Charlotte Bronte and her novel “Jane Eyre”. Group: Written by: Supervisor: Tashkent 2022

Thе thеmе оf thе cоursе work is about Charlotte Bronte and her novel Jane Eyre.
Thе аim оf thе cоursе is tо an exploration of Charlotte Bronte’s work.
The topicality of the work is to learn about great novelist Charlotte Bronte.
Thе tаsks оf thе invеstigаtiоn includе:

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  Tо givе infоrmаtiоn аbоut Charlotte Bronte’s and her biography.
  

Thе оbjеct оf thе cоursе of study is tо Exploring the life and writings of Charlotte Bronte.
Thе subjеct оf thе cоursе work is tо cоnduct rеsеаrch аbоut оnе оf Charlotte Bronte’s fаmоus work.
Thе mаin lаnguаgе mаtеriаl оf thе rеsеаrch work hаs bееn gаthеrеd frоm thе litеrаry wоrks оf vаriоus аuthоrs аnd intеrnеt sоurcе. Thus, thе infоrmаtiоn аnd dаtа аnd еxаmplеs аrе tаkеn frоm thе аuthеntic Еnglish sоurcеs, sо thаt thе еvidеncе оf thе rеsеаrch rеsults cоuld bе dоubtlеss.
Thе cоursе pаpеr includеs: intrоductiоn, 2 chаptеrs, cоnclusiоn аnd references.

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  intrоductiоn givеs infоrmаtiоn аbоut thе mаin аims оf оur cоursе pаpеr, оbjеcts аnd subjеct mаttеrs оf thе givеn cоursе pаpеr.
  
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  chаptеr I includеs infоrmаtiоn About The Victorian Era and Charlotte Bronte’s biography;
  
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  chаptеr II аlsо includеs Charlotte Bronte and her novel “Jane Eyre”.
  
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  cоnclusiоn will еnd thе cоursе pаpеr by giving gеnеrаl, privаtе оpiniоn rеgаrding thе prоcеss оf prеpаring cоursе pаpеr.
  
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  list оf usеd litеrаturе includеs thе nаmеs оf thе bооks аnd mаgаzinеs thаt I utilizеd during thе rеsеаrch.
  

