Tag Archives: Jane Eyre

Sad veiled bride, please be happy…

23 May

“Sad veiled bride, please be happy
Handsome groom, give her room
Loud, loutish lover, treat her kindly
(Though she needs you
More than she loves you)”

(The Smiths, I know it’s over)

George Theodore Berthon, Portrait of Mrs. William Henry Boulton (Harriette), 1846

I can remember how good I felt inside
When the preacher said “Son, you may kiss the bride”
But as I leaned over to touch her pretty lips
I felt it all slip away through my fingertips

(Bruce Springsteen – Stolen Car)

The wedding day can be the happiest day of your life – or the most tragical one. That depends on many factors; whether a girl is marrying a prince or an ogre (no offense Shrek), whether her husband to be has a mad wife in the attic or not, whether his marriage is just a devise to rob you of your family inheritance. Nontheless, the image of a bride, let’s imagine a Victorian era bride, is always a charming one; dressed in white and covered with a veil, she might as well be a ghostly creature from another realm. So ethereal and eerie is the figure in white. Walking down the isle, veil covering her blushing cheeks, dressed in a white gown and looking splendid in all her virginal glory, sweetness, hopes, anticipation, all fill her fast beating heart. In a step or two, her destiny will be decided, her life changed forever… is she walking towards the altar or being led to the dungeons where her execution is to be held.

Queen Victoria set the standard for white wedding gowns in 1840 when she married Prince Albert, but that is not to say that white wedding dresses were not worn before; they were, but from that point on they became the statement. Her wedding day was an intensely happy event and she loved being married to Albert, but not every woman in Victorian era felt quite the same way, despite the idealisations we nowadays may have of their time and their lives, doting wife and angel in the house was often a bored and lonely woman. Let’s take Toulmouche’s painting “The Reluctant Bride” (below) as an example; just look at her face expression, she is absolutely not thrilled about it. Or Sophie of Württemberg (1818-1877), the Queen of Netherlands, who was buried in her wedding dress because she said that her life ended the day she got married.

Let’s take a look at Jane Eyre’s state of soul in chapter 36 after the secret was revealed:

Jane Eyre, who had been an ardent, expectant woman–almost a bride, was a cold, solitary girl again: her life was pale; her prospects were desolate. A Christmas frost had come at midsummer; a white December storm had whirled over June; ice glazed the ripe apples, drifts crushed the blowing roses; on hayfield and cornfield lay a frozen shroud:lanes which last night blushed full of flowers, today were pathless with untrodden snow; and the woods, which twelve hours since waved leafy and flagrant as groves between the tropics, now spread, waste, wild, and white as pine-forests in wintry Norway. I looked on my cherished wishes, yesterday so blooming and glowing…

Jane Eyre’s wedding was so short and hasty that she must have been thinking, again quoting The Smiths:

I know it’s over
And it never really began
But in my heart it was so real

Apart from the obvious contrast between joy and disappointment that a bride inevitably faces, the figure of a bride in white, an innocent pure maiden, can serve as a visual contrast to something darker in the story, for example: Jane Eyre meets her husband to be Mr Rochester’s real mad violent wife in the attic, or the young naive bride of Bluebeard, when left alone in his castle, discovered his dark, bloody and blood-chilling secrets; also Elizabeth in Mary Shelley’s “Frankenstein” who is strangled on her wedding night by the Monster that Doctor Frankenstein had created as a revenge to the Doctor who refused to make him a female companion.

And to end, here is perhaps the most eerie bride out of them all: Miss Havisham from Charles Dickens’s novel “Great Expectations”, a bride who is decaying and rotting under her silk and lace garments:

In an arm-chair, with an elbow resting on the table and her head leaning on that hand, sat the strangest lady I have ever seen, or shall ever see.

She was dressed in rich materials – satins, and lace, and silks – all of white. Her shoes were white. And she had a long white veil dependent from her hair, and she had bridal flowers in her hair, but her hair was white. Some bright jewels sparkled on her neck and on her hands, and some other jewels lay sparkling on the table. Dresses, less splendid than the dress she wore, and half-packed trunks, were scattered about. She had not quite finished dressing, for she had but one shoe on – the other was on the table near her hand – her veil was but half arranged, her watch and chain were not put on, and some lace for her bosom lay with those trinkets, and with her handkerchief, and gloves, and some flowers, and a prayer-book, all confusedly heaped about the looking-glass.

