I am glad you are no relation of mine. I will never call you aunt again as long as I live. I will never come to visit you when I am grown up; and if any one asks me how I liked you, and how you treated me, I will say the very thought of you makes me sick, and that you treated me with miserable cruelty. . . . You think I have no feelings, and that I can do without one bit of love or kindness; but I cannot live so: and you have no pity. I shall remember how you thrust me back . . . into the red-room. . . . And that punishment you made me suffer because your wicked boy struck me—knocked me down for nothing. I will tell anybody who asks me questions this exact tale. ’Ere I had finished this reply, my soul began to expand, to exult, with the strangest sense of freedom, of triumph, I ever felt. It seemed as if an invisible bond had burst, and that I had struggled out into unhoped-for liberty. . . .
This quotation, part of Jane’s outburst to her aunt just prior to her departure from Gateshead for Lowood School, appears in Chapter 4. In the passage, Jane solidifies her own orphanhood, severing her ties to the little semblance of family that remained to her (“I will never call you aunt again as long as I live,” she tells Mrs. Reed). Jane asserts her fiery spirit in her tirade, and she displays a keen sense of justice and a recognition of her need for love. Along with familial liberation, the passage marks Jane’s emotional liberation. Jane’s imprisonment in the red-room has its psychological counterpart in her emotional suppression, and it is not until she speaks these words to Mrs. Reed that she feels her “soul begin to expand.” Lastly, the passage highlights the importance of storytelling as revenge and also as a means of empowerment. Jane declares that she will “tell anybody who asks me questions this exact tale”—via authorship, Jane asserts her authority over and against her tyrannical aunt.
Feeling . . . clamoured wildly. “Oh, comply!” it said. “. . . soothe him; save him; love him; tell him you love him and will be his. Who in the world cares for you? or who will be injured by what you do?” Still indomitable was the reply: “I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself. I will keep the law given by God; sanctioned by man. I will hold to the principles received by me when I was sane, and not mad—as I am now. Laws and principles are not for the times when there is no temptation. . . . They have a worth—so I have always believed; and if I cannot believe it now, it is because I am insane—quite insane: with my veins running fire, and my heart beating faster than I can count its throbs.”
In this quotation, near the end of Chapter 27, Jane asserts her strong sense of moral integrity over and against her intense immediate feelings. Rochester has been trying to convince her to stay with him despite the fact that he is still legally married to Bertha Mason. His argument almost persuades Jane: Rochester is the first person who has ever truly loved her. Yet she knows that staying with him would mean compromising herself, because she would be Rochester’s mistress rather than his wife. Not only would she lose her self-respect, she would probably lose Rochester’s, too, in the end. Thus Jane asserts her worth and her ability to love herself regardless of how others treat her.
The passage also sheds light upon Jane’s understanding of religion. She sees God as the giver of the laws by which she must live. When she can no longer trust herself to exercise good judgment, she looks to these principles as an objective point of reference.
Jane’s allusions to her “madness” and “insanity” bring out an interesting parallel between Jane and Bertha Mason. It is possible to see Bertha as a double for Jane, who embodies what Jane feels within—especially since the externalization of interior sentiment is a trait common to the Gothic novel.
The description of Jane’s blood running like “fire” constitutes one of many points in the book in which Jane is associated with flames.
“Shall I?” I said briefly; and I looked at his features, beautiful in their harmony, but strangely formidable in their still severity; at his brow, commanding, but not open; at his eyes, bright and deep and searching, but never soft; at his tall imposing figure; and fancied myself in idea his wife. Oh! it would never do! As his curate, his comrade, all would be right: I would cross oceans with him in that capacity; toil under Eastern suns, in Asian deserts with him in that office; admire and emulate his courage and devotion and vigour: accommodate quietly to his masterhood; smile undisturbed at his ineradicable ambition. . . . I should suffer often, no doubt, attached to him only in this capacity: my body would be under a rather stringent yoke, but my heart and mind would be free. I should still have my unblighted self to turn to: my natural unenslaved feelings with which to communicate in moments of loneliness. There would be recesses in my mind which would be only mine, to which he never came; and sentiments growing there, fresh and sheltered, which his austerity could never blight, nor his measured warrior-march trample down: 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.
This passage occurs in Chapter 34. St. John Rivers has just asked Jane to join him as his wife on his missionary trip to India. Jane dramatizes the interior conflict involved in making her decision. In many ways, the proposal tempts her. It is an opportunity to perform good works and to be more than a governess, schoolteacher, or housewife—the roles traditionally open to women. Jane’s teaching jobs at Lowood, Thornfield, and Morton have all made her feel trapped, and she would not mind enduring hardships for a cause in which she truly believes. Yet, St. John’s principles—“ambition,” “austerity,” and arrogance—are not those that Jane upholds.
Misguided religion threatens to oppress Jane throughout the book, and St. John merely embodies one form of it. He also embodies masculine dominance, another force that threatens Jane like a “stringent yoke” over the course of the novel. Thus she describes St. John’s “warrior-march” and notes his assertion of his “masterhood.” Jane must escape such control in order to remain true to herself, for she realizes that her conventional manner of dealing with oppression—by retreating into herself, into the recesses of her imagination, into conversation with herself—cannot constitute a way of life. In her rejection of Rochester, Jane privileged principle over feeling; she is now aware of the negative effects such emotional repression can have. Feeling, too, must play a role in one’s life: a balance must be struck.
