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01-12-2009, 12:38 PM
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Character List
Jane Eyre
The protagonist and narrator of the novel, Jane is an intelligent, honest, plain-featured young girl forced to contend with oppression, inequality, and hardship. Although she meets with a series of individuals who threaten her autonomy, Jane repeatedly succeeds at asserting herself and maintains her principles of justice, human dignity, and morality. She also values intellectual and emotional fulfillment. Her strong belief in gender and social equality challenges the Victorian prejudices against women and the poor.
Edward Rochester
Jane’s employer and the master of Thornfield, Rochester is a wealthy, passionate man with a dark secret that provides much of the novel’s suspense. Rochester is unconventional, ready to set aside polite manners, propriety, and consideration of social class in order to interact with Jane frankly and directly. He is rash and impetuous and has spent much of his adult life roaming about Europe in an attempt to avoid the consequences of his youthful indiscretions. His problems are partly the result of his own recklessness, but he is a sympathetic figure because he has suffered for so long as a result of his early marriage to Bertha.
St. John Rivers
Along with his sisters, Mary and Diana, St. John (pronounced “Sinjin”) serves as Jane’s benefactor after she runs away from Thornfield, giving her food and shelter. The minister at Morton, St. John is cold, reserved, and often controlling in his interactions with others. Because he is entirely alienated from his feelings and devoted solely to an austere ambition, St. John serves as a foil to Edward Rochester.
Mrs. Reed
Mrs. Reed is Jane’s cruel aunt, who raises her at Gateshead Hall until Jane is sent away to school at age ten. Later in her life, Jane attempts reconciliation with her aunt, but the old woman continues to resent her because her husband had always loved Jane more than his own children.
Bessie Lee
The maid at Gateshead, Bessie is the only figure in Jane’s childhood who regularly treats her kindly, telling her stories and singing her songs. Bessie later marries Robert Leaven, the Reeds’ coachman.
Mr. Lloyd
Mr. Lloyd is the Reeds’ apothecary, who suggests that Jane be sent away to school. Always kind to Jane, Mr. Lloyd writes a letter to Miss Temple confirming Jane’s story about her childhood and clearing Jane of Mrs. Reed’s charge that she is a liar.
Georgiana Reed -
Georgiana Reed is Jane’s cousin and one of Mrs. Reed’s two daughters. The beautiful Georgiana treats Jane cruelly when they are children, but later in their lives she befriends her cousin and confides in her. Georgiana attempts to elope with a man named Lord Edwin Vere, but her sister, Eliza, alerts Mrs. Reed of the arrangement and sabotages the plan. After Mrs. Reed dies, Georgiana marries a wealthy man.
Eliza Reed
Eliza Reed is Jane’s cousin and one of Mrs. Reed’s two daughters (along with her sister, Georgiana). Not as beautiful as her sister, Eliza devotes herself somewhat self-righteously to the church and eventually goes to a convent in France where she becomes the Mother Superior.
John Reed
John Reed is Jane’s cousin, Mrs. Reed’s son, and brother to Eliza and Georgiana. John treats Jane with appalling cruelty during their childhood and later falls into a life of drinking and gambling. John commits suicide midway through the novel when his mother ceases to pay his debts for him.
Helen Burns
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Helen Burns is Jane’s close friend at the Lowood School. She endures her miserable life there with a passive dignity that Jane cannot understand. Helen dies of consumption in Jane’s arms.
Mr. Brocklehurst
The cruel, hypocritical master of the Lowood School, Mr. Brocklehurst preaches a doctrine of privation, while stealing from the school to support his luxurious lifestyle. After a typhus epidemic sweeps Lowood, Brocklehurst’s shifty and dishonest practices are brought to light and he is publicly discredited.
Maria Temple
Maria Temple is a kind teacher at Lowood, who treats Jane and Helen with respect and compassion. Along with Bessie Lee, she serves as one of Jane’s first positive female role models. Miss Temple helps clear Jane of Mrs. Reed’s accusations against her.
Miss Scatcherd
Jane’s sour and vicious teacher at Lowood, Miss Scatcherd behaves with particular cruelty toward Helen.
Alice Fairfax
Alice Fairfax is the housekeeper at Thornfield Hall. She is the first to tell Jane that the mysterious
laughter often heard echoing through the halls is, in fact, the laughter of Grace Poole—a lie that Rochester himself often repeats.
Bertha Mason -
Rochester’s clandestine wife, Bertha Mason is a formerly beautiful and wealthy Creole woman who has become insane, violent, and bestial. She lives locked in a secret room on the third story of Thornfield and is guarded by Grace Poole, whose occasional bouts of inebriation sometimes enable Bertha to escape. Bertha eventually burns down Thornfield, plunging to her death in the flames.
Grace Poole
Grace Poole is Bertha Mason’s keeper at Thornfield, whose drunken carelessness frequently allows Bertha to escape. When Jane first arrives at Thornfield, Mrs. Fairfax attributes to Grace all evidence of Bertha’s misdeeds.
Adèle Varens
Jane’s pupil at Thornfield, Adèle Varens is a lively though somewhat spoiled child from France. Rochester brought her to Thornfield after her mother, Celine, abandoned her. Although Celine was once Rochester’s mistress, he does not believe himself to be Adèle’s father.
Celine Varens
Celine Varens is a French opera dancer with whom Rochester once had an affair. Although Rochester does not believe Celine’s claims that he fathered her daughter Adèle, he nonetheless brought the girl to England when Celine abandoned her. Rochester had broken off his relationship with Celine after learning that Celine was unfaithful to him and interested only in his money.
Sophie
Sophie is Adèle’s French nurse at Thornfield.
Richard Mason
Richard Mason is Bertha’s brother. During a visit to Thornfield, he is injured by his mad sister. After learning of Rochester’s intent to marry Jane, Mason arrives with the solicitor Briggs in order to thwart the wedding and reveal the truth of Rochester’s prior marriage.
Mr. Briggs
John Eyre’s attorney, Mr. Briggs helps Richard Mason prevent Jane’s wedding to Rochester when he learns of the existence of Bertha Mason, Rochester’s wife. After John Eyre’s death, Briggs ******es for Jane in order to give her her inheritance.