It was not in the first few moments that I saw all these things, though I saw more of them in the first moments than might be supposed. But, I saw that everything within my view which ought to be white, had been white long ago, and had lost its lustre, and was faded and yellow. I saw that the bride within the bridal dress had withered like the dress, and like the flowers, and had no brightness left but the brightness of her sunken eyes. I saw that the dress had been put upon the rounded figure of a young woman, and that the figure upon which it now hung loose, had shrunk to skin and bone. Once, I had been taken to see some ghastly waxwork at the Fair, representing I know not what impossible personage lying in state. Once, I had been taken to one of our old marsh churches to see a skeleton in the ashes of a rich dress, that had been dug out of a vault under the church pavement. Now, waxwork and skeleton seemed to have dark eyes that moved and looked at me. I should have cried out, if I could.

Auguste Toulmouche, The Reluctant Bride, 1866

Firs Zhuravlev, Before the wedding, 1874

My Favourite Books Ever

7 May

One of the most asked questions I get here on the blog is about my reading tastes and books that I can recommend, so I decided to make a list of my favourite books to satisfy your curiosity once and for all. My reading tastes are somewhat eclectic, I am aware of that, and even though I don’t read that many books I tend to enjoy most of them so it was quite hard to chose the most beloved ones. If I don’t like a book, I will just stop reading it and it’s that simple. So when I do proceed with reading the book, that is already a sure sign I enjoy it. Also, I’ve put links to the posts which are either book reviews or something similar connected with the book. If you’ve enjoyed any of these books, I would love to hear your thoughts.

Ivan Kramskoy, Books Got Her, 1872

  1. Anne of Green Gables, by L.M. Montgomery

2. One Hundred Years of Solitude, by Gabriel Garcia Márquez

3. Eugene Onegin, by Alexander Sergeyevich Pushkin

4. No Longer Human, by Osamu Dazai

5. Jane Eyre, by Charlotte Bronte

6. Of Love and Other Demons, by Gabriel Garcia Márquez

7. Tristessa, by Jack Kerouac

8. Journal of Love: Henry and June, also the second part called Journal of Love: Incest, by Anais Nin

9. Before Night Falls, by Reinaldo Arenas

10. Prozac Nation, by Elizabeth Wurtzel

11. Virgin Suicides, by Jeffrey Eugenides

12. Girl, Interrupted, by Susana Kaysen

13. Madame Bovary, by Gustave Flaubert

14. Novel with Cocaine, by Mihail Ageyev

15. Crime and Punishment, by Dostoyevsky

16. Naomi, by Junichiro Tanizaki

17. The Three-Cornered World, by Natsume Soseki

18. Wuthering Heights, by Emily Bronte

19. Unbearable Lightness of Being, by Milan Kundera

20. Love in the Times of Cholera, by Gabriel Garcia Márquez

21. Norwegian Woods, by Haruki Murakami

22. Mathilda, by Mary Shelley

23. The Awakening, by Kate Chopin

24. Sense and Sensibility, by Jane Austen

25. On the Road, by Jack Kerouac

26. Letters to Milena, by Franz Kafka

27. The Fall of the House of Usher, and other stories and poems by Edgar Allan Poe

28. Short story “Broken Blossoms” by Thomas Burke

Jane Eyre: ‘…utter solitude and leafless repose…’

16 Nov

This is a fragment from the book Jane Eyre which is very dear to me and is very fitting for this time of the year, so I thought why not share it. It describes Jane’s walk not long after she arrives at Thornfield Hall, and before she meets Mr Rochester.

jane-eyre-solitude

It was three o’clock; the church bell tolled as I passed under the belfry: the charm of the hour lay in its approaching dimness, in the low-gliding and pale-beaming sun.  I was a mile from Thornfield, in a lane noted for wild roses in summer, for nuts and blackberries in Autumn, and even now possessing a few coral treasures in hips and haws, but whose best winter delight lay in its utter solitude and leafless repose.  If a breath of air stirred, it made no sound here; for there was not a holly, not an evergreen to rustle, and the stripped hawthorn and hazel bushes were as still as the white, worn stones which causewayed the middle of the path.

—Jane Eyre (Charlotte Bronte)
jane eyre 22

The Wedding Dress – Frederick W. Elwell

5 May

First glance at this painting reminded me of a scene in Jane Eyre, both the movie and the novel, where Jane returns to Thornfield Hall after the wedding, devastated after finding out about Mr Rochester’s real wife.

I was in my own room as usual–just myself, without obvious change: nothing had smitten me, or scathed me, or maimed me. And yet where was the Jane Eyre of yesterday? Where was her life? Where were her prospects?

