Jane Eyre Study Guide
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Preface

Chapter Summary

In the Preface to the second edition of Jane Eyre, the author, writing as Currer Bell, offers thanks to three parties: the reading Public, the Press, and the Publishers, singling out generous critics for particular warmth. Bell then turns to a small group of detractors who have questioned the moral tendency of the novel, charging them with confusing conventionality with morality and self-righteousness with religion.

Bell defends the novel's critique of hypocrisy by insisting that attacking false piety is not the same as attacking true faith, invoking the biblical figure of Micaiah and the Pharisee to illustrate the point. The Preface closes with an extended tribute to William Makepeace Thackeray, whose satirical genius Bell compares to a prophet's, and to whom the second edition is formally dedicated.

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Original Text
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 world-redeeming 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 Chenaanah 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 Rimoth-Gilead. 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 sheet-lightning 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_ 21_st_, 1847.
Source text: Project Gutenberg #1260. Public domain worldwide.
Modern English
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The Preface functions as both a paratextual defence and a manifesto, establishing the ideological framework through which readers should approach Jane Eyre. Writing under the male pseudonym Currer Bell, Brontë performs a careful negotiation of authorial identity: the gendered concealment of the pen-name allows her to address the literary establishment on ostensibly equal terms, while the cordial address 'Gentlemen, I thank you from my heart' simultaneously acknowledges and subtly ironises the masculine gatekeeping of the Victorian press.

The central argumentative move is the decoupling of conventionality from morality. Brontë's aphoristic parallelism — 'Conventionality is not morality. Self-righteousness is not religion.' — deploys the rhetorical figure of antithesis with almost epigrammatic compression, anticipating the novel's sustained critique of figures such as Brocklehurst and St. John Rivers. By insisting that 'appearance should not be mistaken for truth,' she aligns the novel's ethical project with a Protestant tradition of stripping away ceremony to reach authentic faith, even as she pre-empts accusations of impiety.

The biblical allusions are structurally essential rather than merely decorative. The Pharisee and the Crown of Thorns invoke Christ's own denunciation of religious hypocrisy, lending Brontë's critique scriptural authority. The Ahab–Micaiah episode from 1 Kings reinforces the motif of the unwelcome truth-teller: the prophet who speaks against comfortable power is vindicated by events, however much he is hated in the moment. This positions the novel itself as a form of prophetic utterance — uncomfortable, necessary, ultimately redemptive.

The extended comparison of Thackeray to a prophet is the Preface's most rhetorically ambitious passage. The metaphor of 'Greek fire' and the 'levin-brand of his denunciation' figures satirical writing as elemental, destructive force wielded in the service of social regeneration. Brontë's dismissal of the Fielding comparison — 'Fielding could stoop on carrion, but Thackeray never does' — demonstrates her confidence as a critical voice and implicitly claims for serious fiction a moral seriousness that mere wit cannot supply. The eagle-versus-vulture image encapsulates a hierarchy of artistic and ethical aspiration that runs throughout Jane Eyre itself.

Finally, the Preface's tone enacts the very tension it describes. Brontë is simultaneously deferential (thanking publishers and critics) and combative (rebuking 'the timorous or carping few'), modest in claiming only to be 'an obscure aspirant' yet bold enough to dedicate her work to the most celebrated novelist of the day. This double register — self-assertion within apparent self-effacement — mirrors Jane Eyre's own narrative voice and signals that the novel's challenge to social hierarchy begins before the story itself opens.

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✎ Mr. Shifflett's Note
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