THE NOVEL jane eyre

Jane Eyre, by Charlotte Bronte The Project Gutenberg eBook, Jane Eyre, by Charlotte Bronte, Illustrated by F H Townsend This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Jane Eyre an Autobiography Author: Charlotte Bronte Release Date: April 29, 2007 [eBook #1260] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK JANE EYRE*** Transcribed from the 1897 Service & Paton edition by David Price, email ccx074@pglaf.org JANE EYRE AN AUTOBIOGRAPHY BY CHARLOTTE BRONTË ILLUSTRATED BY F H TOWNSEND London SERVICE & PATON 5 HENRIETTA STREET 1897 The Illustrations in this Volume are the copyright of SERVICE & PATON, London TO W M THACKERAY, ESQ., This Work IS RESPECTFULLY INSCRIBED BY THE AUTHOR PREFACE A preface to the first edition of “Jane Eyre” being unnecessary, I gave none: this second edition demands a few words both of acknowledgment and miscellaneous remark My thanks are due in three quarters To the Public, for the indulgent ear it has inclined to a plain tale with few pretensions To the Press, for the fair field its honest suffrage has opened to an obscure aspirant To my Publishers, for the aid their tact, their energy, their practical sense and frank liberality have afforded an unknown and unrecommended Author The Press and the Public are but vague personifications for me, and I must thank them in vague terms; but my Publishers are definite: so are certain generous critics who have encouraged me as only large-hearted and high-minded men know how to encourage a struggling stranger; to them, i.e., to my Publishers and the select Reviewers, I say cordially, Gentlemen, I thank you from my heart Having thus acknowledged what I owe those who have aided and approved me, I turn to another class; a small one, so far as I know, but not, therefore, to be overlooked I mean the timorous or carping few who doubt the tendency of such books as “Jane Eyre:” in whose eyes whatever is unusual is wrong; whose ears detect in each protest against bigotry—that parent of crime—an insult to piety, that regent of God on earth I would suggest to such doubters certain obvious distinctions; I would remind them of certain simple truths Conventionality is not morality Self-righteousness is not religion To attack the first is not to assail the last To pluck the mask from the face of the Pharisee, is not to lift an impious hand to the Crown of Thorns These things and deeds are diametrically opposed: they are as distinct as is vice from virtue Men too often confound them: they should not be confounded: appearance should not be mistaken for truth; narrow human doctrines, that only tend to elate and magnify a few, should not be substituted for the worldredeeming creed of Christ There is—I repeat it—a difference; and it is a good, and not a bad action to mark broadly and clearly the line of separation between them The world may not like to see these ideas dissevered, for it has been accustomed to blend them; finding it convenient to make external show pass for sterling worth—to let white-washed walls vouch for clean shrines It may hate him who dares to scrutinise and expose—to rase the gilding, and show base metal under it —to penetrate the sepulchre, and reveal charnel relics: but hate as it will, it is indebted to him Ahab did not like Micaiah, because he never prophesied good concerning him, but evil; probably he liked the sycophant son of Chenaannah better; yet might Ahab have escaped a bloody death, had he but stopped his ears to flattery, and opened them to faithful counsel There is a man in our own days whose words are not framed to tickle delicate ears: who, to my thinking, comes before the great ones of society, much as the son of Imlah came before the throned Kings of Judah and Israel; and who speaks truth as deep, with a power as prophet-like and as vital—a mien as dauntless and as daring Is the satirist of “Vanity Fair” admired in high places? I cannot tell; but I think if some of those amongst whom he hurls the Greek fire of his sarcasm, and over whom he flashes the levin-brand of his denunciation, were to take his warnings in time—they or their seed might yet escape a fatal RimothGilead Why have I alluded to this man? I have alluded to him, Reader, because I think I see in him an intellect profounder and more unique than his contemporaries have yet recognised; because I regard him as the first social regenerator of the day— as the very master of that working corps who would restore to rectitude the warped system of things; because I think no commentator on his writings has yet found the comparison that suits him, the terms which rightly characterise his talent They say he is like Fielding: they talk of his wit, humour, comic powers He resembles Fielding as an eagle does a vulture: Fielding could stoop on carrion, but Thackeray never does His wit is bright, his humour attractive, but both bear the same relation to his serious genius that the mere lambent sheetlightning playing under the edge of