Virginia Woolf’s Analysis of Jane Eyre and Wuthering Heights
By Nava Atlas | On March 31, 2020 | Updated February 3, 2024 | Comments (0)
Before she became known for her own novels, Virginia Woolf was a literary critic. It’s fascinating to read her analysis of Jane Eyre and Wuthering Heights, the enduring novels of Charlotte and Emily Brontë.
This dual analysis of Charlotte and Emily’s masterpieces was first published in part in The Times Literary Supplement on April 13, 1916, around the time of Charlotte’s centenary, then appeared again in 1917 and 1922.
The following essay by Virginia Woolf is in the public domain. The text is intact, though Woolf’s long paragraphs are broken up for improved readability, and headings have been added for the same purpose.
Jane Eyre and Wuthering Heights (an analysis by Virginia Woolf)
Of the hundred years that have passed since Charlotte Brontë was born, she, the centre now of so much legend, devotion, and literature, lived but thirty-nine. It is strange to reflect how different those legends might have been had her life reached the ordinary human span.
She might have become, like some of her famous contemporaries, a figure familiarly met with in London and elsewhere, the subject of pictures and anecdotes innumerable, the writer of many novels, of memoirs possibly, removed from us well within the memory of the middle-aged in all the splendour of established fame.
She might have been wealthy, she might have been prosperous. But it is not so. When we think of her we have to imagine some one who had no lot in our modern world; we have to cast our minds back to the ‘fifties of the last century, to a remote parsonage upon the wild Yorkshire moors. In that parsonage, and on those moors, unhappy and lonely, in her poverty and her exaltation, she remains for ever.
These circumstances, as they affected her character, may have left their traces on her work. A novelist, we reflect, is bound to build up his structure with much very perishable material which begins by lending it reality and ends by cumbering it with rubbish.
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Jane Eyre: A Late 19th-Century Analysis
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Every doubt is swept clean from our minds
As we open Jane Eyre once more we cannot stifle the suspicion that we shall find her world of imagination as antiquated, mid-Victorian, and out of date as the parsonage on the moor, a place only to be visited by the curious, only preserved by the pious. So we open Jane Eyre; and in two pages every doubt is swept clean from our minds.
Folds of scarlet drapery shut in my view to the right hand; to the left were the clear panes of glass, protecting, but not separating me from the drear November day.
At intervals, while turning over the leaves of my book, I studied the aspect of that winter afternoon. Afar, it offered a pale blank of mist and cloud; near, a scene of wet lawn and storm-beat shrub, with ceaseless rain sweeping away wildly before a long and lamentable blast.
There is nothing there more perishable than the moor itself, or more subject to the sway of fashion than the “long and lamentable blast”. Nor is this exhilaration short-lived. It rushes us through the entire volume, without giving us time to think, without letting us lift our eyes from the page.
The writer has us by the hand
So intense is our absorption that if some one moves in the room the movement seems to take place not there but up in Yorkshire. The writer has us by the hand, forces us along her road, makes us see what she sees, never leaves us for a moment or allows us to forget her.
At the end we are steeped through and through with the genius, the vehemence, the indignation of Charlotte Bronte. Remarkable faces, figures of strong outline and gnarled feature have flashed upon us in passing; but it is through her eyes that we have seen them.
Once she is gone, we seek for them in vain. Think of Rochester and we have to think of Jane Eyre. Think of the moor, and again there is Jane Eyre. Think of the drawing-room, even, those “white carpets on which seemed laid brilliant garlands of flowers”, that “pale Parian mantelpiece” with its Bohemia glass of “ruby red” and the “general blending of snow and fire” — what is
all that except Jane Eyre?
Note: Charlotte and Emily Brontë had much the same sense of colour.
“. . . we saw — ah! it was beautiful — a splendid place carpeted with crimson, and crimson-covered chairs and tables, and a pure white ceiling bordered by gold, a shower of glass drops hanging in silver chains from the centre, and shimmering with little soft tapers ” (Wuthering Heights).
