbringing was aided by an aunt, Elizabeth Branwell, who left her native Cornwall and took up residence with the family at Haworth.
In 1824 Charlotte and Emily, together with their elder sisters before their deaths, attended Clergy Daughters’ School at Cowan Bridge, near Kirkby Lonsdale, Lancashire. The fees were low, the food unattractive, and the discipline harsh. Charlotte condemned the school (perhaps exaggeratedly) long years afterward in Jane Eyre, under the thin disguise of Lowood Institution, and its principal, the Reverend William Carus Wilson, has been accepted as the counterpart of Mister Brocklehurst in the novel.
Charlotte and Emily returned home in June 1825, and for more than five years the Brontë children learned and played there, writing and telling romantic tales for one another and inventing imaginative games played out at home or on the desolate moors.
In 1831 Charlotte was sent to Miss Wooler’s school at Roe Head, near Huddersfield, where she stayed a year and made some lasting friendships; her correspondence with one of her friends, Ellen Nussey, continued until her death and has provided much of the current knowledge of her life. In 1832 she went home to teach her sisters but in 1835 returned to Roe Head as a teacher. She wished to improve her family’s position, and that was the only outlet that was offered to her unsatisfied energies. Branwell, moreover, was to start on his career as an artist, and it became necessary to supplement the family resources. The work, with its inevitable restrictions, was uncongenial to Charlotte. She fell into ill health and melancholia and in the summer of 1838 terminated her engagement.
In 1839 Charlotte declined a proposal from the Reverend Henry Nussey, her friend’s brother, and some months later one from another young clergyman. At the same time Charlotte’s ambition to make the practical best of her talents and the need to pay Branwell’s debts urged her to spend some months as governess with the Whites at Upperwood House, Rawdon. Branwell’s talents for writing and painting, his good classical scholarship, and his social charm had engendered high hopes for him, but he was fundamentally unstable, weak-willed, and intemperate. He went from job to job and took refuge in alcohol and opium.
Meanwhile, his sisters had planned to open a school together, which their aunt agreed to finance, and in February 1842 Charlotte and Emily went to Brussels as pupils to improve their qualifications in French and acquire some German. The talent displayed by both brought them to the notice of Constantin Héger, a fine teacher and a man of unusual perception. After a brief trip home upon the death of her aunt, Charlotte returned to Brussels as a pupil-teacher. She stayed there during 1843 but was lonely and depressed. Her friends had left Brussels, and Madame Héger appears to have become jealous of her. The nature of Charlotte’s attachment to Héger and the degree to which she understood herself have been much discussed. His was the most-interesting mind she had yet met, and he had perceived and evoked her latent talents. His strong and eccentric personality appealed both to her sense of humour and to her affections. She offered him an innocent but ardent devotion, but he tried to repress her emotions. The letters she wrote to him after her return may well be called love letters. When, however, he suggested that they were open to misapprehension, she stopped writing and applied herself, in silence, to disciplining her feelings. However Charlotte’s experiences in Brussels are interpreted, they were crucial for her development. She received a strict literary training, became aware of the resources of her own nature, and gathered material that served her, in various shapes, for all her novels.
In 1844 Charlotte attempted to start a school that she had long envisaged in the parsonage itself, as her father’s failing sight precluded his being left alone. Prospectuses were issued, but no pupils were attracted to distant Haworth.
In the autumn of 1845 Charlotte came across some poems by Emily, and that discovery led to the publication of a joint volume of Poems by Currer, Ellis and Acton Bell (1846)¹, or Charlotte, Emily, and Anne; the pseudonyms were assumed to preserve secrecy and avoid the special treatment that they believed reviewers accorded to women. The book was issued at their own expense. It received few reviews and only two copies were sold. Nevertheless, a way had opened to them, and they were already trying to place the three novels they had written. Charlotte failed to place The Professor: A Tale but had, however, nearly finished Jane Eyre: An Autobiography, begun in August 1846 in Manchester, where she was staying with her father, who had gone there for an eye operation. When Smith, Elder and Company, declining The Professor, declared themselves willing to consider a three-volume novel with more action and excitement in it, she completed and submitted it at once. Jane Eyre was accepted, published less than eight weeks later (on October 16, 1847), and had an immediate success, far greater than that of the books that her sisters published the same year.