the summer-cloud does to the electric death- spark hid in its womb Finally, I have alluded to Mr Thackeray, because to him —if he will accept the tribute of a total stranger—I have dedicated this second edition of “JANE EYRE.” CURRER BELL December 21st, 1847 NOTE TO THE THIRD EDITION I avail myself of the opportunity which a third edition of “Jane Eyre” affords me, of again addressing a word to the Public, to explain that my claim to the title of novelist rests on this one work alone If, therefore, the authorship of other works of fiction has been attributed to me, an honour is awarded where it is not merited; and consequently, denied where it is justly due This explanation will serve to rectify mistakes which may already have been made, and to prevent future errors CURRER BELL April 13th, 1848 CHAPTER I There was no possibility of taking a walk that day We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further out-door exercise was now out of the question I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed The said Eliza, John, and Georgiana were now clustered round their mama in the drawing-room: she lay reclined on a sofa by the fireside, and with her darlings about her (for the time neither quarrelling nor crying) looked perfectly happy Me, she had dispensed from joining the group; saying, “She regretted to be under the necessity of keeping me at a distance; but that until she heard from Bessie, and could discover by her own observation, that I was endeavouring in good earnest to acquire a more sociable and childlike disposition, a more attractive and sprightly manner—something lighter, franker, more natural, as it were—she really must exclude me from privileges intended only for contented, happy, little children.” “What does Bessie say I have done?” I asked “Jane, I don’t like cavillers or questioners; besides, there is something truly forbidding in a child taking up her elders in that manner Be seated somewhere; and until you can speak pleasantly, remain silent.” A breakfast-room adjoined the drawing-room, I slipped in there It contained a bookcase: I soon possessed myself of a volume, taking care that it should be one stored with pictures I mounted into the window-seat: gathering up my feet, I sat cross-legged, like a Turk; and, having drawn the red moreen curtain nearly close, I was shrined in double retirement 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 I returned to my book—Bewick’s History of British Birds: the letterpress thereof I cared little for, generally speaking; and yet there were certain introductory pages that, child as I was, I could not pass quite as a blank They were those which treat of the haunts of sea-fowl; of “the solitary rocks and promontories” by them only inhabited; of the coast of Norway, studded with isles from its southern extremity, the Lindeness, or Naze, to the North Cape— “Where the Northern Ocean, in vast whirls, Boils round the naked, melancholy isles Of farthest Thule; and the Atlantic surge Pours in among the stormy Hebrides.” Nor could I pass unnoticed the suggestion of the bleak shores of Lapland, Siberia, Spitzbergen, Nova Zembla, Iceland, Greenland, with “the vast sweep of the Arctic Zone, and those forlorn regions of dreary space,—that reservoir of frost and snow, where firm fields of ice, the accumulation of centuries of winters, glazed in Alpine heights above heights, surround the pole, and concentre the multiplied rigours of extreme cold.” Of these death-white realms I formed an idea of my own: shadowy, like all the half-comprehended notions that float dim through children’s brains, but strangely impressive The words in these introductory pages connected themselves with the succeeding vignettes, and gave significance to the rock standing up alone in a sea of billow and spray; to the broken boat stranded on a desolate coast; to the cold and ghastly moon glancing through bars of cloud at a wreck just sinking I cannot tell what sentiment haunted the quite solitary churchyard, with its inscribed headstone; its gate, its two trees, its low horizon, girdled by a broken wall, and its newly-risen crescent, attesting the hour of eventide The two ships becalmed on a torpid sea, I believed to be marine phantoms The fiend pinning down the thief’s pack behind him, I passed over quickly: it was an object of terror So was the black horned thing seated aloof on a rock, surveying a distant crowd surrounding a gallows Each picture told a story; mysterious often to my undeveloped understanding and imperfect feelings, yet ever profoundly interesting: as interesting as the tales Bessie sometimes narrated on winter evenings, when she chanced to be in good humour; and when, having brought her ironing-table to the nursery hearth, she allowed us to sit about it, and while she got up Mrs Reed’s lace frills, and crimped her nightcap borders, fed our eager attention with passages of love and adventure taken from old fairy tales and other ballads; or (as at a