Jane Eyre and Wuthering Heights: comfort in troubled times

The Jakarta Post recommends Jane Eyre as one of several 'novels from the Victorian era to give comfort in troubled times'.

Charlotte Brontë: Jane Eyre (1847)
Jane Eyre fights for what she believes to be right. She stands up to those more powerful than herself, whether it be for her own rights or the good of others.
Orphaned and rejected by her guardian aunt, Jane trains to become a teacher at a charity school and then becomes governess to Adele, the ward of the wealthy and seemingly misanthropic Mr Rochester.
Slowly and unwillingly she falls in love with her master but he has a certain secret in his attic. What will this determined woman do to save herself from the temptations of his love? (Pam Lock)

Tatler recommends two adaptations of Jane Eyre as two of the 'The very finest period dramas to watch on BritBox'.

Jane Eyre, 1973 BBC miniseries
Charlotte Brontë’s most famous novel, Jane Eyre has been dramatised on multiple occasions – and Tatler has a taste for all the different variations. This inaugural 1973 four-hour miniseries starred Joan Cusack and Michael Jayston, as the titular heroine and Mr Rochester. At the time, the New York Times praised Jayston for his ‘craggily handsome’ good looks and resolved that it was ‘impeccably done’. [...]
Jane Eyre, 2006 BBC miniseries
Ruth Wilson is cast as Jane in this series, to a Mr Rochester played by Toby Stephens (Summer of Rockets). It was nominated for a suite of BAFTAs and Golden Globe Awards, including best actress; the New Statesman’s review at the time, was playfully entitled ‘An Eyre of Intelligence’. It was also distributed globally, in Portugal, Serbia and Croatia with subtitles. (Annabel Sampson)

Writer Sue Monk Kidd answers bookish questions in the Daily Mail.

. . .first gave you the reading bug?
[...] Then, at 13, I read Jane Eyre. As an American girl, living in a small town in the Deep South, I came to love England by reading Jane’s story.
Obviously, it was a place where spirited, penniless, mistreated orphan girls could sweep rich, brooding, melancholy men off their feet, while saying things like: ‘I am no bird; and no net ensnares me.’
It caused me to fall in love not just with England, but with stories. If Alice turned me into a reader, Jane helped turn me into a writer.

BuzzFeed News recommends some books such as

31. The Shades by Evgenia Citkowitz
"This book perfectly combines the nuance of a modern family drama and the suspense of a psychological thriller with the archetypal feel of a Brontë-esque gothic novel set in the English countryside. It opens with the gruesome death of a mysterious young woman, and the rest of the novel recounts the events leading up to it. The characters are compelling, and watching them go through the motions of ordinary life in the wake of personal tragedy is all too familiar. I lived in this book." —Althea Lamel

Catalunya Press (in Spanish) discusses Susan Sontag's book Illness as Metaphor.

El libro habla de cómo la tuberculosis era concebida en su momento, cuando ya estaba prácticamente erradicada, como una enfermedad casi poética, literaria, que a pesar de que provocaba sufrimientos y muerte había acabado teniendo lo que casi podríamos decir que era una cierta reputación. Una reputación que le otorgaban en buena parte algunos de los artistas que lo habían sufrido, músicos como Chejov y Chopin, pintores como Modigliani y, sobre todo, escritores como Poe, Balzac o Emerson y otros que acaban muriendo como Novalis, Schiller, Chéjov , Whitman, Alfred Jarry o las tres hermanas Brontë. Esta positivización llegó a la creación de un concepto tan extraño médicamente hablando como es «la enfermedad de los poetas». (Jordi Martí Font) (Translation)

Financial Times was a bit late to the party recommending the National Theatre production of Jane Eyre.

Jane Eyre (National Theatre)
“I must have liberty!” cries Madeleine Worrall’s Jane, midway through Sally Cookson’s fizzingly intelligent dramatisation of Charlotte Brontë’s classic novel. That’s a resonant phrase right now, and themes of liberty and imprisonment course through this dynamic staging, which keeps faith with the original but shakes free of the deadening hand of period drama. The second of the National’s online streams (free to watch, globally), it runs to April 16, followed by Treasure Island and Twelfth Night (with Tamsin Greig as Malvolia). (Sarah Hemming)

The Times has some figures:

The National led the way in the UK with a season of Thursday-night live streams, well chosen to lift the mood. Its initial pick, One Man, Two Guvnors, a farcical antidote to care and woe, attracted 209,000 people on the night and nearly 2.7 million over its week-long run. You might put that down to a performance from James Corden at his comic best; but the following week’s Jane Eyre notched up 795,000 views in its first three days. Donations to the theatre, politely asked for, were running at £65,000 after a week. (Sarah Crompton)

Vodzilla reviews the production giving it an 8 out of 10.

And yet she pushes on and through, played by Madelene Worrall through all of her ages. Worrall is brilliant, committed, vulnerable, determined and resilient, capable of compassion and love even in the face of bitter betrayal. When we see her find friendship in the unexpected companion Helen Burns, it’s a joy. When we witness her left alone by a tragic loss, it’s a heart-wrenching blow. When we join her in being paired with an excitable new ward, French pupil Adèle, it’s hilarious.
The fact that both Helen and Adèle are played by the same person – a chameleonic Laura Elphinstone – brings out the echoes between the two positive figures of influence, but also sets the bar for the production, which sees the whole supporting ensemble take on multiple roles. That decision makes Worrall’s steadfast, constant presence all the more striking; this is, at its heart, the story of one trailblazing woman who seeks freedom, and fulfilment, on her own terms.
And yet, those hopes and dreams unfold almost in direct negative correlation to the pain of another unseen woman, and the play delicately juxtaposes the two by position Melanie Marshall on the edge of the stage, singing modern soul and pop songs with nerve-tingling intensity. Accompanied by live music on stage, they ring with pertinent insight and a playful wit, from Gnarls Barkley’s Crazy to Noel Coward’s Mad About the Boy.
The boy, of course, is Mr Rochester, played with a glowering yet warm, imperial yet dishevelled presence by the charismatic Felix Hayes – rivalled only by Craig Edwards as his enthusiastically loyal dog, Pilot. But while he’s a crucial part of the story, he’s also not the be all and end all, and director Sally Cookson steers the plot, the cast and the choreography to keep a sense of perspective, and ensure each element of the show is viewed through Jane’s own lens. The result is elegantly simple in its retelling of the novel, combining a haunting, sparse setting with a vividly intimate focus. At one point, the whole thing erupts into controlled yet chaotic fire – a dazzling, alarming spectacle that’s full of soul and heart. (Ivan Radford)

New Frame shares last lines from books, including the last lines of Wuthering Heights.  Newsroom (New Zealand) shares the list of the 'most requested in the past seven days as e-books from Auckland Council Libraries', which includes Wuthering Heights. Calabria Live and Gazzetta della Val d'Agri (both Italian) also recommends it as a good self-isolation read.