“Yet it was merely a very pretty drawing-room, and within it a boudoir, both spread with white carpets, on which seemed laid brilliant garlands of flowers; both ceiled with snowy mouldings of white grapes and vine leaves, beneath which glowed in rich contrast crimson couches and ottomans; while the ornaments on the pale Parian mantelpiece were of sparkling Bohemia glass, ruby red; and between the windows large mirrors repeated the general blending of snow and fire” (Jane Eyre).
The drawbacks of being Jane Eyre are not far to seek. Always to be a governess and always to be in love is a serious limitation in a world which is full, after all, of people who are neither one nor the other. The characters of a Jane Austen or of a Tolstoi have a million facets compared with these.
They live and are complex by means of their effect upon many different people who serve to mirror them in the round. They move hither and thither whether their creators watch them or not, and the world in which they live seems to us an independent world which we can visit, now that they have created it, by ourselves.
Holding Charlotte Brontë up to Thomas Hardy
Thomas Hardy is more akin to Charlotte Brontë in the power of his personality and the narrowness of his vision. But the differences are vast.
As we read Jude the Obscure we are not rushed to a finish; we brood and ponder and drift away from the text in plethoric trains of thought which build up round the characters an atmosphere of question and suggestion of which they are themselves, as often as not, unconscious.
Simple peasants as they are, we are forced to confront them with destinies and questionings of the hugest import, so that often it seems as if the most important characters in a Hardy novel are those which have no names.
Of this power, of this speculative curiosity, Charlotte Brontë has no trace. She does not attempt to solve the problems of human life; she is even unaware that such problems exist; all her force, and it is the more tremendous for being constricted, goes into the assertion, “I love”, “I hate”, “I suffer”.
For the self-centred and self-limited writers have a power denied the more catholic and broad-minded. Their impressions are close packed and strongly stamped between their narrow walls. Nothing issues from their minds which has not been marked with their own impress. They learn little from other writers, and what they adopt they cannot assimilate.
Both Hardy and Charlotte Brontë appear to have founded their styles upon a stiff and decorous journalism. The staple of their prose is awkward and unyielding. But both with labour and the most obstinate integrity, by thinking every thought until it has subdued words to itself, have forged for themselves a prose which takes the mould of their minds entire; which has, into the bargain, a beauty, a power, a swiftness of its own.
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An untamed ferocity as a writer
Charlotte Brontë, at least, owed nothing to the reading of many books. She never learnt the smoothness of the professional writer, or acquired his ability to stuff and sway his language as he chooses.
“I could never rest in communication with strong, discreet, and refined minds, whether male or female”, she writes, as any leader-writer in a provincial journal might have written; but gathering fire and speed goes on in her own authentic voice “till I had passed the outworks of conventional reserve and crossed the threshold of confidence, and won a place by their hearts’ very hearthstone.”
It is there that she takes her seat; it is the red and fitful glow of the heart’s fire which illumines her page. In other words, we read Charlotte Brontë not for exquisite observation of character—her characters are vigorous and elementary; not for comedy—hers is grim and crude; not for a philosophic view of life—hers is that of a country parson’s daughter; but for her poetry.
Probably that is so with all writers who have, as she has, an overpowering personality, so that, as we say in real life, they have only to open the door to make themselves felt.
There is in them some untamed ferocity perpetually at war with the accepted order of things which makes them desire to create instantly rather than to observe patiently. This very ardour, rejecting half shades and other minor impediments, wings its way past the daily conduct of ordinary people and allies itself with their more inarticulate passions.
It makes them poets, or, if they choose to write in prose, intolerant of its restrictions. Hence it is that both Emily and Charlotte are always invoking the help of nature. They both feel the need of some more powerful symbol of the vast and slumbering passions in human nature than words or actions can convey.
A mood rather than a particular observation
It is with a description of a storm that Charlotte ends her finest novel, Villette. “The skies hang full and dark — a wrack sails from the west; the clouds cast themselves into strange forms.”