later period I discovered) from the pages of Pamela, and Henry, Earl of Moreland With Bewick on my knee, I was then happy: happy at least in my way I feared nothing but interruption, and that came too soon The breakfast-room door opened “Boh! Madam Mope!” cried the voice of John Reed; then he paused: he found the room apparently empty “Where the dickens is she!” he continued “Lizzy! Georgy! (calling to his sisters) Joan is not here: tell mama she is run out into the rain—bad animal!” “It is well I drew the curtain,” thought I; and I wished fervently he might not discover my hiding-place: nor would John Reed have found it out himself; he was not quick either of vision or conception; but Eliza just put her head in at the door, and said at once— “She is in the window-seat, to be sure, Jack.” And I came out immediately, for I trembled at the idea of being dragged forth by the said Jack “What do you want?” I asked, with awkward diffidence “Say, ‘What do you want, Master Reed?’” was the answer “I want you to come here;” and seating himself in an arm-chair, he intimated by a gesture that I was to approach and stand before him John Reed was a schoolboy of fourteen years old; four years older than I, for I was but ten: large and stout for his age, with a dingy and unwholesome skin; thick lineaments in a spacious visage, heavy limbs and large extremities He gorged himself habitually at table, which made him bilious, and gave him a dim “You speak of friends, Jane?” he asked “Yes, of friends,” I answered rather hesitatingly: for I knew I meant more than friends, but could not tell what other word to employ He helped me “Ah! Jane But I want a wife.” “Do you, sir?” “Yes: is it news to you?” “Of course: you said nothing about it before.” “Is it unwelcome news?” “That depends on circumstances, sir—on your choice.” “Which you shall make for me, Jane I will abide by your decision.” “Choose then, sir—her who loves you best.” “I will at least choose—her I love best Jane, will you marry me?” “Yes, sir.” “A poor blind man, whom you will have to lead about by the hand?” “Yes, sir.” “A crippled man, twenty years older than you, whom you will have to wait on?” “Yes, sir.” “Truly, Jane?” “Most truly, sir.” “Oh! my darling! God bless you and reward you!” “Mr Rochester, if ever I did a good deed in my life—if ever I thought a good thought—if ever I prayed a sincere and blameless prayer—if ever I wished a righteous wish,—I am rewarded now To be your wife is, for me, to be as happy as I can be on earth.” “Because you delight in sacrifice.” “Sacrifice! What do I sacrifice? Famine for food, expectation for content To be privileged to put my arms round what I value—to press my lips to what I love —to repose on what I trust: is that to make a sacrifice? If so, then certainly I delight in sacrifice.” “And to bear with my infirmities, Jane: to overlook my deficiencies.” “Which are none, sir, to me I love you better now, when I can really be useful to you, than I did in your state of proud independence, when you disdained every part but that of the giver and protector.” “Hitherto I have hated to be helped—to be led: henceforth, I feel I shall hate it no more I did not like to put my hand into a hireling’s, but it is pleasant to feel it circled by Jane’s little fingers I preferred utter loneliness to the constant attendance of servants; but Jane’s soft ministry will be a perpetual joy Jane suits me: do I suit her?” “To the finest fibre of my nature, sir.” “The case being so, we have nothing in the world to wait for: we must be married instantly.” He looked and spoke with eagerness: his old impetuosity was rising “We must become one flesh without any delay, Jane: there is but the licence to get—then we marry.” “Mr Rochester, I have just discovered the sun is far declined from its meridian, and Pilot is actually gone home to his dinner Let me look at your watch.” “Fasten it into your girdle, Janet, and keep it henceforward: I have no use for it.” “It is nearly four o’clock in the afternoon, sir Don’t you feel hungry?” “The third day from this must be our wedding-day, Jane Never mind fine clothes and jewels, now: all that is not worth a fillip.” “The sun has dried up all the rain-drops, sir The breeze is still: it is quite hot.” “Do you know, Jane, I have your little pearl necklace at this moment fastened round my bronze scrag under my cravat? I have worn it since the day I lost my only treasure, as a memento of her.” “We will go home through the wood: that will be the shadiest way.” He pursued his own thoughts without heeding me “Jane! you think me, I daresay, an irreligious dog: but my heart swells with gratitude to the beneficent God of this earth just now He sees not as man sees, but far clearer: judges not as man judges, but far more wisely I did wrong: I would have sullied my innocent flower—breathed guilt on its purity: the Omnipotent snatched it from me I, in my stiff-necked rebellion, almost cursed the dispensation: instead of bending