The months that followed were tragic ones. Branwell died in September 1848, Emily in December, and Anne in May 1849. Charlotte completed Shirley: A Tale in the empty parsonage, and it appeared in October. In the following years Charlotte went three times to London as the guest of her publisher; there she met the novelist William Makepeace Thackeray and sat for her portrait by George Richmond. She stayed in 1851 with the writer Harriet Martineau and also visited her future biographer, Elizabeth Gaskell, in Manchester and entertained her at Haworth. Villette was published in January 1853. Meanwhile, in 1851, she had declined a third offer of marriage, that time from James Taylor, a member of Smith, Elder and Company.
Her father’s curate, Arthur Bell Nicholls (1817–1906), an Irishman, was her fourth suitor. It took some months to win her father’s consent, but they were married on June 29, 1854, in Haworth church. They spent their honeymoon in Ireland and then returned to Haworth, where her husband had pledged himself to continue as curate to her father. He did not share his wife’s intellectual life, but she was happy to be loved for herself and to take up her duties as his wife. She began another book, Emma, of which some pages remain. Her pregnancy, however, was accompanied by exhausting sickness, and she died in 1855.
A three-volume edition of her letters, The Letters of Charlotte Brontë, edited by Margaret Smith, was published in 1995–2004.
Charlotte’s first novel, The Professor (published posthumously, 1857), shows her sober reaction from the indulgences of her girlhood. Told in the first person by an English tutor in Brussels, it is based on Charlotte’s experiences there, with a reversal of sexes and roles. The necessity of her genius, reinforced by reading her sister Emily’s Wuthering Heights, modified this restrictive self-discipline, and, though there is plenty of satire and dry, direct phrasing in Jane Eyre, its success was the fiery conviction with which it presented a thinking, feeling woman, craving love but able to renounce it at the call of impassioned self-respect and moral conviction.
The book’s narrator and main character, Jane Eyre, is an orphan and is governess to the ward of Mr. Rochester, the Byronic and enigmatic employer with whom she falls in love. Her love is reciprocated, but on the wedding morning it comes out that Rochester is already married and keeps his mad and depraved wife in the attics of his mansion. Jane leaves him, suffers hardship, and finds work as a village schoolmistress. When Jane learns, however, that Rochester has been maimed and blinded while trying vainly to rescue his wife from the burning house that she herself had set afire, Jane seeks him out and marries him. There are melodramatic naïvetés in the story, and Charlotte’s elevated rhetorical passages do not much appeal to modern taste, but she maintains her hold on the reader. The novel, purporting to be an autobiography, is written in the first person, but, except in Jane Eyre’s impressions of Lowood², the autobiography is not Charlotte’s. Personal experience is fused with suggestions from widely different sources, and the Cinderella theme may well come from Samuel Richardson’s novel Pamela. The action is carefully motivated, and apparently episodic sections, like the return to Gateshead Hall, are seen to be necessary to the full expression of Jane’s character and the working out of the threefold moral theme of love, independence, and forgiveness.
In her novel Shirley. Charlotte avoided melodrama and coincidences and widened her scope. Setting aside Maria Edgeworth and Sir Walter Scott as national novelists, Shirley is the first regional novel in English, full of shrewdly depicted local material Yorkshire characters, church and chapel, the cloth workers and machine breakers of her father’s early manhood, and a sturdy but rather embittered feminism.
In Villette Charlotte recurred to the Brussels setting and the first-person narrative, disused in Shirley; the characters and incidents are largely variants of the people and life at the Pension Héger. Against that background she set the ardent heart, deprived of its object, contrasted with the woman happily fulfilled in love.
The influence of Charlotte’s novels was much more immediate than that of Wuthering Heights. Charlotte’s combination of romance and satiric realism had been the mode of nearly all the women novelists for a century. Her fruitful innovations were the presentation of a tale through the sensibility of a child or young woman, her lyricism, and the picture of love from a woman’s standpoint.