JANE EYRE and EDUCATION a Thesis Submitted to the Faculty Of

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JANE EYRE and EDUCATION a Thesis Submitted to the Faculty Of “TO GROW UP CLEAN”: JANE EYRE AND EDUCATION A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in English By Marielle Hampe, B.A. Washington, DC April 24, 2016 Copyright 2016 by Marielle Hampe All Rights Reserved ii “TO GROW UP CLEAN”: JANE EYRE AND EDUCATION Marielle Hampe, B.A. Thesis Advisor: John C. Pfordresher, Ph.D. While narratives of the Victorian governess emphasize her ambiguous social class position, this thesis argues that the advertised reason for the private governess’s employment within the home – her instruction of the family’s children – deserves ample critical attention. To investigate the Victorian governess’s educational project, I use Charlotte Brontë’s Jane Eyre (1847) as my focal text and incorporate additional governess novels from the period, such as Julia Buckley’s Emily, The Governess (1836) and Marguerite Gardiner’s The Governess (1839). I argue that the narrative’s omission of the governess’s work, the governess’s extracurricular education, and the destruction caused by the educational containment of foreign women ultimately destabilize and problematize the education the governess is hired to teach. This destabilization positions the governess’s work at the helm of an alternative model of education that does not advocate for “Englishness” but instead a comingling of knowledge that extends beyond England and is often learned in private communal settings. I divide my thesis into three sections representative of three pillars of education: the schoolroom, the curriculum, and the teacher. In the first section, I consider the activities of the differing schoolroom spaces Jane Eyre encounters as a pupil and teacher. With state-sponsored education not a fixture of Britain until the early twentieth century, nineteenth-century education followed social class rather than state-mandated guidelines, a finding consistent with Jane Eyre’s representation of Lowood, a charity school for educating middle-class girls; Thornfield, a private home for educating an upper-class pupil; and Morton, a village school for working-class girls. I argue that while Jane’s narrative overlooks the educational specifics of each classroom space, the iii upper-class private home overall lacks the qualified possibility of progress available in the educational spaces outside the home. In the next section, I interrogate a recurring verbal formula identified in my survey of nineteenth-century governess advertisements: variations of the phrases “the branches of an English education” and “a sound English education.” I assess nineteenth-century textbooks to show that these phrases signify not only academic content knowledge but also moral principles and behavioral expectations rife with tensions. Applied to Jane Eyre, I argue that Jane’s extracurricular education acquired in unstructured female communities pushes against the “Englishness” of the prescribed “sound English education.” Rather than replicate literary criticism that pairs Mr. Rochester’s West Indian wife Bertha against Jane, I pair Bertha and Adèle to show that Mr. Rochester’s desire that Adèle “grow up clean” in England represents a project of cultural containment leading to narrative erasure. My final section examines Jane’s function as teacher to the reader. I suggest that while Jane presents her knowledge as unquestionable facts in a textbook, her brief qualifiers and logical errors undercut her ultimate authority. I then draw on the botanical context of “ferns” to suggest that the novel’s conclusion at Ferndean complicates Jane’s linear progress narrative. My botanical intervention into current conversations about Ferndean suggests that rather than a garden of transplanted French flowerets, an education guided by the model of “ferns” – such as the education enjoyed by Jane in her extracurricular, female spaces – advances a vision of a hearty comingling of social classes and cultures. iv Table of Contents Introduction ...................................................................................................................................... 1 Chapter 1: The Schoolroom ............................................................................................................... 13 Lowood: Regimented Learning .............................................................................................. 14 Morton: Teaching Progress ................................................................................................... 18 Thornfield: Private Home Silences ....................................................................................... 21 Chapter 2: The Curriculum ................................................................................................................ 35 The Sound, Solid Branches of an English Education ............................................................. 36 Complicating Education ......................................................................................................... 47 Extracurricular Knowledge ....................................................................................... 48 The English Teacher & The French Pupil ................................................................. 54 The Contained, Foreign Women of Thornfield ......................................................... 59 Chapter 3: The Teacher ..................................................................................................................... 68 The Narrator, The Teacher ..................................................................................................... 69 Ferndean ................................................................................................................................. 76 Conclusion ......................................................................................................................................... 85 Appendix 1: Governess Advertisement Data .................................................................................... 89 Bibliography ...................................................................................................................................... 90 v Introduction As a cultural icon, the Victorian governess evokes images of respectability, propriety, and the upper-class English home. She teaches the family’s children, guides the children’s moral upbringing, and serves as a symbol of her employer’s wealth. Behind this image, however, lurk contradictions and complications. In 1970, M. Jeanne Peterson applied sociology’s term “status incongruence” – a term denoting a conflict in assessing a person’s social characteristics – to the Victorian governess’s social position within society and her employer’s family (7). Peterson suggested that the Victorian governess, a gentlewoman hired to live in an upper- or middle-class home and educate the family’s children, contradicted the “very values she was hired to fulfill”: the governess was not a mother but by teaching children fulfilled the traditional duties of a mother, a “lady” but now an employee, a symbol of middle-class gentility but now a sign of her middle-class family’s failure to provide for her economically (9). Twenty years later, Kathryn Hughes and Mary Poovey took up similar projects to explain how the contradictions of the governess’s social position mapped onto the political and economic situation of the 1840s. Poovey suggests that the governess’s social incongruity in which she occupied a liminal, middle position between servant and employer attracted a profusion of attention from her contemporaries “at least partly because the economic and political turmoil of the ‘hungry forties’ drove members of the middle class to demand some barrier against the erosion of middle-class assumptions and values. Because of the place they occupied in the middle-class ideology, women, and governesses in particular, were invoked as bulwarks against this erosion” (231). Although they were invoked as “bulwarks,” some contemporaries worried that the governess was instead a “conduit through which working- class habits would infiltrate the middle-class home” (232). As these details suggest, the 1 governess occupied a contradictory, vexed position, making her on the one hand necessary but on the other hand unwelcome. Richard Redgrave’s 1844 oil painting “The Governess” helps to dramatize Peterson, Hughes, and Poovey’s explorations of the governess’s status within her employer’s home. The painting, originally exhibited with the quotation, “She sees no kind domestic visage here,” features a governess in the foreground (Redgrave). She sits at her desk in a black dress with eyes looking downward and hand clutching a letter in her lap. The desk in front of her, the piano to her right, and the charcoal color of the tapestry behind her box the governess into a dark, bleak, defined space. Within this space, she is surrounded by her “work” – books lie on the desk, a music book rests on the piano’s ledge, and a basket of sewing awaits her below. In contrast to the governess, Redgrave depicts three adolescent girls, all with light blonde hair and dressed in pastel clothing. Like the governess, one girl sits with an object of reading in her lap, a book, but unlike the governess, this girl’s eyes look out the open doorway, not down at the floor. The other girls gaze at each other, with one girl’s hands on her, presumably, sister’s shoulders and the sister’s hands on the first
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