Jane Eyre Character Developments And Attitudes

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02 Nov 2017

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"Jane Eyre", written by Charlotte Brontë, is a Victorian novel in which Brontë writes about the development of Jane Eyre’s character as the book progresses. The book was published in the year 1847 and Brontë deals with Jane’s search for both identity and love as she is starved of compassion and care from the people around her throughout her childhood and she has nothing but her passionate nature and her strong will. The novel is full of symbolism which is strategically used by Brontë engage the reader’s sympathy entirely with Jane’s character and her feelings; this is achieved through the use of first person narrative and emotive detail as well as the autobiographical nature which adds to the intense emotional sense. The fact that Jane is "poor, obscure, plain and little" shows how Jane is an unconventional heroine by the standards of the day and it was unusual for Victorian novelists to have such a heroine – normally, they would be wealthy and beautiful – but Brontë’s unique heroine did not fail to impress the Victorian audience. In "Jane Eyre", Mr Brocklehurst and Mrs Reed are some of the key characters who work together to keep the poor orphan downtrodden and they try to instil humility, obedience and respect – "humility is a Christian grace". In this era, prejudice was very common, especially against women; a governess was in a lonely position in the society because was fairly superior in her social class and education than other servants in a household and she felt somewhat culturally superior to her employer. However, the governess was treated as a servant and was not only required to teach but to perform other varied tasks asked by her employer and this is shown throughout the novel but even Mr. voices the idea of "this governessing slavery". Wealth and social statuses are key aspects of "Jane Eyre Rochester" and the Victorian society itself emphasises the fact that relationships between people of different social status and wealth, such as Jane Eyre and Mr. Rochester, were unordinary. Love came last or it was even never considered in Victorian marriages. However "Jane Eyre" was in contrast to the Victorian society and its implications and the fact that Jane held a position between different social classes and the fact that she interacted with people of every social level, from servants to aristocrats, is significant as Brontë creates a vast social landscape in the novel and it allowed her to analyse the consequences and sources of class boundaries in Victorian England. Also, in contrast, Jane refuses to become Rochester’s mistress – "I am my own mistress". Jane fears being "dressed like a doll" by Rochester as she fears to lose her autonomy but develops from being a "wild cat" to a "mature adult". Jane finds it difficult to reconcile the need to earn her own living and wanting to keep her autonomy; the heroine finds herself torn between reasons and feelings.

The novel of "Jane Eyre" is structured in a symbolic way with each place having its symbolic meanings. In Lowood, Jane feels downtrodden and unfairly treated whereas, in Gateshead, the idea of being marginalised and oppressed is conveys through the image of a "gate". Jane then goes to Thornfield and it has negative connotations with "thorns" but, Jane feels congenial when she is in Thornfield – "would that it were my home!" The penultimate place that Jane goes to in the novel also has negative connotations; Marsh End suggests the "end" of something – possibly Jane’s autonomy and independence and in fact, in this part of the novel, Jane develops a new sense of belonging and proves to herself that she can find like-minded companions who she does not have to interact with romantically. The final place in the novel is Ferndean and this also has connotations with "ferns" which are normally associated with new beginnings and this is exactly what Jane experiences in Ferndean as she begins a new life with Rochester after the rebirth of their love for each other. Ferndean is where Jane is allowed a new start in her life – "Ferndean then remained uninhabited and unfurnished" which suggests it being like a blank easel and Jane is now able to "paint" new memories in Ferndean. Chapter 12 helps convey the developments in Jane’s character and the attitudes of her time. Jane is in Thornfield Hall and she is very happy because she feels that it is better than Lowood. But she begins to feel that Thornfield becomes "restricting" – "I lingered till the sun went down" – this suggests the restriction of Thornfield and how she is not "active" as such and feels restricted in her movement. The