Copyright Ferens Art Gallery / Supplied by The Public Catalogue Foundation1911. Frederick William Elwell – The Wedding Dress, Ferens Art Gallery, Queen Victoria Square, Kingston upon Hull, East Riding of Yorkshire, England

‘Jane Eyre, who had been an ardent, expectant woman–almost a bride, was a cold, solitary girl again: her life was pale; her prospects were desolate. A Christmas frost had come at midsummer; a white December storm had whirled over June; ice glazed the ripe apples, drifts crushed the blowing roses; on hayfield and cornfield lay a frozen shroud:lanes which last night blushed full of flowers, today were pathless with untrodden snow; and the woods, which twelve hours since waved leafy and flagrant as groves between the tropics, now spread, waste, wild, and white as pine-forests in wintry Norway. I looked on my cherished wishes, yesterday so blooming and glowing…‘ (Chapter 26)

Even thought The Wedding Dress was painted in 1911, it reflects Victorian tastes, especially the popular themes of death and weddings. Frederick William Elwell was born in a small town of Beverley in East Riding of Yorkshire, and, apart from his brief stay in London, he spent his life in Beverley where he enjoyed painting and gardening. He was known for using local people as models, and thus he used a local woman, Mrs Violet Prest, as a model for the sorrowful bride in this painting. Ironically, Mrs Violet faced the same unfortunate destiny in her own life; not long after this painting was painted, she lost her husband in the First World War, which adds the painting a certain mystical dimension for the modern viewers.

There are many elements that make this painting thematically a typical Victorian painting. First of all, the already mentioned Victorian fascination with death partly due to Queen Victoria’s rigid practice of mourning after the death of Prince Albert. This painting also shows the contrast between the innocence, symbolised by the white wedding dress, and experience, symbolised by the dark attire of this weeping lady. A certain level of intimacy was achieved by hiding the lady’s face – she appears to be crying in solitude, in a gloomy chamber, tormented by the sudden loss of her husband. Nobody is watching her, but us.

Vision of the bright future was tainted by death. A home which could have been a place of warmth and joy, filled with children, laughter and domestic happiness, is reduced to a drab domestic room. Painful present brings no relief. The old wedding dress, filled with memories of the more innocent times, remains the only comfort for the inconsolable young widow. Now the death has destroyed the fragile world of innocence.

1840s – ‘Fashion of Sombre and Wilting Demureness’

28 Apr

Since the story I am writing is set in the 1840s, I came up with a cunning plan to write a post about women’s fashion at the time! Decade of 1840s represents both the first, and the simplest and most romantic decade of Victorian fashion.

1848. fashion 17

In cultural dimension, the 1840s were a fruitful period for Bronte sisters (1847 in particular), Chopin, Franz Liszt, Edgar Allan Poe, Lord Tennyson, Elizabeth Barrett-Browning, the Pre-Raphaelites, and it also the first decade of applicable photography (Robert Adamson and David Octavius Hill were active in this decade).

This is also the the first decade of Victorian era; Queen Victoria married Albert in 1840 and six out of their nine children were born in this decade. Movies set in the 1840s with accurate fashion are: The Young Victoria (2009), Jane Eyre (2011), Effie Gray (2014), La Dame aux Camélias’ (1980), Cranford (TV Series) and Return to Cranford (2009). Costumes in Sweeney Todd (2007) bear resemblance to the 1840s fashion as well.

young victoria blue gown 5

1840s Queen Victoria by Franz Winterhalten1846. Marie-Caroline de Bourbon-Siciles, duchesse d'Aumale by W.

Fashion in the 1840s represents a muted version of the romantic and flamboyant fashion of the 1830s. Sombre colours and simplicity were in vogue after a decade of exaggeration and flashy colours. The biggest changes in the silhouette occurred in two spheres – firstly, natural waistline came into fashion after more than forty years of high-empire waists, and, secondly, the volume of the sleeves had collapsed.

1843-1848. Elizabeth (née Rigby), Lady Eastlake by David Octavius Hill, and Robert Adamson calotype1845. three dreamy ladies

1841. May court fashions (England)1841. May court fashions (England)

The silhouette of the 1840s was that of a bell shaped skirt, narrow waist and slopping shoulders. Sleeves were tight and simple, without excess decoration, as was the bodice. Skirt was simple as well; bell shaped, sometimes with delicate flounces of lace, but for day wear the appearance was kept modest. The fashionable look of the 1840s could be described as modest, sombre and demure, and, I’d dare to say, a bit gothic, especially with evening dresses, accesorise and details such as black lace, mitts, roses.