Blanche Ingram
Blanche Ingram is a beautiful socialite who des-pises Jane and hopes to marry Rochester for his money
.
Diana Rivers
Diana Rivers is Jane’s cousin, and the sister of St. John and Mary. Diana is a kind and intelligent person, and she urges Jane not to go to India with St. John. She serves as a model for Jane of an intellectually gifted and independent woman.
Mary Rivers
Mary Rivers is Jane’s cousin, the sister of St. John and Diana. Mary is a kind and intelligent young woman who is forced to work as a governess after her father loses his fortune. Like her sister, she serves as a model for Jane of an independent woman who is also able to maintain close relationships with others and a sense of meaning in her life.
Rosamond Oliver
Rosamond is the beautiful daughter of Mr. Oliver, Morton’s wealthiest inhabitant. Rosamond gives money to the school in Morton where Jane works. Although she is in love with St. John, she becomes engaged to the wealthy Mr. Granby.
John Eyre
John Eyre is Jane’s uncle, who leaves her his vast fortune of 20,000 pound
s.
Uncle Reed -
Uncle Reed is Mrs. Reed’s late husband. In her childhood, Jane believes that she feels the presence of his ghost. Because he was always fond of Jane and her mother (his sister), Uncle Reed made his wife promise that she would raise Jane as her own child. It is a promise that Mrs. Reed does not keep.
Themes
Themes are the fundamental and often universal ideas explored in a literary work.
Love versus Autonomy
Jane Eyre is very much the story of a quest to be loved. Jane ******es, not just for romantic love, but also for a sense of being valued, of belonging. Thus Jane says to Helen Burns: “to gain some real affection from you, or Miss Temple, or any other whom I truly love, I would willingly submit to have the bone of my arm broken, or to let a bull toss me, or to stand behind a kicking horse, and let it dash its hoof at my chest” (Chapter 8). Yet, over the course of the book, Jane must learn how to gain love without sacrificing and harming herself in the process.
Her fear of losing her autonomy motivates her refusal of Rochester’s marriage proposal. Jane believes that “marrying” Rochester while he remains legally tied to Bertha would mean rendering herself a mistress and sacrificing her own integrity for the sake of emotional gratification. On the other hand, her life at Moor House tests her in the opposite manner. There, she enjoys economic independence and engages in worthwhile and useful work, teaching the poor; yet she lacks emotional sustenance. Although St. John proposes marriage, offering her a partnership built around a common purpose, Jane knows their marriage would remain loveless.
Nonetheless, the events of Jane’s stay at Moor House are necessary tests of Jane’s autonomy. Only after proving her self-sufficiency to herself can she marry Rochester and not be asymmetrically dependent upon him as her “master.” The marriage can be one between equals. As Jane says: “I am my husband’s life as fully as he is mine. . . . To be together is for us to be at once as free as in solitude, as gay as in company. . . . We are precisely suited in character—perfect concord is the result” (Chapter 38).
Religion
Throughout the novel, Jane struggles to find the right balance between moral duty and earthly pleasure, between obligation to her spirit and attention to her body. She encounters three main religious figures: Mr. Brocklehurst, Helen Burns, and St. John Rivers. Each represents a model of religion that Jane ultimately rejects as she forms her own ideas about faith and principle, and their practical
consequences.
[Mr. Brocklehurs
illustrates the dangers and hypocrisies that Charlotte Brontë perceived in the nineteenth-century Evangelical movement. Mr. Brocklehurst adopts the rhetoric of Evangelicalism when he claims to be purging his students of pride, but his method of subjecting them to various privations and humiliations, like when he orders that the naturally curly hair of one of Jane’s classmates be cut so as to lie straight, is entirely un-Christian. Of course, Brocklehurst’s pro******ions are difficult to follow, and his hypocritical support of his own luxuriously wealthy family at the expense of the Lowood students shows Brontë’s wariness of the Evangelical movement. Helen Burns’s meek and forbearing mode of Christianity, on the other hand, is too passive for Jane to adopt as her own, although she loves and admires Helen for it.
Many chapters later, St. John Rivers provides another model of Christian behavior. His is a Christianity of ambition, glory, and extreme self-importance. St. John urges Jane to sacrifice her emotional deeds for the fulfillment of her moral duty, offering her a way of life that would require her to be disloyal to her own self.
Although Jane ends up rejecting all three models of religion, she does not abandon morality, spiritualism, or a belief in a Christian God. When her wedding is interrupted, she prays to God for solace (Chapter 26). As she wanders the heath, poor and starving, she puts her survival in the hands of God (Chapter 28). She strongly objects to Rochester’s lustful immorality, and she refuses to consider living with him while church and state still deem him married to another woman. Even so, Jane can barely bring herself to leave the only love she has ever known. She credits God with helping her to escape what she knows would have been an immoral life (Chapter 27).
Jane ultimately finds a comfortable middle ground. Her spiritual understanding is not hateful and oppressive like Brocklehurst’s, nor does it require retreat from the everyday world as Helen’s and St. John’s religions do. For Jane, religion helps curb immoderate passions, and it spurs one on to worldly efforts and achievements. These achievements include full self-knowledge and complete faith in God
.
Social Class
Jane Eyre is critical of Victorian England’s strict social hierarchy. Brontë’s exploration of the complicated social position of governesses is perhaps the novel’s most important treatment of this theme. Like Heathcliff in Wuthering Heights, Jane is a figure of ambiguous class standing and, consequently, a source of extreme tension for the characters around her. Jane’s manners, sophistication, and education are those of an aristocrat, because Victorian governesses, who tutored children in etiquette as well as academics, were expected to possess the “culture” of the aristocracy. Yet, as paid employees, they were more or less treated as servants; thus, Jane remains penniless and powerless while at Thornfield. Jane’s understanding of the double standard crystallizes when she becomes aware of her feelings for Rochester; she is his intellectual, but not his social, equal. Even before the crisis surrounding Bertha Mason, Jane is hesitant to marry Rochester because she senses that she would feel indebted to him for “condescending” to marry her. Jane’s distress, which appears most strongly in Chapter 17, seems to be Brontë’s critique of Victorian class attitudes.