use of gothic imagery also helps convey this as the eerie "dark rookery" of Thornfield could be foreshadowing the "dark" future that undermines this warm place. She seems to be upset at the same time as she says "It is in vain to say human beings ought to be satisfied with tranquillity: they must have action"- this is a direct cry from her heart and it allows the readers to sympathise with Jane and she almost seems to be questioning whether she likes her autonomous nature. Brontë uses pathetic fallacy throughout this chapter to convey Jane’s emotional state. The fact that it is winter in Thornfield and it is "cold" symbolises her emotional feelings and how she is lonely and sad. Brontë then uses moon symbolism to show Jane’s character as "on the hilltop above me sat the rising moon" – the moon is always present in the key moments of her life and the fact that moon is rising suggests her character still has the potential to develop. Jane is never scared to walk at night when the moon is out as it strengthens her. "The ground was hard, air was still and the road lonely"- the use of pathetic fallacy here metaphorically symbolises her states as being bleak and emphasises the emptiness of her heart. Her surroundings are mundane which show how she is lifeless at this point in the novel – "if a breath of air stirred, it made no sound here for there was not a holly, not an evergreen to rustle"; even the birds seem frozen - everything is still and quiet which conveys desolation. There are contrasts between the moon and sun in this chapter. The sun is "pale-beaming" and the moon is "pale yet as a cloud, but brightening momentarily". The moon and sun symbolism is used by Brontë to metaphorically represent Rochester and Jane or men and women in general. The fact that they are both "pale" suggests their likeness and it could foreshadow their equal marriage at the end of the novel but, at the same time, the contrasts between the moon and the sun here suggest the difference between Jane and Rochester socially. Jane is completely in tune with her environment: "My ear, too, felt the flow of currents" – she can hear everything around her as opposed to being "a discord" in Gateshead where she was completely shut away from the world. I think that Brontë has cleverly chosen the name "Eyre" as it is a homophone with "air" and is "elemental", implying that even her name is in tune with nature. The fact that Jane "turned eastwards" suggests the difference between Rochester and Jane’s social status because where Rochester is symbolised by the sun, the sun sets in the West and Jane therefore turns to the opposite direction; this could also suggest her timid and worried nature of how she is anxious of going to live in a new place – "I lingered till the sun went down" - but, also, because the sun rises in the east, the fact that she turns towards this direction, suggests a new start for Jane. The constantly changing syntax suggests the momentous change in her lifetime and how there is a new start for her at Thornfield. There are constant contrasts between the soothing consonants in the onomatopoeia of her environment – "soft wave-wanderings" and the "clatter" of Rochester’s horse. The repetition of the word "efface" by Brontë is emphatic as it could suggest the timidity of Jane’s character as the things that she was in tune with are now "effaced" or wiped out which could further suggest the withdrawal of Jane. Also, in chapter 12, we are made aware of Jane’s restlessness. The quiet Thornfield has become stagnant and she feels that the tranquillity and the still life that Thornfield has provides "an existence whose very privilege of security and ease" and Jane is becoming unable to appreciate this aspect of Thornfield. Jane’s character at this point in the novel has already developed but some aspects have not as she spends more time with her own imagination and opens her ears to "a tale my imagination created, and narrated continuously; quickened with all incident, life, fire, feeling, that I desired and had not in my actual existence" as Brontë writes earlier in the chapter. She is still very independent and likes to conceal her feelings and thoughts. Next in the chapter, Jane meets Mr. Rochester for the first time in the novel Jane's momentous meeting with Rochester is significant at many levels. Jane talks about the horse "coming upon me" and the mythical assumptions of the "Gyrash" in this part of the chapter creates an eerie atmosphere as the spirit was thought to warn people before an incident occurred which could foreshadow the future of Jane and Rochester and the difference in the nature between what Mr. Rochester is riding and the negative connotations of his horse compared to Jane’s tranquil and innocent