1843. house dress1840s grey silk satin gown 2

1840s Dresses, Striped and Bonnets

In the early years of the decade sleeves still resembled those of the late 1830s; fulness of the sleeves has moved from the shoulder to the lower part of the arm. From about 1843. narrow sleeves were fashionable, and they continued to be so until the late 1850s. Skirts faced changes too; they were gradually becoming wider and wider, richer in flounces and details, and worn with many layers of petticoats to achieve the desirable fulness.

1840. November fashion

To keep in touch with the overall moderate and dark spirit of the decade, popular colours were rather gloomy and toned down, especially for the day wear. Rich shades were popular for evening dresses, but white was favourable as it symbolised innocence and naivety and was therefor perfect for debutantes. ‘In the 1840’s, soft shades of yellow, greenish gold, blues and pinks were worn; but from the late forties stripes, plaids and the more brilliant shades of blues, greens red, and yellows came into fashion.‘ I have also noticed plaid being a popular fabric for day dresses. As for walking and outdoor dresses, my personal remark is that eggplant purple, cobalt blue and dark greens (darker colours in general) were common, at least judging by the fashion plates.

jane eyre 25

An interesting and accurate description of colours in Charlotte Bronte’s novel Jane Eyre which was written and set in the 1840s. Blanche Ingram’s evening dress at a small gathering at Thornfield Hall:

She was dressed in pure white; an amber-coloured scarf was passed over her shoulder and across her breast, tied at the side, and descending in long, fringed ends below her knee. She wore an amber-coloured flower, too, in her hair: it contrasted well with the jetty mass of her curls.‘ (Chapter 16)

Dresses that Mr Rochester wanted to buy for Jane Eyre:

‘The hour spent at Millcote was a somewhat harassing one to me. Mr. Rochester obliged me to go to a certain silk warehouse: there I was ordered to choose half-a-dozen dresses. (…) I reduced the half-dozen to two: these however, he vowed he would select himself. With anxiety I watched his eye rove over the gay stores: he fixed on a rich silk of the most brilliant amethyst dye, and a superb pink satin. (…) With infinite difficulty, for he was stubborn as a stone, I persuaded him to make an exchange in favour of a sober black satin and pearl-grey silk.’ (Chapter 24)

1842. eveninng dresses,  Petit Courrier Des Dames 1848. fashion 20

To balance out the dreariness of the day wear, evening dresses were, although simple in cut, often in rich shades of colours, usually decorated with a deep flounce of black lace and roses – the particular look is evident on many portraits of the time. Evening dresses were worn with lace mitts, opera gloves and sheer shawls which were quite popular during the decade.

Colours that I have noticed being popular for evening or dinner dresses are different shades of green such as lime and emerald green, raspberry pink, lilac, silver grey, sapphire and sky blue, amber and honey yellow. I have also observed that red wasn’t as popular in the 1840s as it shall be in the following decade; if worn, currant and garnet red were favourable.

1848. January ballgowns, France

Hairstyles of the 1840s are rather distinctive; hair was centrally parted and, while the back of the hair was shaped into a bun, front tresses could either be curled tightly or smoothed back over the ears and looped or braided. Compared to the hairstyles of the 1830s, these are quite simple.

Bonnets were toned down too; they became smaller and less extravagant and were decorated only by subtle flowers and tied with ribbons. For evening wear hair was in most cases worn curled and decorated with flowers, and occasionally, by the most fashionable ladies, little turban style caps were also worn.

1840s Back view of a Victorian coiffure 1840s headdress1847. Abendfrisur

The wedding dresses of this decade are, in my opinion, the most beautiful Victorian wedding dresses. They were worn with long veils, and a dash of lace, with the hair decorated with roses or other small flowers. Queen Victoria married Prince Albert on 10 February 1840, and successfully started a trend for white wedding dresses. However, wearing white for wedding wasn’t as special and new as it seems now; white wedding dresses were worn in the Regency era too as white was the most fashionable colour, and, in addition, white was, as already mentioned, extremely popular choice for evening dresses, especially for young women.

1844. march wedding dress and day dress

1844. nice shawl, Le Moniteur de la Mode1844. December Le Follet.

Still, as a Queen, Victoria popularised white for brides and made it a standard colour for wedding dresses, but also strengthened the Ideal of Womanhood. ‘Women were told from all quarters that their job was to stay close to the home and shape the world only through their calm and morally pure influences on the men in their domestic circle.’ Therefore, white colour for wedding dresses was more symbolic than ever. Image of Queen Victoria as an adoring and innocent bride, really captured the public’s imagination and along with the common character of a ‘modest bride in white’ often found Dicken’s novels, she cemented the ideal image of a bride.

1844. April Le Follet.

Mr Rochester remarked, upon seeing Jane in a white wedding dress and a simple white veil, that she was ‘fair as a lily, and not only the pride of his life, but the desire of his eyes.