I could not help it; the restlessness was in my nature; it agitated me to pain sometimes. Then my sole relief was to walk along the corridor of the third story, backwards and forwards, safe in the silence and solitude of the spot, and allow my mind’s eye to dwell on whatever bright visions rose before it—and, certainly, they were many and glowing; to let my heart be heaved by the exultant movement . . . and, best of all, to open my inward ear to a tale that was never ended—a tale my imagination created, and narrated continuously; quickened with all of incident, life, fire, feeling, that I desired and had not in my actual existence. It is in vain to say human beings ought to be satisfied with tranquility: they must have action; and they will make it if they cannot find it. Millions are condemned to a stiller doom than mine, and millions are in silent revolt against their lot. Nobody knows how many rebellions besides political rebellions ferment in the masses of life which people earth. 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 custom has pronounced necessary for their sex.
This passage appears in Chapter 12, in the midst of Jane’s description of her first few weeks at Thornfield. The diction highlights Jane’s feelings of imprisonment (she paces the corridors like a creature caged), and her longings for freedom and equality. Jane’s words are also relevant to Brontë’s own experience as a writer, and to the general condition of Victorian women.
The images of restlessness and pacing, of feeling “stagnation” and “too rigid a restraint,” are examples of the book’s central theme of imprisonment. In addition to instances of physical imprisonment, Jane must also escape the fetters of misguided religion (represented by Brocklehurst), of passion without principle (represented at first by Rochester), and of principle without passion (represented by St. John Rivers)—not to mention those of society.
Brocklehurst, Rochester, and St. John may also threaten Jane with the fetters of patriarchy, which is the specific force Jane resists in this passage. Jane extends her feeling of entrapment to her fellow women, and these sentences constitute Brontë’s feminist manifesto. As she describes the “doom” to which “millions are in silent revolt against their lot” “are condemned,” Brontë criticizes what she believed to be stifling Victorian conceptions of proper gender roles. The passage explicitly states that the Victorian wife suffers from being metaphorically “locked up.” Bertha Mason, who is eventually rendered nearly inhuman when her neglected, suppressed feelings turn to madness and fury, may be viewed as a symbol of the imprisoned female’s condition.
The passage suggests that Brontë’s writing may have been her means of coping with such rage. Jane describes her retreat into her own mind, to find freedom in her imagination. While Brontë’s greatest triumphs were the result of such self-retreat, her heroine’s achievement is the balance she strikes between her need for autonomy and her desire to be an active member of society.
I have now been married ten years. I know what it is to live entirely for and with what I love best on earth. I hold myself supremely blest—blest beyond what language can express; because I am my husband’s life as fully as he is mine. No woman was ever nearer to her mate than I am: ever more absolutely bone of his bone, and flesh of his flesh. I know no weariness of my Edward’s society: he knows none of mine, any more than we each do of the pulsation of the heart that beats in our separate bosoms; consequently, we are ever together. To be together is for us to be at once as free as in solitude, as gay as in company. We talk, I believe, all day long: to talk to each other is but a more animated and an audible thinking. All my confidence is bestowed on him, all his confidence is devoted to me; we are precisely suited in character—perfect concord is the result.
This, one of the final passages of Jane Eyre, summarizes the novel’s “happy ending.” Its implications have generated much debate over the way Brontë chose to conclude her book. Some critics view Jane as having sacrificed her autonomy—no longer her own person, she and Rochester have merged, sharing one heart, each possessing the “bone” and “flesh” of the other.
One might also argue that Jane relinquishes her powers of thought and expression—two characteristics that have defined her for most of the novel. Suddenly, the otherwise imaginative Jane equates her “thinking” to her conversations with Rochester—she even finds the conversations “more animated.” Similarly, although ten years have elapsed since the wedding, the otherwise eloquent Jane suddenly claims that she is unable to find any “language” to “express” her experiences during this period.
Other critics interpret this passage in a more positive manner. It can be read as Jane’s affirmation of the equality between her and Rochester, as testimony that she has not “given up” anything. The passage is followed in the novel by a report on St. John Rivers. Jane writes: “his is the spirit of the warrior Greatheart . . . his is the ambition of the high master-spirit. . . .” (Greatheart serves as guide to the pilgrims in Bunyan’s Pilgrim’s Progress.) Emphasizing St. John’s desires for “mastery” and his “warrior” characteristics, Jane describes a controlling patriarch. While Rochester may have been such a figure at the beginning of the novel, his character has changed by its conclusion. He has lost his house, his hand, and his eyesight to a fire, and the revelation of his youthful debaucheries has shown him to be Jane’s moral inferior. Rochester can no longer presume to be Jane’s “master” in any sense. Moreover, Jane has come to Rochester this second time in economic independence and by free choice; at Moor House she found a network of love and support, and she does not depend solely on Rochester for emotional nurturance. Optimistic critics point to Jane’s description of St. John as her reminder that the marriage she rejected would have offered her a much more stifling life. By entering into marriage, Jane does enter into a sort of “bond”; yet in many ways this “bond” is the “escape” that she has sought all along. Perhaps Brontë meant Jane’s closing words to celebrate her attainment of freedom; it is also possible that Brontë meant us to bemoan the tragic paradox of Jane’s situation.
When reading this imagine that you are Jane Erye. Try and relate yourself to the situation that the character is going through. That way you can follow the mindset of the book.
29 out of 44 people found this helpful
jane eyre is brill
5 out of 22 people found this helpful
In Jane Eyre it is certain that the number of women over rides the number of men; however, in the novel you will notice that mothers are limited. There are adoptive motherly figures, for example Miss Temple and Mrs Fairfax, but the only true mother that we see (alive) is Mrs Reed, and quite simply - she is not a good mother! On the next read, look at how little mothers appear - and think/link this back to Brontë's life and her motherly influences.
Hope this gives you an extra point to look at and write on! x
6 out of 6 people found this helpful