nature conveys the social gap between them. Rochester’s whip symbolises his authority and his high social status in comparison to her and, when he falls, he loses his whip, suggesting a shifting power balance to Jane as she returns his whip to him. The fact that Jane is straightaway caring towards the man, who is a stranger to her at this point in the novel, shows the developing maturity of Jane when she says "Can I do anything?" Rochester is Brontë’s portrayal of an ideal man; he is an autocratic or a Byronic figure of the novel as he is mysterious, dark, tall and has a shadowy past but, so far Jane has had negative influences from male characters such as Brocklehurst and John Reed. She does not feel the same around Rochester- "had I met those qualities in masculine shape" – she immediately feels some kind of relation and is not intimidated by Rochester at all which foreshadows the future of these two characters. The fact that Jane could "see him plainly" under the "waxing bright" light of the moon again shows how Brontë uses moon symbolism to convey the idea that Jane is strengthened by the moon as the world is made clear to her where the moon is present. The use of exaggerated punctuation by Brontë where she repetitively uses colons and semi-colons implies the dragging out of the reluctance to leaving the situation as she wants to stay and help the man. The striking of the clock is significant as it is a parallel with the clock in the tale of Cinderella and how Jane is returning to reality as the series of events that have just occurred are abnormal to her and the era. There is a contrast between the overwhelming emotions of Jane and the stillness outside which is a "mirror reflection" of Gateshead. The fact that Jane says "I did not feel the cold" suggests that she is marginalised from the cold and that she can face the cold which implies the development of her character. The fact that Rochester says "necessity compels me to make you useful" shows the gap in their social statuses and how it would have been seen unusual at the time for a tall, strong man of Rochester’s status to be seeking help from someone like Jane. There is more hot and cold imagery as Jane is accompanied by Rochester at Thornfield Hall; the warmth from the fireplace shows her comfort and this imagery is most likely drawing parallels with her person happiness – not yet happy and that the future is foreshadowed with true happiness – "genial fire... with most pleasant radiance". Also, in this chapter, the reader notices that Mrs. Fairfax and Jane delight in each other's company.

Jane herself is comfortably settled in this new place, but she is not free from restlessness. She is consumed by a desire to do something more vigorous and inspiring. She is convinced that women, like men, need action and fulfillment. She states her views on women's rights and is of the opinion that women should not "confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags."Jane's exploration of the third floor of the house continues in this chapter. Frequently she hears laughter there. Often she climbs the three staircases, raises the trap door of the attic and looks out over the field and hill.Jane's walk to the post office is an attempt to distance herself, at least for the time being, from her passive life at Thornfield. The lane she passes is noted for roses, nuts and berries in autumn, but is now in a state of "utter solitude and leafless repose." It reflects the state of Jane's mind at that time. She sits on a stile (a set of steps for passing over a wall) to enjoy a moment of repose. At that time, the belief in the world of fairies, which has been dormant in Jane, is revived. The approaching horse reminds her of the folktales Bessie has told her. The accompanying human form, however, clears her suspicions and brings her back to her senses. The rider is "dark, strong and stern." His unconventional looks appeal to Jane. She would not have been able to relate to him if he had been handsome. On returning, she resents re-entering the monotony of Thornfield life. Her eyes and spirit are drawn to the "sky expanded before her" which reflects her inward elation. A pleasant surprise awaits her when she enters the house. She learns the identity of the traveller, who is none other than Mr. Rochester himself.At the time of the accident, Jane appeals to Mr. Rochester's imagination. She comes unexpectedly and quietly out of the winter evening. She seems to belong to another world, one of peace and calm.Also, there seems to be physical likeness between the appearance of the square-faced Rochester and Thornfield itself. Both are of modest dimensions with little pretension to physical beauty. Both are characterized by apparent solidity and grimness.

