by Debby Regan

Created on: March 01, 2010

I read Jane Eyre by Charlottle Bronte as a young teen in the school library in one sitting. Like many women, I identified with the character of Jane Eyre. Her suffering and moody, yet prim rebellion seemed a breath of fresh air in a youth culture saturated with "Saved by the Bell" episodes. The character of Mr. Rochester captivates my imagination. He is a dark, almost Gothic hero and Jane's path to marriage does not run smoothly.

 Mr. Rochester's entrance in Jane Eyre is disruptive. Jane is taking a "pleasant winter afternoon walk" (Bronte 112) when a "rude noise broke on these fine ripplings and whisperings" (Bronte 113). The noise frightens Jane, who imagines that perhaps a ghost has come to frighten her. Rochester's dog then appears, whose appearance Jane compares to a "North-of-England spirit" (Bronte 114). The sight of Rochester on horseback proves to Miss Eyre that a specter is not visiting her. The supernatural gloom shatters when man and horse tumble to the ground. However foreboding Rochester may be, he needs Jane's help. Rochester exudes a dark, gothic appeal, and yet also becomes a man Jane can love.

The metaphor of mad Bertha does have a peculiar emotional resonance. The gothic hero certainly must certainly have (sexual) skeletons in his closet. He must have more experience than his heroine. Bertha's imprisonment also symbolizes Rochester's absolute authority in his household. He makes an allusion to Bertha early in the novel, when he informs Jane that "I cannot alter my customary habits for one new inmate" (Bronte 126). Jane has unknowingly become another inmate; she is already under Rochester's command. 

 Bertha Mason neglected to inform Rochester during their courtship about her family's significant, almost universal, history of insanity.  Of course, we must take Rochester's word on this fact, as we never hear from Bertha. The function of this trickery in Jane Eyre negates the sanctity of Rochester's union. He isn't "really" married; she tricked him; of course he belongs with Jane. However, his attempt to trick Jane into a bigamous marriage adds hypocrisy to this occasion; he is guilty of the same sin as Bertha was. He admits frankly to his machinations: "I meant, however, to be a bigamist: but fate has out-manoeuvred me" (Bronte 296). The concern with trickery in regards to marriage in these novels is feminist. A nineteenth century woman would surrender nearly all rights and property on the event of her wedding. How legal can the marriage vow be when borne of trickery? Marriage under such conditions can only be tyranny.  Jane Eyre largely escapes this issue; she marries Rochester only under the proper circumstances.

Jane Eyre is more than a classic; it is a coming of age story that certain people, especially women, can take to heart. None of us is perfect, but even an untamed, plain girl can find true love. That love may carry lots of baggage and the happy ending may be unexpected, but the Jane Eyres of the world can find their way.

Works Cited

Bronte, Charlotte. Jane Eyre. New York: Signet Classic, 1997.

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