So she calls in nature to describe a state of mind which could not otherwise be expressed. But neither of the sisters observed
nature accurately as Dorothy Wordsworth observed it, or painted it minutely as Tennyson painted it.
They seized those aspects of the earth which were most akin to what they themselves felt or imputed to their characters, and so their storms, their moors, their lovely spaces of summer weather are not ornaments applied to decorate a dull page or display the writer’s powers of observation — they carry on the emotion and light up the meaning of the book.
The meaning of a book, which lies so often apart from what happens and what is said and consists rather in some connection which things in themselves different have had for the writer, is necessarily hard to grasp. Especially this is so when, like the Brontës, the writer is poetic, and his meaning inseparable from his language, and itself rather a mood than a particular observation.
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Wuthering Heights: A 19th-Century Synopsis
Catherine and Healthcliff: A Study of Extreme Love
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Wuthering Heights — a more difficult book to understand
Wuthering Heights is a more difficult book to understand than Jane Eyre, because Emily was a greater poet than Charlotte. When Charlotte wrote she said with eloquence and splendour and passion “I love, ” “I hate,” “I suffer.” Her experience, though more intense, is on a level with our own.
But there is no “I” in Wuthering Heights. There are no governesses. There are no employers. There is love, but it is not the love of men and women. Emily was inspired by some more general conception.
The impulse which urged her to create was not her own suffering or her own injuries. She looked out upon a world cleft into gigantic disorder and felt within her the power to unite it in a book.
That gigantic ambition is to be felt throughout the novel — a struggle, half thwarted but of superb conviction, to say something through the mouths of her characters which is not merely “I love” or “I hate,” but “we, the whole human race ” and “you, the eternal powers . . .” the sentence remains unfinished. It is not strange that it should be so; rather it is astonishing that she can make us feel what she had it in her to say at all.
It surges up in the half-articulate words of Catherine Earnshaw:
“If all else perished and HE remained, I should still continue to be; and if all else remained and he were annihilated, the universe would turn to a mighty stranger; I should not seem part of it. It breaks out again in the presence of the dead. I see a repose that neither earth nor hell can break, and I feel an assurance of the endless and shadowless hereafter—the eternity they have entered — where life is boundless in its duration, and love in its sympathy and joy in its fulness.”
It is this suggestion of power underlying the apparitions of human nature and lifting them up into the presence of greatness that gives the book its huge stature among other novels.
A great poet as well as a novelist
But it was not enough for Emily Brontë to write a few lyrics, to utter a cry, to express a creed. In her poems she did this once and for all, and her poems will perhaps outlast her novel.
But she was novelist as well as poet. She must take upon herself a more laborious and a more ungrateful task. She must face the fact of other existences, grapple with the mechanism of external things, build up, in recognisable shape, farms and houses and report the speeches of men and women who existed independently of herself.
And so we reach these summits of emotion not by rant or rhapsody but by hearing a girl sing old songs to herself as she rocks in the branches of a tree; by watching the moor sheep crop the turf; by listening to the soft wind breathing through the grass.
Emily freed life from its dependence on facts
The life at the farm with all its absurdities and its improbability is laid open to us. We are given every opportunity of comparing Wuthering Heights with a real farm and Heathcliff with a real man.
How, we are allowed to ask, can there be truth or insight or the finer shades of emotion in men and women who so little resemble what we have seen ourselves? But even as we ask it we see in Heathcliff the brother that a sister of genius might have seen; he is impossible we say, but nevertheless no boy in literature has a more vivid existence than his.
So it is with the two Catherines; never could women feel as they do or act in their manner, we say. All the same, they are the most lovable women in English fiction. It is as if she could tear up all that we know human beings by, and fill these unrecognisable transparencies with such a gust of life that they transcend reality.
Hers, then, is the rarest of all powers. She could free life from its dependence on facts; with a few touches indicate the spirit of a face so that it needs no body; by speaking of the moor make the wind blow and the thunder roar.
Virginia Woolf: Women and Writing, edited and with an Introduction by Michele Barrett. A Harvest/HBJ Book, Harcourt Brace Jovanovich, 1979