Chapter 23 also helps to show the developments of Jane Eyre’s character and the attitudes of her time. Brontë introduces the chapter with a long description that sets the appropriate romantic mood. This first three paragraphs offer a very visual description of a dramatic sunset painted in words, and Brontë successfully evokes Jane’s mood as she revels the beauty of the evening. The use of pathetic fallacy by Brontë is emphatic in the portrayal of Jane’s emotions. The use of positive weather and bright images suggest Jane’s state of mind at this point and contrasts with the absolute chill in Gateshead which is unremittingly bleak- for this reason, it shows the development of her character as she is now feeling the "warm" emotions; she is excited to return to Thornfield and comfort which she was not feeling before at Gateshead. It is "Midsummer" at Thornfield – the best time of the year and her affinity with nature is clearly shown to the readers. The use of pathetic fallacy suggests to the readers how Jane is feeling "splendid" and "glorious" at this time in the novel which could foreshadow the occurrence of an event – most likely an event revolved around warmth and love etc.. But, in contrast, Brontë uses words with a more negative meaning to suggest Jane’s anxiousness of returning – "dark prime", "deeply-tinted" and "solemn" which all underlie the positive images presented. The use of moon symbolism is also very significant in this chapter and it aids the conveying of Jane’s development in her character. The setting sun is described in words from the semantic field of royalty; it leaves the scene "in simple state – pure of the pomp of clouds", leaving behind the royal colours of "solemn purple, burning the light of red jewel and furnace flame". This drama in the west is contrasted with the drama in the east which is described as being a "charm" where the "fine, deep blue" sky has but "one modest gem, a rising and solitary star". The star sparkles like a jewel but is likened to a young girl who is unassuming and does not seek to compete with her glorious counterpart. Soon, however, the east will "boast" the moon, with whom Jane has a particular affinity. This detailed and metaphorical description gives valuable insights into Jane’s feelings as she enters the garden. Jane’s appreciation of the sunset’s power and beauty suggests that she feels passionately and has a heart that responds to such romantic moments. Again, the use of moon symbolism suggests that Jane has the potential and that her character is not fully developed – "but she was yet beneath the horizon". As Jane enters the orchard, Brontë uses dramatic irony to evoke anticipation in the reader. Jane smells the "well-known scent" of a cigar which suggests her growing relationship with Rochester and how she has developed into a person who has them as opposed to being very solitary which she was at Gateshead. Brontë describes the garden as being "Eden-like", a metaphor that suggests to the reader not only an innocent paradise but also the place where Eve was tempted- this further suggests that she feels tempted by Rochester and she wants to keep her autonomy, a sign of her developing character into a more mature, spiritual and individual person. She also seems to feel threatened by the "warning fragrance" of Rochester’s cigar as the use of the oxymoron emphasises this. The orchard is separated from the house and garden by a high wall and a row of beeches, but only by a sunken fence from the "lonely fields". In some way, this suggests the closeness of Jane to nature and a distance from civilisation, i.e. this is the place where Jane can respond naturally to her feelings without worrying about social conventions. Jane notices the early ripening cherries and gooseberries large as plums. This imagery carries a suggestion of fertility and how Jane’s character is developing as she is becoming more mature but it also has connotations of the fruit of the Garden of Eden; the relation of this with the tree of all knowledge is that she again feels threatened by her surroundings and that if she givens in, she will lose her autonomy and could be "kicked out" of Thornfield like Adam and Eve were banished from the Garden of Eden. Jane’s description of the smell of the cigar as a "fragrance", a "scent" and a "perfume" suggests that she finds it seductive rather than repellent. This could only be because of its association with Mr Rochester, so the reader realises that she loves him before she even admits it, even to herself. When Jane realises that Mr Rochester is also in the orchard, Brontë changes from retrospective narrative in the past tense to a spontaneous present tense so that we can share Jane’s feelings at the time. As the smell becomes stronger, Brontë uses a very short clause to convey Jane’s urgency – "I must flee". But, Brontë does not continue to explain why Jane must flee from Rochester and her employer has not given Jane any indication that he is a threat, so presumably, Jane is frightened of her own feelings which is a parallel to Gateshead where Jane is afraid of John Reed and encloses herself behind the curtain; here she "steps aside into the ivy recess" showing how despite her developing character she still has her childish nature. The use of broken syntax at this point suggests her anxiousness of being discovered as she was behind the curtains in Gateshead. Jane reverts to the past tense as she tells us what she remembers of her thoughts and describes