Jane herself speaks out against class prejudice at certain moments in the book. For example, in Chapter 23 she chastises Rochester: “Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong!—I have as much soul as you—and full as much heart! And if God had gifted me with some beauty and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you.” However, it is also important to note that nowhere in Jane Eyre are society’s boundaries bent. Ultimately, Jane is only able to marry Rochester as his equal because she has almost magically come into her own inheritance from her uncle.
Gender Relations
Jane struggles continually to achieve equality and to overcome oppression. In addition to class hierarchy, she must fight against patriarchal domination—against those who believe women to be inferior to men and try to treat them as such. Three central male figures threaten her desire for equality and dignity: Mr. Brocklehurst, Edward Rochester, and St. John Rivers. All three are misogynistic on some level. Each tries to keep Jane in a submissive position, where she is unable to express her own thoughts and feelings. In her quest for independence and self-knowledge, Jane must escape Brocklehurst, reject St. John, and come to Rochester only after ensuring that they may marry as equals. This last condition is met once Jane proves herself able to function, through the time she spends at Moor House, in a community and in a family. She will not depend solely on Rochester for love and she can be financially independent. Furthermore, Rochester is blind at the novel’s end and thus dependent upon Jane to be his “prop and guide.” In Chapter 12, Jane articulates what was for her time a radically feminist philosophy:
Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than ****** has pronounced necessary for their sex.
Motifs
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.
Fire and Ice
Fire and ice appear throughout Jane Eyre. The former represents Jane’s passions, anger, and spirit, while the latter symbolizes the oppressive forces trying to extinguish Jane’s vitality. Fire is also a ****phor for Jane, as the narrative repeatedly associates her with images of fire, brightness, and warmth. In Chapter 4, she likens her mind to “a ridge of lighted heath, alive, glancing, devouring.” We can recognize Jane’s kindred spirits by their similar links to fire; thus we read of Rochester’s “flaming and flashing” eyes (Chapter 25). After he has been blinded, his face is compared to “a lamp quenched, waiting to be relit” (Chapter 37).
Images of ice and cold, often appearing in association with barren landscapes or seascapes, symbolize emotional desolation, loneliness, or even death. The “death-white realms” of the arctic that Bewick describes in his History of British Birds parallel Jane’s physical and spiritual isolation at Gateshead (Chapter 1). Lowood’s freezing temperatures—for example, the frozen pitchers of water that greet the girls each morning—mirror Jane’s sense of psychological exile. After the interrupted wedding to Rochester, Jane describes her state of mind: “A Christmas frost had come at mid-summer: a white December storm had whirled over June; ice glazed the ripe apples, drifts crushed the blowing roses; on hay-field and corn-field lay a frozen shroud . . . and the woods, which twelve hours since waved leafy and fragrant as groves between the tropics, now spread, waste, wild, and white as pine-forests in wintry Norway. My hopes were all dead. . . .” (Chapter 26). Finally, at Moor House, St. John’s frigidity and stiffness are established through comparisons with ice and cold rock. Jane writes: “By degrees, he acquired a certain influence over me that took away my liberty of mind. . . . I fell under a freezing spell”(Chapter 34). When St. John proposes marriage to Jane, she concludes that “[a]s his curate, his comrade, all would be right. . . . But as his wife—at his side always, and always restrained, and always checked—forced to keep the fire of my nature continually low, to compel it to burn inwardly and never utter a cry, though the imprisoned flame consumed vital after vital—this would be unendurable” (Chapter 34).
Poet and critic Adrienne Rich has noted that Jane encounters a series of nurturing and strong women on whom she can model herself, or to whom she can look for comfort and guidance: these women serve as mother-figures to the orphaned Jane.
The first such figure that Jane encounters is the servant Bessie, who soothes Jane after her trauma in the red-room and teaches her to find comfort in stories and songs. At Lowood, Jane meets Miss Temple, who has no power in the world at large, but possesses great spiritual strength and charm. Not only does she shelter Jane from pain, she also encourages her intellectual development. Of Miss Temple, Jane writes: “she had stood by me in the stead of mother, governess, and latterly, companion” (Chapter 10). Jane also finds a comforting model in Helen Burns, whose lessons in stamina teach Jane about self-worth and the power of faith.
Substitute Mothers
After Jane and Rochester’s wedding is cancelled, Jane finds comfort in the moon, which appears to her in a dream as a symbol of the matriarchal spirit. Jane sees the moon as “a white human form” shining in the sky, “inclining a glorious brow earthward.” She tells us: “It spoke to my spirit: immeasurably distant was the tone, yet so near, it whispered in my heart—“My daughter, flee temptation.” Jane answers, “Mother, I will” (Chapter 27). Waking from the dream, Jane leaves Thornfield.
Jane finds two additional mother-figures in the characters of Diana and Mary Rivers. Rich points out that the sisters bear the names of the pagan and Christian versions of “the Great Goddess”: Diana, the Virgin huntress, and Mary, the Virgin Mother. Unmarried and independent, the Rivers sisters love learning and reciting poetry and live as intellectual equals with their brother St. John.
Symbols
Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.
Bertha Mason
Bertha Mason is a complex presence in Jane Eyre. She impedes Jane’s happiness, but she also catalyses the growth of Jane’s self-understanding. The mystery surrounding Bertha establishes suspense and terror to the plot and the atmosphere. Further, Bertha serves as a remnant and reminder of Rochester’s youthful libertinism.
Yet Bertha can also be interpreted as a symbol. Some critics have read her as a statement about the way Britain feared and psychologically “locked away” the other cultures it encountered at the height of its imperialism. Others have seen her as a symbolic representation of the “trapped” Victorian wife, who is expected never to travel or work outside the house and becomes ever more frenzied as she finds no outlet for her frustration and anxiety. Within the story, then, Bertha’s insanity could serve as a warning to Jane of what complete surrender to Rochester could bring about.