to the decree, I defied it Divine justice pursued its course; disasters came thick on me: I was forced to pass through the valley of the shadow of death His chastisements are mighty; and one smote me which has humbled me for ever You know I was proud of my strength: but what is it now, when I must give it over to foreign guidance, as a child does its weakness? Of late, Jane—only—only of late—I began to see and acknowledge the hand of God in my doom I began to experience remorse, repentance; the wish for reconcilement to my Maker I began sometimes to pray: very brief prayers they were, but very sincere “Some days since: nay, I can number them—four; it was last Monday night, a singular mood came over me: one in which grief replaced frenzy—sorrow, sullenness I had long had the impression that since I could nowhere find you, you must be dead Late that night—perhaps it might be between eleven and twelve o’clock—ere I retired to my dreary rest, I supplicated God, that, if it seemed good to Him, I might soon be taken from this life, and admitted to that world to come, where there was still hope of rejoining Jane “I was in my own room, and sitting by the window, which was open: it soothed me to feel the balmy night-air; though I could see no stars and only by a vague, luminous haze, knew the presence of a moon I longed for thee, Janet! Oh, I longed for thee both with soul and flesh! I asked of God, at once in anguish and humility, if I had not been long enough desolate, afflicted, tormented; and might not soon taste bliss and peace once more That I merited all I endured, I acknowledged—that I could scarcely endure more, I pleaded; and the alpha and omega of my heart’s wishes broke involuntarily from my lips in the words —‘Jane! Jane! Jane!’” “Did you speak these words aloud?” “I did, Jane If any listener had heard me, he would have thought me mad: I pronounced them with such frantic energy.” “And it was last Monday night, somewhere near midnight?” “Yes; but the time is of no consequence: what followed is the strange point You will think me superstitious,—some superstition I have in my blood, and always had: nevertheless, this is true—true at least it is that I heard what I now relate “As I exclaimed ‘Jane! Jane! Jane!’ a voice—I cannot tell whence the voice came, but I know whose voice it was—replied, ‘I am coming: wait for me;’ and a moment after, went whispering on the wind the words—‘Where are you?’ “I’ll tell you, if I can, the idea, the picture these words opened to my mind: yet it is difficult to express what I want to express Ferndean is buried, as you see, in a heavy wood, where sound falls dull, and dies unreverberating ‘Where are you?’ seemed spoken amongst mountains; for I heard a hill-sent echo repeat the words Cooler and fresher at the moment the gale seemed to visit my brow: I could have deemed that in some wild, lone scene, I and Jane were meeting In spirit, I believe we must have met You no doubt were, at that hour, in unconscious sleep, Jane: perhaps your soul wandered from its cell to comfort mine; for those were your accents—as certain as I live—they were yours!” Reader, it was on Monday night—near midnight—that I too had received the mysterious summons: those were the very words by which I replied to it I listened to Mr Rochester’s narrative, but made no disclosure in return The coincidence struck me as too awful and inexplicable to be communicated or discussed If I told anything, my tale would be such as must necessarily make a profound impression on the mind of my hearer: and that mind, yet from its sufferings too prone to gloom, needed not the deeper shade of the supernatural I kept these things then, and pondered them in my heart “You cannot now wonder,” continued my master, “that when you rose upon me so unexpectedly last night, I had difficulty in believing you any other than a mere voice and vision, something that would melt to silence and annihilation, as the midnight whisper and mountain echo had melted before Now, I thank God! I know it to be otherwise Yes, I thank God!” He put me off his knee, rose, and reverently lifting his hat from his brow, and bending his sightless eyes to the earth, he stood in mute devotion Only the last words of the worship were audible “I thank my Maker, that, in the midst of judgment, he has remembered mercy I humbly entreat my Redeemer to give me strength to lead henceforth a purer life than I have done hitherto!” Then he stretched his hand out to be led I took that dear hand, held it a moment to my lips, then let it pass round my shoulder: being so much lower of stature than he, I served both for his prop and guide We entered the wood, and wended homeward CHAPTER XXXVIII—CONCLUSION Reader, I married him A quiet wedding we had: he and I, the parson and clerk, were alone present When we got back from church, I went into the kitchen of the manor-house, where Mary was cooking the dinner and John cleaning the knives, and I said— “Mary, I have been married