Charlotte Bronte's life

PART I 
2. Her second

novel.
PART II
3. The early years and education.
PART III.
4.First publication.
PART IV
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PART I 
THE BEGINNING OF

HER LIFE AND NOVELS.

boarding school run by Constantin Héger (1809–1896) and his wife Claire Zoé

Parent Héger (1804–1887). During her time in Brussels, Brontë, who favoured the Protestant ideal of an individual in direct contact with God, objected to the stern Catholicism of Madame Héger, which she considered a tyrannical religion that enforced conformity and submission to the Pope. 

In return for board and tuition Charlotte taught English and Emily taught music. Their time at the school was cut short when their aunt Elizabeth Branwell, who had joined the family in Haworth to look after the children after their mother's death, died of internal obstruction in October 1842. Charlotte returned alone to Brussels in January 1843 to take up a teaching post at the school. Her second stay was not happy: she was homesick and deeply attached to Constantin Héger. She returned to Haworth in January 1844 and used the time spent in Brussels as the inspiration for some of the events in The Professor and Villette.

second novel, Shirley. It was only partially completed when the Brontë

family suffered the deaths of three of its members within eight months. In September 1848 Branwell died of chronic bronchitis and  marasmus, exacerbated by heavy drinking, although Brontë believed that his death was due to tuberculosis. Branwell may have had a laudanum addiction. Emily became seriously ill shortly after his funeral and died of pulmonary tuberculosis in December 1848. Anne died of the same disease in May 1849. Brontë was unable to write at this time.

After Anne's death Brontë resumed writing as a way of dealing with her grief, and Shirley, which deals with themes of industrial unrest and the role of women in society, was published in October 1849. Unlike Jane Eyre, which is written in the first person, Shirley is written in the third person and lacks the emotional immediacy of her first novel,[24] and reviewers found it less shocking. Brontë, as her late sister's heir, suppressed the republication of Anne's second novel, The Tenant of Wildfell Hall, an action which had a deleterious effect on Anne's popularity as a novelist and has remained controversial among the sisters' biographers ever since.

Shirley and bereavements

of marriage from Arthur Bell Nicholls, her father's curate, who had long

been in love with her. She initially turned down his proposal and her father objected to the union at least partly because of Nicholls's poor financial status. Elizabeth Gaskell, who believed that marriage provided "clear and defined duties" that were beneficial for a woman, encouraged Brontë to consider the positive aspects of such a union and tried to use her contacts to engineer an improvement in Nicholls's finances. Brontë meanwhile was increasingly attracted to Nicholls and by January 1854 she had accepted his proposal. They gained the approval of her father by April and married in June. Her father Patrick had intended to give Charlotte away, but at the last minute decided he could not, and Charlotte had to make her way to the church without him. The married couple took their honeymoon in Banagher, County Offaly, Ireland. By all accounts, her marriage was a success and Brontë found herself very happy in a way that was new to her.

education at Roe Head in Mirfield, where she met her lifelong

friends and correspondents Ellen Nusseyand Mary Taylor. In 1833 she wrote a novella, The Green Dwarf, using the name Wellesley. Around about 1833, her stories shifted from tales of the supernatural to more realistic stories. She returned to Roe Head as a teacher from 1835 to 1838. Unhappy and lonely as a teacher at Roe Head, Brontë took out her sorrows in poetry, writing a series of melancholic poems. In "We wove a Web in Childhood" written in December 1835, Brontë drew a sharp contrast between her miserable life as a teacher and the vivid imaginary worlds she and her siblings had created. In another poem "Morning was its freshness still" written at the same time, Brontë wrote "Tis bitter sometimes to recall/Illusions once deemed fair". Many of her poems concerned the imaginary world of Angria, often concerning Byronic heroes, and in December 1836 she wrote to the Poet Laureate Robert Southey asking him for encouragement of her career as a poet. Southey wrote back to say she was a bad poet and to consider another career, a letter that greatly hurt her. One scholar Dawn Potter wrote that Brontë had a streak of sadism in her novels with her characters always suffering in some way, which she suggested was due to her own unhappy life.
In 1839 she took up the first of many positions as governess to families in Yorkshire, a career she pursued until 1841. In particular, from May to July 1839 she was employed by the Sidgwick family at their summer residence, Stone Gappe, in Lothersdale, where one of her charges was John Benson Sidgwick (1835–1927), an unruly child who on one occasion threw a Bible at Charlotte, an incident that may have been the inspiration for a part of the opening chapter of Jane Eyre in which John Reed throws a book at the young Jane.[10] Brontë did not enjoy her work as a governess, noting her employers treated her almost as a slave, constantly humiliating her.
Brontë was of slight build and was less than five feet tall.

she was heartened by an encouraging response from Smith, Elder &

Co. of Cornhill, who expressed an interest in any longer works Currer Bell might wish to send. Brontë responded by finishing and sending a second manuscript in August 1847. Six weeks later, Jane Eyre was published. It tells the story of a plain governess, Jane, who, after difficulties in her early life, falls in love with her employer, Mr Rochester. They marry, but only after Rochester's insane first wife, of whom Jane initially has no knowledge, dies in a dramatic house fire. The book's style was innovative,combining naturalism with gothic melodrama, and broke new ground in being written from an intensely evoked first-person female perspective.Brontë believed art was most convincing when based on personal experience; in Jane Eyre she transformed the experience into a novel with universal appeal.