One could also see Bertha as a manifestation of Jane’s subconscious feelings—specifically, of her rage against oppressive social and gender norms. Jane declares her love for Rochester, but she also secretly fears marriage to him and feels the need to rage against the imprisonment it could become for her. Jane never manifests this fear or anger, but Bertha does. Thus Bertha tears up the bridal veil, and it is Bertha’s existence that indeed stops the wedding from going forth. And, when Thornfield comes to represent a state of servitude and submission for Jane, Bertha burns it to the ground. Throughout the novel, Jane describes her inner spirit as fiery, her inner landscape as a “ridge of lighted heath” (Chapter 4). Bertha seems to be the outward manifestation of Jane’s interior fire. Bertha expresses the feelings that Jane must keep in check.
The Red-Room
The red-room can be viewed as a symbol of what Jane must overcome in her struggles to find freedom, happiness, and a sense of belonging. In the red-room, Jane’s position of exile and imprisonment first becomes clear. Although Jane is eventually freed from the room, she continues to be socially ostracized, financially trapped, and excluded from love; her sense of independence and her freedom of self-expression are constantly threatened.
The red-room’s importance as a symbol continues throughout the novel. It reappears as a memory whenever Jane makes a connection between her current situation and that first feeling of being ridiculed. Thus she recalls the room when she is humiliated at Lowood. She also thinks of the room on the night that she decides to leave Thornfield after Rochester has tried to convince her to become an undignified mistress. Her destitute condition upon her departure from Thornfield also threatens emotional and intellectual imprisonment, as does St. John’s marriage proposal. Only after Jane has asserted herself, gained financial independence, and found a spiritual family—which turns out to be her real family—can she wed Rochester and find freedom in and through marriage.
Analysis of Major Characters
Jane Eyre
The development of Jane Eyre’s character is central to the novel. From the beginning, Jane possesses a sense of her self-worth and dignity, a commitment to justice and principle, a trust in God, and a passionate disposition. Her integrity is continually tested over the course of the novel, and Jane must learn to balance the frequently conflicting aspects of herself so as to find contentment.
An orphan since early childhood, Jane feels exiled and ostracized at the beginning of the novel, and the cruel treatment she receives from her Aunt Reed and her cousins only exacerbates her feeling of alienation. Afraid that she will never find a true sense of home or community, Jane feels the need to belong somewhere, to find “kin,” or at least “kindred spirits.” This desire tempers her equally intense need for autonomy and freedom.
In her ****** for freedom, Jane also struggles with the question of what type of freedom she wants. While Rochester initially offers Jane a chance to liberate her passions, Jane comes to realize that such freedom could also mean enslavement—by living as Rochester’s mistress, she would be sacrificing her dignity and integrity for the sake of her feelings. St. John Rivers offers Jane another kind of freedom: the freedom to act unreservedly on her principles. He opens to Jane the possibility of exercising her talents fully by working and living with him in India. Jane eventually realizes, though, that this freedom would also constitute a form of imprisonment, because she would be forced to keep her true feelings and her true passions always in check.
Charlotte Brontë
may have created the character of Jane Eyre as a means of coming to terms with elements of her own life. Much evidence suggests that Brontë, too, struggled to find a balance between love and freedom and to find others who understood her. At many points in the book, Jane voices the author’s then-radical opinions on religion, social class, and gender.
Edward Rochester
Despite his stern manner and not particularly handsome appearance, Edward Rochester wins Jane’s heart, because she feels they are kindred spirits, and because he is the first person in the novel to offer Jane lasting love and a real home. Although Rochester is Jane’s social and economic superior, and although men were widely considered to be naturally superior to women in the Victorian period, Jane is Rochester’s intellectual equal. Moreover, after their marriage is interrupted by the disclosure that Rochester is already married to Bertha Mason, Jane is proven to be Rochester’s moral superior.
Rochester regrets his former libertinism and lustfulness; nevertheless, he has proven himself to be weaker in many ways than Jane. Jane feels that living with Rochester as his mistress would mean the loss of her dignity. Ultimately, she would become degraded and dependent upon Rochester for love, while unprotected by any true marriage bond. Jane will only enter into marriage with Rochester after she has gained a fortune and a family, and after she has been on the verge of abandoning passion altogether. She waits until she is not unduly influenced by her own poverty, loneliness, psychological vulnerability, or passion. Additionally, because Rochester has been blinded by the fire and has lost his manor house at the end of the novel, he has become weaker while Jane has grown in strength—Jane claims that they are equals, but the marriage dynamic has actually tipped in her favor.
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St. John Rivers
St. John Rivers is a foil to Edward Rochester. Whereas Rochester is passionate, St. John is austere and ambitious. Jane often describes Rochester’s eyes as flashing and flaming, whereas she constantly associates St. John with rock, ice, and snow. Marriage with Rochester represents the abandonment of principle for the consummation of passion, but marriage to St. John would mean sacrificing passion for principle. When he invites her to come to India with him as a missionary, St. John offers Jane the chance to make a more meaningful contribution to society than she would as a housewife. At the same time, life with St. John would mean life without true love, in which Jane’s need for spiritual solace would be filled only by retreat into the recesses of her own soul. Independence would be accompanied by loneliness, and joining St. John would require Jane to neglect her own legitimate needs for love and emotional support. Her consideration of St. John’s proposal leads Jane to understand that, paradoxically, a large part of one’s personal freedom is found in a relationship of mutual emotional dependence.
Helen Burns
Helen Burns, Jane’s friend at Lowood School, serves as a foil to Mr. Brocklehurst as well as to Jane. While Mr. Brocklehurst embodies an evangelical form of religion that seeks to strip others of their excessive pride or of their ability to take pleasure in worldly things, Helen represents a mode of Christianity that stresses tolerance and acceptance. Brocklehurst uses religion to gain power and to control others; Helen ascetically trusts her own faith and turns the other cheek to Lowood’s harsh policies.
Although Helen manifests a certain strength and intellectual maturity, her efforts involve self-negation rather than self-assertion, and Helen’s submissive and ascetic nature highlights Jane’s more headstrong character. Like Jane, Helen is an orphan who longs for a home, but Helen believes that she will find this home in Heaven rather than Northern England. And while Helen is not oblivious to the injustices the girls suffer at Lowood, she believes that justice will be found in God’s ultimate judgment—God will reward the good and punish the evil. Jane, on the other hand, is unable to have such blind faith. Her quest is for love and happiness in this world. Nevertheless, she counts on God for support and guidance in her ******.