her attempts to depart unnoticed. She still sounds surprised as she asks "could his shadow feel?" The reader, however, is not surprised as Brontë already suggested that Rochester could see Jane from the window but, perhaps Brontë wishes to suggests that Jane still cannot admit that deep down she hoped he would speak to her, which would have been impossibly forward for a governess in Victorian times. Mr Rochester describes the moth as "so large and gay a night-rover" which suggests that the moment is exotic, special and that something might occur. The use of moon symbolism again suggests to the reader there they will come into contact with each other – "sunset is thus at meeting with moonrise". Jane then goes onto to admit that she did "not like to walk at this hour alone with Mr Rochester in the shadowy garden". She perceives it at a "fault" in herself that she cannot always background and not act as if she is her employer’s equal, but she clearly wishes to stay and spend time with him and this is why she cannot make up a reason to depart. She seems torn between her feelings for him and what she sees as her duty. Clearly, at this point, because of the way in which her feelings have been heightened in the romantic setting, she is unable to obey her reason, which tells her that there is no hope of marriage and any other liaison is quite out of the question. If she stays, however, she might give herself away, revealing her feelings to him and make herself vulnerable. The "evil" she speaks of cannot refer to Rochester as he has not done anything untoward, so she must be speaking of her own feelings. Whenever she has lost control of her emotions previously in the novel, she has regretted it and therefore this suggests development in her character and how she has learned to somewhat control or hide her emotions. Rochester than starts speaking to Jane and his use of rhetorical questions aids the way he plays mind games with her – he has total authority at this point and the fact the Jane talks to Rochester in short terms, suggests her position in the conversation. Brontë also uses broken syntax again which shows Jane’s anxiousness when talking to Rochester and her insecurity –"ex-act-ly". Rochester is conveying authoritarianism as he has complete control and he orders her – "listen to me, Jane!" Rochester refers to her as "Janet" and "little friend" which suggests affection which is unusual for an employer to call his governess such nicknames. Jane says that her "voice was not quite under command" which conveys how she feels unequal to her employer and fears to talk too much to him. The narrative switches to the present tense and this implies immediacy of her feelings. Jane seems helpless and so overwhelmed by her emotions –"my tears gushed out". As Jane is away from Rochester she is "cold" but when she is close to him she feels the warmth such as the "fire of the furnace" which suggests her comfort with him but also an aspect of danger because of the difference between their social statuses. Jane says to Rochester: "Do you think I can stay to become nothing to you?"- she has overcome her fears and speaks for herself as she does not want to lose her autonomy because she feels the marriage would just result in the man ruling over the woman which tended to be the case in this era but, also the social difference between them would encourage this more. There is an image of enclosure suggested by the use of the words "plumage" and "desperation"- this shows how Jane is overwhelmed by her emotions and how she is reacting because of them. We see Jane’s developing character when she answers her employer with "I am no bird; and no net ensnares me" as she stands her ground or defends her position against someone of higher social status which would have been strange in this era. The quotation shows Jane’s increasing autonomy and that she will never lose it. Jane says that she stood "erect" before Rochester and this is a parallel with when Brocklehurst stood "erect" on the carpet earlier in the novel which suggested authoritarianism; in the same way, in this part of the novel, Jane is now the one stood "erect" which conveys the shifting power balance to Jane – she has developed into a character that can control the situation which is absurd in the Victorian era as he is her employer and she is meant to respect him but she seems to have authority at this point. The fact that Jane "writhed herself from his grasp" again shows her autonomy and how she does not wish to be controlled by Rochester. Brontë introduces a nightingale which sings and this is very melancholy and the fact that "it dies" suggests the possible outcome of their marriage; it possibly foreshadows the fate of their relationship. Her character has matured as she was "incredulous" – she disbelieved him as she felt he was mocking her due to his very high social status and her simple, plain and a much lower status; the fact that she does not "give in" to marrying him straightaway and this conveys her maturity as although this man could change her life, she does not feel attracted to his wealth. Mr Rochester says to Jane that "I must have you for my own" which shows this idea of control and how he somewhat treats her as a sort of possession. Jane responds by asking him to "turn to the moonlight" – this suggests her complete reliance on the moon as it is what strengthens and guides Jane throughout the novel. Jane is still polite to him despite his offer of marriage and so continues