Queen Victoria described her wedding dress in her journal: ‘I wore a white satin dress, with a deep flounce of Honiton lace, an imitation of an old design. My jewels were my Turkish diamond necklace & earrings & dear Albert’s beautiful sapphire brooch.

1842. A young Queen Victoria 1840. Queen Victoria's Wedding Dress 1839. sketch by Queen Victoria, Design for her bridesmaids dresses                                      1839. sketch by Queen Victoria, Design for her                                                                                       bridesmaids dresses

Shawl was very fashionable for outwear as it fitted perfectly with the silhouette of sloping shoulders and a bell shaped skirt, and it gives, if I may add, a romantic touch to the outfit. As the sleeves were tight, jackets and coats came into fashion again, but for walking dresses, especially on the north where the Brontës lived, pelerine was both fashionable and practical as it protected the wearer from the strong wind.

1840s Blue plaid winter cloak1845. Dress and mantle, England

As for footwear, 1840s are sadly the last decade of flat shoes. Fashionable shoes for women were satin slippers tied with ribbons around the ankle, and decorated with bows or lace.

1845. evening slippers, england 1845-1865. Evening slippers Queen Victoria's wedding shoes

That’s it! I sincerely hope that this decade of fashion appealed to you and captivated you as much as it captivated me.

My inspirations for April

30 Apr

Well, I’ve read a few interesting books in April – Eugene Onegin for the first time, Sense and Sensibility and Jane Eyre – I can’t possibly count which time it was. I’ve also watched Jane Eyre (2011) and Sense and Sensibility (1995) again! Movie Onegin (1999.) starring Ralph Fiennes is quite good and very accurate. I’ve pretty much been in the 1840s atmosphere, since I’m writing a story set in that decade I had no other option than to be. It’s my favourite decade of Victorian era and most of my stories are set around those times for it is the most interesting and the most inspiring era for me.

1857. The Sister’s Grave by Thomas Brooks

1846. die sentimentale.. johan peter hasenclever

jane eyre

jane eyre 22

jane eyre 25

1844. paris fashions for may

1841. February fashion

1960s Jane Asher 1

1960s Jane Asher 2

1960s Marianne Faithfull photographed by Cecil Beaton

1960s Jenny Boyd, Jane Asher, Cynthia Lennon, Marianne Faithfull, and Pattie Boyd

1960s britta eklan 2

1960s britta eklan 3

marianne 31

marianne 34

1600. View of Toledo by El Greco big

1830s Natalia Pushkina

Jane Eyre’s wedding dress

25 Nov

Have you read Charlotte Bronte’s novel Jane Eyre ? Even if you haven’t read the book, you must have seen one of the films. My favourite version is the one from 2011. with Mia Wasikowska as Jane Eyre. Though I love all the dresses from the film, one of my favourites is Jane’s wedding dress so I wanted to share this with all of you.

jane eyre 31

Jane Eyre 5

1840s wedding dresses are absolutely gorgeous and unique, and yet simple and romantic. It’s not surprising at all that I’m in love with this one. It’s so elegant and dreamy, but still subtle, it’s not, thank God, too much. I love everything about this dress; creamy-beige colours, subtle white flowers, roses on the bosom, lace detail on the neckline and most of all beautiful white veil (which is not seen on the picture.) Fingerless gloves are also a nice detail, characteristic for Romantic era fashion (1820s to 1850s).

I love all the dresses in the film but my heart stopped when I saw this beautiful wedding dresses which was, indeed, one of the nicest I’ve ever seen. Queen Victoria set the era of white wedding gowns and this one was no exception. I’ve also found some wonderful fashion plates dating from 1844., published in magazine Le Follet. It’s possible that Mr. Rochester brought Jane’s wedding dress from France, because he often went there (that’s where he met Adele’s mother.)

1844. march wedding dress and day dress

I love both wedding dresses and veils too. I think they’re fairly similar to Jane’s dress, especially the details and the veil. I love the veil on the plate above; it’s so romantic but toned down compared to previous romantic styles such as 1830s. Both of the dresses are long-sleeves but Jane’s dress has slightly lower neckline than the ones shown on fashion plates.

I love soft curls hairstyle shown below, but Jane’s hairstyle in the movies looked more like the one above. I actually liked the combination of a veil and a hat, though a thought it a little strange at first. I must confess I quite keen on 1840s fashion and on wedding dresses as well, considering that wedding dresses followed the fashions of the day.

1844. nice shawl, Le Moniteur de la Mode

What did you think of Jane’s wedding dress ? Did you liked it as much as I did ?