Character List
Jane Eyre
The protagonist and narrator of the novel, Jane is an intelligent, honest, plain-featured young girl forced to contend with oppression, inequality, and hardship. Although she meets with a series of individuals who threaten her autonomy, Jane repeatedly succeeds at asserting herself and maintains her principles of justice, human dignity, and morality. She also values intellectual and emotional fulfillment. Her strong belief in gender and social equality challenges the Victorian prejudices against women and the poor.
Edward Rochester
Jane’s employer and the master of Thornfield, Rochester is a wealthy, passionate man with a dark secret that provides much of the novel’s suspense. Rochester is unconventional, ready to set aside polite manners, propriety, and consideration of social class in order to interact with Jane frankly and directly. He is rash and impetuous and has spent much of his adult life roaming about Europe in an attempt to avoid the consequences of his youthful indiscretions. His problems are partly the result of his own recklessness, but he is a sympathetic figure because he has suffered for so long as a result of his early marriage to Bertha.
St. John Rivers
Along with his sisters, Mary and Diana, St. John (pronounced “Sinjin”) serves as Jane’s benefactor after she runs away from Thornfield, giving her food and shelter. The minister at Morton, St. John is cold, reserved, and often controlling in his interactions with others. Because he is entirely alienated from his feelings and devoted solely to an austere ambition, St. John serves as a foil to Edward Rochester.
Mrs. Reed
Mrs. Reed is Jane’s cruel aunt, who raises her at Gateshead Hall until Jane is sent away to school at age ten. Later in her life, Jane attempts reconciliation with her aunt, but the old woman continues to resent her because her husband had always loved Jane more than his own children.
Bessie Lee
The maid at Gateshead, Bessie is the only figure in Jane’s childhood who regularly treats her kindly, telling her stories and singing her songs. Bessie later marries Robert Leaven, the Reeds’ coachman.
Mr. Lloyd
Mr. Lloyd is the Reeds’ apothecary, who suggests that Jane be sent away to school. Always kind to Jane, Mr. Lloyd writes a letter to Miss Temple confirming Jane’s story about her childhood and clearing Jane of Mrs. Reed’s charge that she is a liar.
Georgiana Reed -
Georgiana Reed is Jane’s cousin and one of Mrs. Reed’s two daughters. The beautiful Georgiana treats Jane cruelly when they are children, but later in their lives she befriends her cousin and confides in her. Georgiana attempts to elope with a man named Lord Edwin Vere, but her sister, Eliza, alerts Mrs. Reed of the arrangement and sabotages the plan. After Mrs. Reed dies, Georgiana marries a wealthy man.
Eliza Reed
Eliza Reed is Jane’s cousin and one of Mrs. Reed’s two daughters (along with her sister, Georgiana). Not as beautiful as her sister, Eliza devotes herself somewhat self-righteously to the church and eventually goes to a convent in France where she becomes the Mother Superior.
John Reed
John Reed is Jane’s cousin, Mrs. Reed’s son, and brother to Eliza and Georgiana. John treats Jane with appalling cruelty during their childhood and later falls into a life of drinking and gambling. John commits suicide midway through the novel when his mother ceases to pay his debts for him.
Helen Burns
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Helen Burns is Jane’s close friend at the Lowood School. She endures her miserable life there with a passive dignity that Jane cannot understand. Helen dies of consumption in Jane’s arms.
Mr. Brocklehurst
The cruel, hypocritical master of the Lowood School, Mr. Brocklehurst preaches a doctrine of privation, while stealing from the school to support his luxurious lifestyle. After a typhus epidemic sweeps Lowood, Brocklehurst’s shifty and dishonest practices are brought to light and he is publicly discredited.
Maria Temple
Maria Temple is a kind teacher at Lowood, who treats Jane and Helen with respect and compassion. Along with Bessie Lee, she serves as one of Jane’s first positive female role models. Miss Temple helps clear Jane of Mrs. Reed’s accusations against her.
Miss Scatcherd
Jane’s sour and vicious teacher at Lowood, Miss Scatcherd behaves with particular cruelty toward Helen.
Alice Fairfax
Alice Fairfax is the housekeeper at Thornfield Hall. She is the first to tell Jane that the mysterious
laughter often heard echoing through the halls is, in fact, the laughter of Grace Poole—a lie that Rochester himself often repeats.
Bertha Mason -
Rochester’s clandestine wife, Bertha Mason is a formerly beautiful and wealthy Creole woman who has become insane, violent, and bestial. She lives locked in a secret room on the third story of Thornfield and is guarded by Grace Poole, whose occasional bouts of inebriation sometimes enable Bertha to escape. Bertha eventually burns down Thornfield, plunging to her death in the flames.
Grace Poole
Grace Poole is Bertha Mason’s keeper at Thornfield, whose drunken carelessness frequently allows Bertha to escape. When Jane first arrives at Thornfield, Mrs. Fairfax attributes to Grace all evidence of Bertha’s misdeeds.
Adèle Varens
Jane’s pupil at Thornfield, Adèle Varens is a lively though somewhat spoiled child from France. Rochester brought her to Thornfield after her mother, Celine, abandoned her. Although Celine was once Rochester’s mistress, he does not believe himself to be Adèle’s father.
Celine Varens
Celine Varens is a French opera dancer with whom Rochester once had an affair. Although Rochester does not believe Celine’s claims that he fathered her daughter Adèle, he nonetheless brought the girl to England when Celine abandoned her. Rochester had broken off his relationship with Celine after learning that Celine was unfaithful to him and interested only in his money.
Sophie
Sophie is Adèle’s French nurse at Thornfield.
Richard Mason
Richard Mason is Bertha’s brother. During a visit to Thornfield, he is injured by his mad sister. After learning of Rochester’s intent to marry Jane, Mason arrives with the solicitor Briggs in order to thwart the wedding and reveal the truth of Rochester’s prior marriage.
Mr. Briggs
John Eyre’s attorney, Mr. Briggs helps Richard Mason prevent Jane’s wedding to Rochester when he learns of the existence of Bertha Mason, Rochester’s wife. After John Eyre’s death, Briggs ******es for Jane in order to give her her inheritance.