to Mr Rochester this morning.” The housekeeper and her husband were both of that decent phlegmatic order of people, to whom one may at any time safely communicate a remarkable piece of news without incurring the danger of having one’s ears pierced by some shrill ejaculation, and subsequently stunned by a torrent of wordy wonderment Mary did look up, and she did stare at me: the ladle with which she was basting a pair of chickens roasting at the fire, did for some three minutes hang suspended in air; and for the same space of time John’s knives also had rest from the polishing process: but Mary, bending again over the roast, said only— “Have you, Miss? Well, for sure!” A short time after she pursued—“I seed you go out with the master, but I didn’t know you were gone to church to be wed;” and she basted away John, when I turned to him, was grinning from ear to ear “I telled Mary how it would be,” he said: “I knew what Mr Edward” (John was an old servant, and had known his master when he was the cadet of the house, therefore, he often gave him his Christian name)—“I knew what Mr Edward would do; and I was certain he would not wait long neither: and he’s done right, for aught I know I wish you joy, Miss!” and he politely pulled his forelock “Thank you, John Mr Rochester told me to give you and Mary this.” I put into his hand a five-pound note Without waiting to hear more, I left the kitchen In passing the door of that sanctum some time after, I caught the words— “She’ll happen do better for him nor ony o’t’ grand ladies.” And again, “If she ben’t one o’ th’ handsomest, she’s noan faâl and varry good-natured; and i’ his een she’s fair beautiful, onybody may see that.” I wrote to Moor House and to Cambridge immediately, to say what I had done: fully explaining also why I had thus acted Diana and Mary approved the step unreservedly Diana announced that she would just give me time to get over the honeymoon, and then she would come and see me “She had better not wait till then, Jane,” said Mr Rochester, when I read her letter to him; “if she does, she will be too late, for our honeymoon will shine our life long: its beams will only fade over your grave or mine.” How St John received the news, I don’t know: he never answered the letter in which I communicated it: yet six months after he wrote to me, without, however, mentioning Mr Rochester’s name or alluding to my marriage His letter was then calm, and, though very serious, kind He has maintained a regular, though not frequent, correspondence ever since: he hopes I am happy, and trusts I am not of those who live without God in the world, and only mind earthly things You have not quite forgotten little Adèle, have you, reader? I had not; I soon asked and obtained leave of Mr Rochester, to go and see her at the school where he had placed her Her frantic joy at beholding me again moved me much She looked pale and thin: she said she was not happy I found the rules of the establishment were too strict, its course of study too severe for a child of her age: I took her home with me I meant to become her governess once more, but I soon found this impracticable; my time and cares were now required by another —my husband needed them all So I sought out a school conducted on a more indulgent system, and near enough to permit of my visiting her often, and bringing her home sometimes I took care she should never want for anything that could contribute to her comfort: she soon settled in her new abode, became very happy there, and made fair progress in her studies As she grew up, a sound English education corrected in a great measure her French defects; and when she left school, I found in her a pleasing and obliging companion: docile, goodtempered, and well-principled By her grateful attention to me and mine, she has long since well repaid any little kindness I ever had it in my power to offer her My tale draws to its close: one word respecting my experience of married life, and one brief glance at the fortunes of those whose names have most frequently recurred in this narrative, and I have done I have now been married ten years I know what it is to live entirely for and with what I love best on earth I hold myself supremely blest—blest beyond what language can express; because I am my husband’s life as fully as he is mine No woman was ever nearer to her mate than I am: ever more absolutely bone of his bone and flesh of his flesh I know no weariness of my Edward’s society: he knows none of mine, any more than we each do of the pulsation of the heart that beats in our separate bosoms; consequently, we are ever together To be together is for us to be at once as free as in solitude, as gay as in company We talk, I believe, all day long: to talk to each other is but a more animated and an audible thinking All my confidence is bestowed on him, all his confidence is devoted to me; we are precisely suited in character—perfect concord is the result Mr Rochester continued blind