to call him "sir" which depicts this idea of politeness that women were meant to show to their employers or men of higher social status in this era. The use of religious terms by Rochester such as "atone" shows the spiritual level of this marriage- it is as although the marriage is sinful before God and although he clearly states it to her, she is in a "moment of union" and she is too happy to think rationally about marrying him and the problems that will follow; this suggests her carelessness and how much she has coveted compassion from another being. The sense of Jane’s "loosened hair" suggests how overwhelming the situation is for her and that she is filled with compassion that she has not thought about what could undermine their marriage which is suggested by the ominous "clock was on the stroke of twelve" image which relates to the fairy tale of Cinderella and how they will be running away together because of the false nature of their marriage and how unreal it was for a Victorian couple to have such a large social gap between them. Finally, the chapter is concluded with the mysterious splitting off the chestnut tree into two –"struck by lightning in the night, and half of it split away." The storm suggests disruption of the harmony and could foreshadow a disruption in their marriage but the fact that the tree splits can also suggest the imminent violent splitting of their marriage but, also, this is undermined with the fact that the roots are still there which implies that they may stay together. The fact that Mrs.Fairfax temporarily "misconstrued what she had seen" suggests the sheer abnormality of this marriage in Victorian times. Jane has been strengthened and feels more comfortable now that Mr Rochester cares deeply about her – "and that was comfort, that was strength for anything". In chapter 24, Rochester attempts to make Jane into something she does not want to be: "I will put the diamond chain around your neck". She does not want to be "dressed like a doll" and although Rochester is acting very romantically by giving her his possessions and wanting to take her on a world tour, Brontë starts to present the relationship is more negative terms: "clasp"and"chain" – these suggest her being trapped or contained and this language was used when Jane was at Gateshead. Rochester is very decisive in his speech: "must" and "shall" and this is not the equality that Jane wants in her relationship and this shows her maturing character. Jane feels insecure and that she will cease to be Jane and will become Rochester’s constraint: "it was, I think, almost fear". Jane is presented as totally unmaterialistic – Rochester marrying his governess would be completely unheard of in this era but Jane has no interest in the trappings of wealth – "never mind jewels! I don’t want to hear them spoken of". She does however achieve the emotional fulfilment that she has been searching for but will not allow herself to be moulded into something she is not by Rochester because she wants to preserve her autonomy.

But, not only chapter 23 and Rochester’s relationship with Jane help conveys the developments of her character and the attitudes of her time. Chapter 34 – her relationship with St John- is a very key chapter that also helps to show the developments and the attitudes.

In order to ask Jane to marry him, St John invites her to take a walk with him. However, before they go, Brontë includes Jane’s observations about the way she responds to "positive, hard characters". This reminds the readers of Jane’s outbursts against John Reed and his mother. We recognise the appropriateness of her metaphorical comparison of her outbursts with a volcano: she has shared with us her seething passions, like molten lava ready to erupt when her tormentor goes too far. This seems like a melodramatic explanation of why she agreed to accompany St John on the walk, but Brontë’s narrator, Jane Rochester, is speaking with hindsight, and she raises the reader’s anticipation that there will be conflict. Jane then describes the weather and the wild track of the glen through which they walk. This is a sensuous romantic description in which we are invited to feel the gentle west breeze, smell the sweet scent of heath and rush, hear the swollen stream pouring down the ravine and see the bright colours sparkling like precious gems, gleaming like rich gold or spangled like stars. We are made away of Jane’s affinity and love for nature, and Brontë is able to convey Jane’s contented, even happy mood, reminding us of her romantic affinity with nature. St John walks though this glen, apparently unaffected by its beauty. He stops by a "battalion" of rocks, "guarding" a pass. This military imagery suggests harshness and discipline. Jane continues to romanticise her description, personifying the mountain as having shaken off rich clothing and jewels, now having only a "heath for raiment and crag for gem". No longer merely "wild", the landscape is "savage" and the rocks "guarded the forlorn hope of solitude, and a last refuge for silence". This is a place for the lonely to go when all hope is lost and they need a last refuge, this hard ,unforgiving landscape is an appropriate setting for St John to choose, since he has, with difficult, suppressed all emotion and replaced it with reason and duty. Perhaps he needs this "savage" landscape to prevent his resolve from softening. Jane however seems put on her guard by the harshness and it helps her to resist his proposal.