Blanche Ingram
Blanche Ingram is a beautiful socialite who des-pises Jane and hopes to marry Rochester for his money
.
Diana Rivers
Diana Rivers is Jane’s cousin, and the sister of St. John and Mary. Diana is a kind and intelligent person, and she urges Jane not to go to India with St. John. She serves as a model for Jane of an intellectually gifted and independent woman.
Mary Rivers
Mary Rivers is Jane’s cousin, the sister of St. John and Diana. Mary is a kind and intelligent young woman who is forced to work as a governess after her father loses his fortune. Like her sister, she serves as a model for Jane of an independent woman who is also able to maintain close relationships with others and a sense of meaning in her life.
Rosamond Oliver
Rosamond is the beautiful daughter of Mr. Oliver, Morton’s wealthiest inhabitant. Rosamond gives money to the school in Morton where Jane works. Although she is in love with St. John, she becomes engaged to the wealthy Mr. Granby.
John Eyre
John Eyre is Jane’s uncle, who leaves her his vast fortune of 20,000 pound
s.
Uncle Reed -
Uncle Reed is Mrs. Reed’s late husband. In her childhood, Jane believes that she feels the presence of his ghost. Because he was always fond of Jane and her mother (his sister), Uncle Reed made his wife promise that she would raise Jane as her own child. It is a promise that Mrs. Reed does not keep.
Themes
Themes are the fundamental and often universal ideas explored in a literary work.
Love versus Autonomy
Jane Eyre is very much the story of a quest to be loved. Jane ******es, not just for romantic love, but also for a sense of being valued, of belonging. Thus Jane says to Helen Burns: “to gain some real affection from you, or Miss Temple, or any other whom I truly love, I would willingly submit to have the bone of my arm broken, or to let a bull toss me, or to stand behind a kicking horse, and let it dash its hoof at my chest” (Chapter 8). Yet, over the course of the book, Jane must learn how to gain love without sacrificing and harming herself in the process.
Her fear of losing her autonomy motivates her refusal of Rochester’s marriage proposal. Jane believes that “marrying” Rochester while he remains legally tied to Bertha would mean rendering herself a mistress and sacrificing her own integrity for the sake of emotional gratification. On the other hand, her life at Moor House tests her in the opposite manner. There, she enjoys economic independence and engages in worthwhile and useful work, teaching the poor; yet she lacks emotional sustenance. Although St. John proposes marriage, offering her a partnership built around a common purpose, Jane knows their marriage would remain loveless.
Nonetheless, the events of Jane’s stay at Moor House are necessary tests of Jane’s autonomy. Only after proving her self-sufficiency to herself can she marry Rochester and not be asymmetrically dependent upon him as her “master.” The marriage can be one between equals. As Jane says: “I am my husband’s life as fully as he is mine. . . . To be together is for us to be at once as free as in solitude, as gay as in company. . . . We are precisely suited in character—perfect concord is the result” (Chapter 38).
Religion
Throughout the novel, Jane struggles to find the right balance between moral duty and earthly pleasure, between obligation to her spirit and attention to her body. She encounters three main religious figures: Mr. Brocklehurst, Helen Burns, and St. John Rivers. Each represents a model of religion that Jane ultimately rejects as she forms her own ideas about faith and principle, and their practical
consequences.
[Mr. Brocklehurs
illustrates the dangers and hypocrisies that Charlotte Brontë perceived in the nineteenth-century Evangelical movement. Mr. Brocklehurst adopts the rhetoric of Evangelicalism when he claims to be purging his students of pride, but his method of subjecting them to various privations and humiliations, like when he orders that the naturally curly hair of one of Jane’s classmates be cut so as to lie straight, is entirely un-Christian. Of course, Brocklehurst’s pro******ions are difficult to follow, and his hypocritical support of his own luxuriously wealthy family at the expense of the Lowood students shows Brontë’s wariness of the Evangelical movement. Helen Burns’s meek and forbearing mode of Christianity, on the other hand, is too passive for Jane to adopt as her own, although she loves and admires Helen for it.
Many chapters later, St. John Rivers provides another model of Christian behavior. His is a Christianity of ambition, glory, and extreme self-importance. St. John urges Jane to sacrifice her emotional deeds for the fulfillment of her moral duty, offering her a way of life that would require her to be disloyal to her own self.
Although Jane ends up rejecting all three models of religion, she does not abandon morality, spiritualism, or a belief in a Christian God. When her wedding is interrupted, she prays to God for solace (Chapter 26). As she wanders the heath, poor and starving, she puts her survival in the hands of God (Chapter 28). She strongly objects to Rochester’s lustful immorality, and she refuses to consider living with him while church and state still deem him married to another woman. Even so, Jane can barely bring herself to leave the only love she has ever known. She credits God with helping her to escape what she knows would have been an immoral life (Chapter 27).
Jane ultimately finds a comfortable middle ground. Her spiritual understanding is not hateful and oppressive like Brocklehurst’s, nor does it require retreat from the everyday world as Helen’s and St. John’s religions do. For Jane, religion helps curb immoderate passions, and it spurs one on to worldly efforts and achievements. These achievements include full self-knowledge and complete faith in God
.
Social Class
Jane Eyre is critical of Victorian England’s strict social hierarchy. Brontë’s exploration of the complicated social position of governesses is perhaps the novel’s most important treatment of this theme. Like Heathcliff in Wuthering Heights, Jane is a figure of ambiguous class standing and, consequently, a source of extreme tension for the characters around her. Jane’s manners, sophistication, and education are those of an aristocrat, because Victorian governesses, who tutored children in etiquette as well as academics, were expected to possess the “culture” of the aristocracy. Yet, as paid employees, they were more or less treated as servants; thus, Jane remains penniless and powerless while at Thornfield. Jane’s understanding of the double standard crystallizes when she becomes aware of her feelings for Rochester; she is his intellectual, but not his social, equal. Even before the crisis surrounding Bertha Mason, Jane is hesitant to marry Rochester because she senses that she would feel indebted to him for “condescending” to marry her. Jane’s distress, which appears most strongly in Chapter 17, seems to be Brontë’s critique of Victorian class attitudes.