the first two years of our union; perhaps it was that circumstance that drew us so very near—that knit us so very close: for I was then his vision, as I am still his right hand Literally, I was (what he often called me) the apple of his eye He saw nature—he saw books through me; and never did I weary of gazing for his behalf, and of putting into words the effect of field, tree, town, river, cloud, sunbeam—of the landscape before us; of the weather round us—and impressing by sound on his ear what light could no longer stamp on his eye Never did I weary of reading to him; never did I weary of conducting him where he wished to go: of doing for him what he wished to be done And there was a pleasure in my services, most full, most exquisite, even though sad—because he claimed these services without painful shame or damping humiliation He loved me so truly, that he knew no reluctance in profiting by my attendance: he felt I loved him so fondly, that to yield that attendance was to indulge my sweetest wishes One morning at the end of the two years, as I was writing a letter to his dictation, he came and bent over me, and said—“Jane, have you a glittering ornament round your neck?” I had a gold watch-chain: I answered “Yes.” “And have you a pale blue dress on?” And have you a pale blue dress on? I had He informed me then, that for some time he had fancied the obscurity clouding one eye was becoming less dense; and that now he was sure of it He and I went up to London He had the advice of an eminent oculist; and he eventually recovered the sight of that one eye He cannot now see very distinctly: he cannot read or write much; but he can find his way without being led by the hand: the sky is no longer a blank to him—the earth no longer a void When his first-born was put into his arms, he could see that the boy had inherited his own eyes, as they once were—large, brilliant, and black On that occasion, he again, with a full heart, acknowledged that God had tempered judgment with mercy My Edward and I, then, are happy: and the more so, because those we most love are happy likewise Diana and Mary Rivers are both married: alternately, once every year, they come to see us, and we go to see them Diana’s husband is a captain in the navy, a gallant officer and a good man Mary’s is a clergyman, a college friend of her brother’s, and, from his attainments and principles, worthy of the connection Both Captain Fitzjames and Mr Wharton love their wives, and are loved by them As to St John Rivers, he left England: he went to India He entered on the path he had marked for himself; he pursues it still A more resolute, indefatigable pioneer never wrought amidst rocks and dangers Firm, faithful, and devoted, full of energy, and zeal, and truth, he labours for his race; he clears their painful way to improvement; he hews down like a giant the prejudices of creed and caste that encumber it He may be stern; he may be exacting; he may be ambitious yet; but his is the sternness of the warrior Greatheart, who guards his pilgrim convoy from the onslaught of Apollyon His is the exaction of the apostle, who speaks but for Christ, when he says—“Whosoever will come after me, let him deny himself, and take up his cross and follow me.” His is the ambition of the high master-spirit, which aims to fill a place in the first rank of those who are redeemed from the earth—who stand without fault before the throne of God, who share the last mighty victories of the Lamb, who are called, and chosen, and faithful St John is unmarried: he never will marry now Himself has hitherto sufficed to the toil, and the toil draws near its close: his glorious sun hastens to its setting The last letter I received from him drew from my eyes human tears, and yet filled my heart with divine joy: he anticipated his sure reward, his incorruptible crown I know that a stranger’s hand will write to me next, to say that the good and faithful servant has been called at length into the joy of his Lord And why weep for this? No fear of death will darken St John’s last hour: his mind will be unclouded, his heart will be undaunted, his hope will be sure, his faith steadfast His own words are a pledge of this— “My Master,” he says, “has forewarned me Daily He announces more distinctly,—‘Surely I come quickly!’ and hourly I more eagerly respond, —‘Amen; even so come, Lord Jesus!’” ***END OF THE PROJECT GUTENBERG EBOOK JANE EYRE*** ***** This file should be named 1260-h.htm or 1260-h.zip****** This and all associated files of various formats will be found in: http://www.gutenberg.org/dirs/1/2/6/1260 Updated editions will replace the previous one the old editions will be renamed Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission If you do not charge anything for copies of this eBook, complying with the rules is very easy You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research They may be modified and printed and given away you may do practically ANYTHING with public domain eBooks Redistribution is subject to the trademark license, especially commercial redistribution *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://www.gutenberg.org/license) Section 1 General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8 1.B "Project Gutenberg" is a registered trademark It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement See paragraph 1.C below There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works See paragraph 1.E below 1.C The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works Nearly all the individual works in the collection are in the public domain in the United States If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others 1.D The copyright laws of the place where you are located also govern what you can do with this work Copyright laws in most countries are in a constant state of change If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work The Foundation makes no representations concerning the copyright status of any work in any country outside the United States 1.E Unless you have removed all references to Project Gutenberg: 1.E.1 The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 1.E.2 If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9 1.E.3 If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work 1.E.4 Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm 1.E.5 Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License 1.E.6 You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1 1.E.7 Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9 1.E.8 You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works 1.E.9 If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark Contact the Foundation as set forth in Section 3 below 1.F 1.F.1 Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment 1.F.2 LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3 YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE 1.F.3 LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from If you received the work on a physical medium, you must return the medium with your written explanation The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem 1.F.4 Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE 1.F.5 Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions 1.F.6 INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause Section Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life Volunteers and financial support to provide volunteers with the assistance they need, is critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf Section 3 Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service The Foundation's EIN or federal tax identification number is 64-6221541 Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S federal laws and your state's laws The Foundation's principal office is located at 4557 Melan Dr S Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org Email contact links and up to date contact information can be found at the Foundation's web site and official page at http://www.gutenberg.org/about/contact For additional contact information: Dr Gregory B Newby Chief Executive and Director gbnewby@pglaf.org Section 4 Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements We do not solicit donations in locations where we have not received written confirmation of compliance To SEND DONATIONS or determine the status of compliance for any particular state visit http://www.gutenberg.org/fundraising/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States U.S laws alone swamp our small staff Please check the Project Gutenberg Web pages for current donation methods and addresses Donations are accepted in a number of other ways including checks, online payments and credit card donations To donate, please visit: http://www.gutenberg.org/fundraising/donate Section 5 General Information About Project Gutenberg-tm electronic works Professor Michael S Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S unless a copyright notice is included Thus, we do not necessarily keep eBooks in compliance with any particular paper edition Most people start at our Web site which has the main PG search facility: http://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks ... punished; though he twisted the necks of the pigeons, killed the little pea-chicks, set the dogs at the sheep, stripped the hothouse vines of their fruit, and broke the buds off the choicest plants in the conservatory: he called his mother “old girl,”... “Where the Northern Ocean, in vast whirls, Boils round the naked, melancholy isles Of farthest Thule; and the Atlantic surge Pours in among the stormy Hebrides.” Nor could I pass unnoticed the suggestion of the bleak shores of Lapland,... like a tabernacle in the centre; the two large windows, with their blinds always drawn down, were half shrouded in festoons and falls of similar drapery; the carpet was red; the table at the foot of the bed was covered with a crimson cloth;