Chapter.I The Victorian Era and Charlotte Bronte’s biography.
1.1. Charlotte Bronte in the Victorian Era.
In Matthew Arnold's poem "Dover Beach" (1867), the solemn speaker remarks, "The sea is peaceful today," while taking in "the grating clamor / Of pebbles" at the coast and "The endless note of grief" above the seas. Another metaphorical sea, "The Sea of Faith," was irreparably receding in Arnold's mid-19th-century Britain: "But now I only hear / Its melancholy, long, withdrawing roar." Although Arnold's world had appeared to be "So various, so beautiful, so new," it actually lacked "joy, nor love, nor light, / Nor certitude, nor peace, nor help for pain." Despite being written more than a century and a half ago, "Dover Beach" is nevertheless an enduring example of Victorian poetry, with its elaborate patterning, stagy theatrics, longing for a bygone era, and ambivalence about an increasingly mechanized modernity. Poetry, an endeavor with the highest creative and moral stakes, is fundamentally a criticism of life, as Arnold famously stated. Arnold and other British poets of his generation critiqued modern life during the long reign of Queen Victoria (1837–1901) as it underwent epochal changes, including the radical notions of evolution and materialism, shifting perspectives on gender and class, and an economic and industrial boom that helped create the largest empire in history.²
When we think of Victorian literature, we might immediately recall the three-volume works by the Bront sisters and Charles Dickens, the extravagant comedies of Oscar Wilde and Gilbert and Sullivan, and the iconic literary figures—Sherlock Holmes by Arthur Conan Doyle, Little Alice by Lewis Carroll, and Dracula by Bram Stoker—who continue to influence modern culture. However, poetry was still highly esteemed in 19th-century Britain. Thanks to improvements in literacy and printing, poetry had never been read by a larger audience (from schoolchildren to Queen Victoria herself) or been more lucrative from a business standpoint. The most well-known poets' books frequently sold out across multiple printings.³
Contrarily, the closest genres and forms to Victorian poetry include theater, fiction, music, and art, which are all competitors for readers' attention in a crowded cultural market. "What Is Poetry?" is a question posed in an 1833 article. In response, drama-inspired phrases were used by philosopher John Stuart Mill: "Poetry is feeling, admitting itself to itself, in moments of solitude. All poetry has a soliloquy-like quality. In the most celebrated poetic innovation of the time, Alfred, Lord Tennyson, and Robert Browning combined drama, fiction, and lyric into the dramatic monologue form, in which a poet addresses a silent audience in the voice of a fictional or historical figure without the aid of a narrative or other form of guidance. Visually oriented poets, such as the Pre-Raphaelite Brotherhood members Dante Gabriel Rossetti, a poet and painter, and William Morris, a writer and designer, pushed poetry in that direction by adoring pictorial detail and painterly flourishes. In their lyrically rich poems, Tennyson, Algernon Charles Swinburne, and Gerard Manley Hopkins delighted in captivating meters (such as Hopkins's innovation, sprung rhythm) and masterful weaves of alliteration and rhyme.⁴
Victorian poets discovered parts suitable for dramatic reenactment in myth, Arthurian legend, and William Shakespearean plays as they looked back into literary history. And they looked closely at the brilliant poets of British Romanticism, who were their forebears and whose radical passion and limitless imagination they were too bitterly cynical to recreate. Poets predicted a depersonalized future where "the individual withers, and the world is more and more," to quote Tennyson from "Locksley Hall." The natural and social sciences made many advancements in that growing, constricting "world." None were more revolutionary than Charles Darwin's theory of natural selection, which he first presented in his seminal work On the Origin of Species (1859) and then applied to the evolution of humans in The Descent of Man (1871); his account of life without a creator sparked a crisis of religious doubt. If the world-weariness of Tennyson, Arnold, and later Thomas Hardy was one response to that seemingly senseless world, then the redoubling of a freshly urgent religious poetry, ranging from Christina Rossetti's simple, fervent, devotional verse to Hopkins's captivating spontaneity, was another. The nonsense poetry of Edward Lear and Lewis Carroll (also known as Charles Lutwidge Dodgson), master draftsmen and mathematicians, respectively, who both brought to English poetry not only their learning but also reveries and comic disproportions, gleeful non sequiturs, and bewitching neologisms like "runcible spoon" and "frabjous day," elicited yet another reaction: an embrace of senselessness.⁵
The height of England's 'imperial century' occurred during this time of upheaval at home. The British Empire began a time of unparalleled naval and military expansion, colonialism and competition, and global trade, all of which were accelerated by the Second Industrial Revolution and the transformative technologies of the steamship and telegraph. The Empire, which was dubbed "the empire on which the sun never set" by its hyperbolic nickname, at the end of Queen Victoria's rule, included territory on all continents except for Antarctica.⁶
The imperial reach of Britain had an impact on Victorian poets of various genres and subjects; for example, Tennyson's "The Charge of the Light Brigade" and Christina Rossetti's "Goblin Market" both directly addressed headline news. Some poems, such "The White Man's Burden" by Rudyard Kipling, notoriously supported racist imperialism. Others satiated the growing interest in exotica and Eastern subjects, such as Edward FitzGerald's translations of Omar Khayyám's quatrains from the 11th and 12th centuries, known as the Rubáiyát. Back in England, where white males ruled the world, women were supposed to live up to the domestic, selfless ideal of "the angel in the house" (the title of a poem by Coventry Patmore that was once widely read but is now widely lamented). However, no other period in English poetry had as many examples of female poets, from Elizabeth Barrett Browning's feminist reinterpretations to Emily Bront's pseudonymous personae (published under the pen name Ellis Bell) and the writing partnership between Katharine Bradley and her niece Edith Cooper, who wrote under the pen name Michael Field.
The term "Victorian" can evoke images of propriety, moralizing, or outdated conventionalism in the minds of early 20th-century modernists who defined their art in opposition, as well as in the minds of modern readers today. However, with its concentration on moral and cultural decay, violations of rules pertaining to identity and sexuality, and appreciation for the artistic ideals of difficulty and compression, late Victorian poetry looks forward to the alienations and extremes of Modernism. The late-19th-century concept of aestheticism, which swerved away from nihilistic despair over life's meaninglessness by wagering all on the meanings generated within art, was epitomized by the phrase "art for art's sake," an English version of the French slogan "l'art pour l'art." The most persuasive advocate of estheticism was the critic Walter Pater, who wrote in Studies in the History of the Renaissance (1873): "To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life; we have an interval, and then our place knows us no more; our one chance lies in expanding that interval, in getting as many pulsations as possible into the given time." Pater became a significant impact on Oscar Wilde and Gerard Manley Hopkins, two of his former students, by his instruction and rhapsodic prose alone. Oscar Wilde and Gerard Manley Hopkins turned aestheticist concepts into verse-lines of overwhelming sensation and impassioned queer sensuality.
The poets, poems, books, essays, and recordings below examine the various poetries that emerged throughout the Victorian era. Laureates, bestsellers, and neglected poets who were discovered by readers in the 20th and 21st centuries are all included. This introduction provides a glimpse into a colorful, ever-evolving era that has grown increasingly diverse over time when it has been read and reread.