Jane herself speaks out against class prejudice at certain moments in the book. For example, in Chapter 23 she chastises Rochester: “Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong!—I have as much soul as you—and full as much heart! And if God had gifted me with some beauty and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you.” However, it is also important to note that nowhere in Jane Eyre are society’s boundaries bent. Ultimately, Jane is only able to marry Rochester as his equal because she has almost magically come into her own inheritance from her uncle.
Gender Relations
Jane struggles continually to achieve equality and to overcome oppression. In addition to class hierarchy, she must fight against patriarchal domination—against those who believe women to be inferior to men and try to treat them as such. Three central male figures threaten her desire for equality and dignity: Mr. Brocklehurst, Edward Rochester, and St. John Rivers. All three are misogynistic on some level. Each tries to keep Jane in a submissive position, where she is unable to express her own thoughts and feelings. In her quest for independence and self-knowledge, Jane must escape Brocklehurst, reject St. John, and come to Rochester only after ensuring that they may marry as equals. This last condition is met once Jane proves herself able to function, through the time she spends at Moor House, in a community and in a family. She will not depend solely on Rochester for love and she can be financially independent. Furthermore, Rochester is blind at the novel’s end and thus dependent upon Jane to be his “prop and guide.” In Chapter 12, Jane articulates what was for her time a radically feminist philosophy:
Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than ****** has pronounced necessary for their sex.
Motifs
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.
Fire and Ice
Fire and ice appear throughout Jane Eyre. The former represents Jane’s passions, anger, and spirit, while the latter symbolizes the oppressive forces trying to extinguish Jane’s vitality. Fire is also a ****phor for Jane, as the narrative repeatedly associates her with images of fire, brightness, and warmth. In Chapter 4, she likens her mind to “a ridge of lighted heath, alive, glancing, devouring.” We can recognize Jane’s kindred spirits by their similar links to fire; thus we read of Rochester’s “flaming and flashing” eyes (Chapter 25). After he has been blinded, his face is compared to “a lamp quenched, waiting to be relit” (Chapter 37).
Images of ice and cold, often appearing in association with barren landscapes or seascapes, symbolize emotional desolation, loneliness, or even death. The “death-white realms” of the arctic that Bewick describes in his History of British Birds parallel Jane’s physical and spiritual isolation at Gateshead (Chapter 1). Lowood’s freezing temperatures—for example, the frozen pitchers of water that greet the girls each morning—mirror Jane’s sense of psychological exile. After the interrupted wedding to Rochester, Jane describes her state of mind: “A Christmas frost had come at mid-summer: a white December storm had whirled over June; ice glazed the ripe apples, drifts crushed the blowing roses; on hay-field and corn-field lay a frozen shroud . . . and the woods, which twelve hours since waved leafy and fragrant as groves between the tropics, now spread, waste, wild, and white as pine-forests in wintry Norway. My hopes were all dead. . . .” (Chapter 26). Finally, at Moor House, St. John’s frigidity and stiffness are established through comparisons with ice and cold rock. Jane writes: “By degrees, he acquired a certain influence over me that took away my liberty of mind. . . . I fell under a freezing spell”(Chapter 34). When St. John proposes marriage to Jane, she concludes that “[a]s his curate, his comrade, all would be right. . . . But as his wife—at his side always, and always restrained, and always checked—forced to keep the fire of my nature continually low, to compel it to burn inwardly and never utter a cry, though the imprisoned flame consumed vital after vital—this would be unendurable” (Chapter 34).
Poet and critic Adrienne Rich has noted that Jane encounters a series of nurturing and strong women on whom she can model herself, or to whom she can look for comfort and guidance: these women serve as mother-figures to the orphaned Jane.
The first such figure that Jane encounters is the servant Bessie, who soothes Jane after her trauma in the red-room and teaches her to find comfort in stories and songs. At Lowood, Jane meets Miss Temple, who has no power in the world at large, but possesses great spiritual strength and charm. Not only does she shelter Jane from pain, she also encourages her intellectual development. Of Miss Temple, Jane writes: “she had stood by me in the stead of mother, governess, and latterly, companion” (Chapter 10). Jane also finds a comforting model in Helen Burns, whose lessons in stamina teach Jane about self-worth and the power of faith.
Substitute Mothers
After Jane and Rochester’s wedding is cancelled, Jane finds comfort in the moon, which appears to her in a dream as a symbol of the matriarchal spirit. Jane sees the moon as “a white human form” shining in the sky, “inclining a glorious brow earthward.” She tells us: “It spoke to my spirit: immeasurably distant was the tone, yet so near, it whispered in my heart—“My daughter, flee temptation.” Jane answers, “Mother, I will” (Chapter 27). Waking from the dream, Jane leaves Thornfield.
Jane finds two additional mother-figures in the characters of Diana and Mary Rivers. Rich points out that the sisters bear the names of the pagan and Christian versions of “the Great Goddess”: Diana, the Virgin huntress, and Mary, the Virgin Mother. Unmarried and independent, the Rivers sisters love learning and reciting poetry and live as intellectual equals with their brother St. John.
Symbols
Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.
Bertha Mason
Bertha Mason is a complex presence in Jane Eyre. She impedes Jane’s happiness, but she also catalyses the growth of Jane’s self-understanding. The mystery surrounding Bertha establishes suspense and terror to the plot and the atmosphere. Further, Bertha serves as a remnant and reminder of Rochester’s youthful libertinism.
Yet Bertha can also be interpreted as a symbol. Some critics have read her as a statement about the way Britain feared and psychologically “locked away” the other cultures it encountered at the height of its imperialism. Others have seen her as a symbolic representation of the “trapped” Victorian wife, who is expected never to travel or work outside the house and becomes ever more frenzied as she finds no outlet for her frustration and anxiety. Within the story, then, Bertha’s insanity could serve as a warning to Jane of what complete surrender to Rochester could bring about.