To conclude, Jane has developed a great deal since her childhood in Gateshead where she was a ‘wild cat" into a "mature adult" but some child-like aspects still remain in her. In Gateshead, Jane is lonely and cannot understand why she is not liked by anyone there – "why was I always suffering, always browbeaten, always accused, forever condemned?" Just before Jane is sent to Lowood, she shouts at her Aunt Reed and tells her vehemently that " I will never call you aunt again as long as I love" and " I will say the very thought of you makes me sick"- she is immature here and cannot control her many emotions; she reacts in an extremely unexpected way to her benefactor which would marvel Victorian readers. On her return to Gateshead, however, after being strengthened by her love and compassion for Rochester and having learnt tolerance and forgiveness from Helen Burns in Lowood and Miss Temple, she is a completely changed person and tells her aunt: "forgive me for my passionate language; I was a child then..."- there is a clear difference conveyed her between the bitter and angry child Jane was- "I was a discord in Gateshead Hall" and the mature adult ,who is willing to ask for forgiveness, that Jane has become- "love me, then, or hate me, as you will... you have my full and free forgiveness..." Thornfield has become her "home-my only home" as she has become attached to Rochester and Mrs.Fairfax but Jane’s sense of identity seems to still be compromised, however, by the unequal social circumstances of her marriage to Rochester and how awkward this marriage would be in Victorian times as an employer of very high social status wants to marry his "poor, obscure and little" governess of low status. Mrs. Fairfax sharply points out that "gentlemen in his station are not accustomed to marry their governesses."- she clarifies the abnormality of their marriage and even Jane feels unnerved: "you game me a new name – Jane Rochester; and it seems so strange." She is worried about being "dressed like a doll" that she will "not be your Jane Eyre any longer, but an ape in a harlequin’s jacket..." However much she loves Rochester, she is uncomfortable with many aspects of the situation of marrying him. It is only at the end of the novel that eventually, all is revealed and all the loose ends tied up. But, the reader might doubt that Jane has achieved the mature balance she has been striving for. Her declarations of love for her husband, such as " I know no weariness of my Edward’s society", "we are ever together", "we talk, I believe, all day long", are made in absolutes which may imply the unity of these two in love and how Jane has achieved the equal partnership that she sought for. Jane feels the need to tell us three times " never did I weary" of supporting him when he was totally blind, so we might ask whether she is trying to persuade herself, especially when she merely "bestows" her confidence on him while his is "devoted" to her, and when he loves her "truly" while she only loves him "fondly". She has grown to love Rochester and despite his blindness, she loves him and treats him the same – she is willing to accept him as he is which is a contrast to when Rochester tries to raise her social status by dressing her "like a doll" in chapter 24. She has matured enough to love the man for what he is internally rather than externally. Brontë has used her adult narrator to bring a mature balance to this story of a girl growing to womanhood, but she has also managed to show that Jane Rochester has not achieved the equilibrium between reason and emotion she seeks. The final page of the novel leaves us with the impression that part of her wishes that she had gone to India with St John to exercise her faculties in the occupation which, at the time of the British Empire, was considered "the most glorious man can adopt or God assign" As she told us before Mr Rochester arrived at Thornfield: "Women feel just as men feel; they need exercise for their faculties and a field for their efforts as much as their brothers do".



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