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Between the 1780s and the end of the nineteenth century, an army of sad women took up residence in other people's homes, part and yet not part of the family, not servants, yet not equals. To become a governess, observed Jane Austen in Emma, was to "retire from all the pleasures of life, of rational intercourse, equal society, peace and hope, to penance and mortification for ever." However, in an ironic paradox, the governess, so marginal to her society, was central to its fiction-partly because governessing was the fate of some exceptionally talented women who later wrote novels based on their experiences. But personal experience was only one source, and writers like Wilkie Collins, William Makepeace Thackeray, Henry James, and Jane Austen all recognized that the governess's solitary figure, adrift in the world, offered more novelistic scope than did the constrained and respectable wife. Ruth Brandon weaves literary and social history with details from the lives of actual governesses, drawn from their letters and journals, to craft a rare portrait of real women whose lives were in stark contrast to the romantic tales of their fictional counterparts. Governess will resonate with the many fans of Jane Austen and the Brontës, whose novels continue to inspire films and books, as well as fans of The Nanny Diaries and other books that explore the longstanding tension between mothers and the women they hire to raise their children.
Worlds lie between the marketplaces of India and the halls of a magnificent country estate like Highland Hall. Will Julia be able to find her place when a governess is neither upstairs family nor downstairs help? Missionary Julia Foster loves working alongside her parents, ministering and caring for young girls in India. But when the family must return to England due to illness, she readily accepts the burden for her parents’ financial support. Taking on a job at Highland Hall as governess, she quickly finds that teaching her four privileged, ill-mannered charges at a grand estate is more challenging than expected, and she isn’t sure what to make of the estate’s preoccupied master, Sir William Ramsey. Widowed and left to care for his two young children and his deceased cousin Randolph’s two teenage girls, William is consumed with saving the estate from the financial ruin. The last thing he needs is any distraction coming from the kindhearted-yet-determined governess who seems to be quietly transforming his household with her persuasive personality, vibrant prayer life, and strong faith. While both are tending past wounds and guarding fragile secrets, Julia and William are determined to do what it takes to save their families—common ground that proves fertile for unexpected feelings. But will William choose Julia’s steadfast heart and faith over the wealth and power he needs to secure Highland Hall’s future?
The figure of the governess is very familiar from nineteenth-century literature. Much less is known about the governess in reality. This book is the first rounded exploration of what the life of the home schoolroom was actually like. Drawing on original diaries and a variety of previously undiscovered sources, Kathryn Hughes describes why the period 1840-80 was the classic age of governesses. She examines their numbers, recruitment, teaching methods, social position and prospects. The governess provides a key to the central Victorian concept of the lady. Her education consisted of a series of accomplishments designed to attract a husband able to keep her in the style to which she had become accustomed from birth. Becoming a governess was the only acceptable way of earning money open to a lady whose family could not support her in leisure. Being paid to educate another woman's children set in play a series of social and emotional tensions. The governess was a surrogate mother, who was herself childless, a young woman whose marriage prospects were restricted, and a family member who was sometimes mistaken for a servant.
As the daughter of a modest minister, Agnes Grey has low prospects in life. After her father loses most of the family’s savings, Agnes is determined to help out and takes a position as governess for a wealthy family. Being a governess turns out to be more challenging than she could have predicted as she has to manage spoiled children and petty parents, while dependent on their approval for her livelihood. Agnes Grey is the first novel by Anne Brontë, published in 1847, and today considered an everlasting classic. Like the famous Jane Eyre, by Anne’s sister Emily Brontë, it deals with the precarious position of the governess and how the young women taking on that role were treated. It is a poignant and insightful novel that explores rigid class structures and the challenges it poses to women. ANNE BRONTË [1820-1849] was an English poet and novelist. She was the youngest of the three Brontë authors, her older sisters being Emily and Charlotte. Anne died young, probably from tuberculosis, having published the novels Agnes Grey and The Tenant of Wildfell Hall, the latter hailed today as one of the first feminist novels.
An investigation of the Victorian governess novel as a specific genre. Based on a comprehensive set of nineteenth-century novels, governess manuals, articles and biographical material, it shows how the Victorian Governess novel made up a vital part of the governess debate, as well as of the more general debate on female education.