Themes are the fundamental and often universal ideas explored in a literary work.
Jane Eyre is very much the story of a quest to be loved. Jane searches, 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).
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. Brocklehurst 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 proscriptions 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.
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.
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 custom has pronounced necessary for their sex.
Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.
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 metaphor 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 26). 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.
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 are objects, characters, figures, and colors used to represent abstract ideas or concepts.
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 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.