One could also see Bertha as a manifestation of Jane’s subconscious feelings—specifically, of her rage against oppressive social and gender norms. Jane declares her love for Rochester, but she also secretly fears marriage to him and feels the need to rage against the imprisonment it could become for her. Jane never manifests this fear or anger, but Bertha does. Thus Bertha tears up the bridal veil, and it is Bertha’s existence that indeed stops the wedding from going forth. And, when Thornfield comes to represent a state of servitude and submission for Jane, Bertha burns it to the ground. Throughout the novel, Jane describes her inner spirit as fiery, her inner landscape as a “ridge of lighted heath” (Chapter 4). Bertha seems to be the outward manifestation of Jane’s interior fire. Bertha expresses the feelings that Jane must keep in check.
The Red-Room
The red-room can be viewed as a symbol of what Jane must overcome in her struggles to find freedom, happiness, and a sense of belonging. In the red-room, Jane’s position of exile and imprisonment first becomes clear. Although Jane is eventually freed from the room, she continues to be socially ostracized, financially trapped, and excluded from love; her sense of independence and her freedom of self-expression are constantly threatened.
The red-room’s importance as a symbol continues throughout the novel. It reappears as a memory whenever Jane makes a connection between her current situation and that first feeling of being ridiculed. Thus she recalls the room when she is humiliated at Lowood. She also thinks of the room on the night that she decides to leave Thornfield after Rochester has tried to convince her to become an undignified mistress. Her destitute condition upon her departure from Thornfield also threatens emotional and intellectual imprisonment, as does St. John’s marriage proposal. Only after Jane has asserted herself, gained financial independence, and found a spiritual family—which turns out to be her real family—can she wed Rochester and find freedom in and through marriage.
Analysis of Major Characters
Jane Eyre
The development of Jane Eyre’s character is central to the novel. From the beginning, Jane possesses a sense of her self-worth and dignity, a commitment to justice and principle, a trust in God, and a passionate disposition. Her integrity is continually tested over the course of the novel, and Jane must learn to balance the frequently conflicting aspects of herself so as to find contentment.
An orphan since early childhood, Jane feels exiled and ostracized at the beginning of the novel, and the cruel treatment she receives from her Aunt Reed and her cousins only exacerbates her feeling of alienation. Afraid that she will never find a true sense of home or community, Jane feels the need to belong somewhere, to find “kin,” or at least “kindred spirits.” This desire tempers her equally intense need for autonomy and freedom.
In her ****** for freedom, Jane also struggles with the question of what type of freedom she wants. While Rochester initially offers Jane a chance to liberate her passions, Jane comes to realize that such freedom could also mean enslavement—by living as Rochester’s mistress, she would be sacrificing her dignity and integrity for the sake of her feelings. St. John Rivers offers Jane another kind of freedom: the freedom to act unreservedly on her principles. He opens to Jane the possibility of exercising her talents fully by working and living with him in India. Jane eventually realizes, though, that this freedom would also constitute a form of imprisonment, because she would be forced to keep her true feelings and her true passions always in check.
Charlotte Brontë
may have created the character of Jane Eyre as a means of coming to terms with elements of her own life. Much evidence suggests that Brontë, too, struggled to find a balance between love and freedom and to find others who understood her. At many points in the book, Jane voices the author’s then-radical opinions on religion, social class, and gender.
Edward Rochester
Despite his stern manner and not particularly handsome appearance, Edward Rochester wins Jane’s heart, because she feels they are kindred spirits, and because he is the first person in the novel to offer Jane lasting love and a real home. Although Rochester is Jane’s social and economic superior, and although men were widely considered to be naturally superior to women in the Victorian period, Jane is Rochester’s intellectual equal. Moreover, after their marriage is interrupted by the disclosure that Rochester is already married to Bertha Mason, Jane is proven to be Rochester’s moral superior.
Rochester regrets his former libertinism and lustfulness; nevertheless, he has proven himself to be weaker in many ways than Jane. Jane feels that living with Rochester as his mistress would mean the loss of her dignity. Ultimately, she would become degraded and dependent upon Rochester for love, while unprotected by any true marriage bond. Jane will only enter into marriage with Rochester after she has gained a fortune and a family, and after she has been on the verge of abandoning passion altogether. She waits until she is not unduly influenced by her own poverty, loneliness, psychological vulnerability, or passion. Additionally, because Rochester has been blinded by the fire and has lost his manor house at the end of the novel, he has become weaker while Jane has grown in strength—Jane claims that they are equals, but the marriage dynamic has actually tipped in her favor.
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St. John Rivers
St. John Rivers is a foil to Edward Rochester. Whereas Rochester is passionate, St. John is austere and ambitious. Jane often describes Rochester’s eyes as flashing and flaming, whereas she constantly associates St. John with rock, ice, and snow. Marriage with Rochester represents the abandonment of principle for the consummation of passion, but marriage to St. John would mean sacrificing passion for principle. When he invites her to come to India with him as a missionary, St. John offers Jane the chance to make a more meaningful contribution to society than she would as a housewife. At the same time, life with St. John would mean life without true love, in which Jane’s need for spiritual solace would be filled only by retreat into the recesses of her own soul. Independence would be accompanied by loneliness, and joining St. John would require Jane to neglect her own legitimate needs for love and emotional support. Her consideration of St. John’s proposal leads Jane to understand that, paradoxically, a large part of one’s personal freedom is found in a relationship of mutual emotional dependence.
Helen Burns
Helen Burns, Jane’s friend at Lowood School, serves as a foil to Mr. Brocklehurst as well as to Jane. While Mr. Brocklehurst embodies an evangelical form of religion that seeks to strip others of their excessive pride or of their ability to take pleasure in worldly things, Helen represents a mode of Christianity that stresses tolerance and acceptance. Brocklehurst uses religion to gain power and to control others; Helen ascetically trusts her own faith and turns the other cheek to Lowood’s harsh policies.
Although Helen manifests a certain strength and intellectual maturity, her efforts involve self-negation rather than self-assertion, and Helen’s submissive and ascetic nature highlights Jane’s more headstrong character. Like Jane, Helen is an orphan who longs for a home, but Helen believes that she will find this home in Heaven rather than Northern England. And while Helen is not oblivious to the injustices the girls suffer at Lowood, she believes that justice will be found in God’s ultimate judgment—God will reward the good and punish the evil. Jane, on the other hand, is unable to have such blind faith. Her quest is for love and happiness in this world. Nevertheless, she counts on God for support and guidance in her ******.