is jane eyre a feminist novel essay

Individuality and Self-Worth: Feminist Accomplishment in Jane Eyre

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Ph.D., English Language and Literature, Northern Illinois University
M.A., English, California State University–Long Beach
B.A., English, Northern Illinois University

Whether or not Charlotte Brontë’s Jane Eyre is a feminist work has been widely debated among critics for decades. Some argue that the novel speaks more about religion and romance than it does of female empowerment; however, this is not a wholly accurate judgment. The work can, in fact, be read as a feminist piece from beginning to end.

The main character, Jane, asserts herself from the first pages as an independent woman (girl), unwilling to rely on or relent to any outside force. Though a child when the novel starts, Jane follows her own intuition and instinct rather than submitting to the oppressive statutes of her family and educators. Later, when Jane becomes a young woman and is faced with overbearing male influences, she again asserts her individuality by demanding to live according to her own necessity. In the end, and most importantly, Brontë stresses the significance of choice to the feminist identity when she allows Jane to go back to Rochester. Jane eventually chooses to marry the man she once left, and chooses to live out the remainder of her life in seclusion; these choices, and the terms of that seclusion, are what prove Jane’s feminism.

Early on, Jane is recognizable as someone atypical to the young ladies of the nineteenth century. Immediately in the first chapter, Jane’s aunt, Mrs. Reed, describes Jane as a “caviller,” stating that “there is something truly forbidding in a child taking up her elders in [such a] manner.” A young woman questioning or speaking out of turn to an elder is shocking, especially one in Jane’s situation, where she is essentially a guest in her aunt’s house.

Yet, Jane never regrets her attitude; in fact, she further questions the motives of others while in solitude, when she has been put off from questioning them in person. For instance, when she has been scolded for her actions toward her cousin John, after he provokes her, she is sent away to the red room and, rather than reflecting on how her actions could be considered unladylike or severe, she thinks to herself: “I had to stem a rapid rush of retrospective thought before I quailed to the dismal present.”

Also, she later thinks, “[r]esolve . . . instigated some strange expedient to achieve escape from insupportable oppression – as running away, or, . . . letting myself die” (Chapter 1). Neither actions, having to suppress backlash or considering flight, would have been considered possible in a young lady, especially a child of no means who is in the “kind” care of a relative.

Furthermore, even as a child, Jane considers herself an equal to all around her. Bessie brings this to her attention, condemning it, when she says, “you ought not to think yourself on an equality with the Misses Reed and Master Reed” (Chapter 1). However, when Jane asserts herself in a “more frank and fearless” action than she had ever before displayed, Bessie is actually pleased (38). At that point, Bessie tells Jane that she is scolded because she is “a queer, frightened, shy, little thing” who must “be bolder” (39). Thus, from the very start of the novel, Jane Eyre is presented as a curious girl, outspoken and conscious of the need to improve her situation in life, though it is required of her by society to simply acquiesce.

Jane’s individuality and feminine strength is again demonstrated at the Lowood Institution for girls. She does her best to convince her only friend, Helen Burns, to stand up for herself. Helen, representing the acceptable female character of the time, waves Jane’s ideas aside, instructing her that she, Jane, need only study the Bible more, and be more compliant to those of a higher social status than she. When Helen says, “it would be your duty to bear [being flogged], if you could not avoid it: it is weak and silly to say you cannot bear what it is your fate to be required to bear,” Jane is appalled, which foreshadows and demonstrates that her character will not be “fated” to subservience (Chapter 6).

Another example of Jane’s courage and individualism is shown when Brocklehurst makes false claims about her and forces her to sit in shame before all her teachers and classmates. Jane bears it, then tells the truth to Miss Temple rather than hold her tongue as would be expected of a child and student. Finally, at the end of her stay at Lowood, after Jane has been a teacher there for two years, she takes it upon herself to find a job, to better her situation, crying, “I [desire] liberty; for liberty I [gasp]; for liberty I [utter] a prayer” (Chapter 10). She does not ask for any man’s assistance, nor does she allow the school to find a place for her. This self-sufficient act seems natural to Jane’s character; however, it would not be thought of as natural for a woman of the time, as demonstrated by Jane’s need to keep her plan secret from the masters of the school.

At this point, Jane’s individuality has advanced from the eager, rash outbursts of her childhood. She has learned to keep true to herself and her ideals while maintaining a level of sophistication and piety, thus creating a more positive notion of feminine individuality than was displayed in her youth.

The next obstacles for Jane’s feminist individuality come in the form of two male suitors, Rochester and St John. In Rochester, Jane finds her true love, and had she been any less of a feminist person, any less demanding of her equality in all relationships, she would have married him when he first asked. However, when Jane realizes that Rochester is already married, though his first wife is insane and essentially irrelevant, she immediately flees from the situation.

Unlike the stereotypical female character of the time, who might be expected to care only about being a good wife and servant to her husband , Jane stands firm: “Whenever I marry, I am resolved my husband shall not be a rival, but a foil to me. I will suffer no competitor near the throne; I shall exact an undivided homage” (Chapter 17).

When she is asked again to be married, this time by St John, her cousin, she again intends to accept. Yet, she discovers that he, too, would be choosing her second, this time not to another wife, but to his missionary calling. She ponders his proposal for a long time before concluding, “If I join St. John, I abandon half myself.” Jane then decides that she cannot go to India unless she “may go free” (Chapter 34). These musings pronounce an ideal that a woman’s interest in marriage should be just as equal as her husband’s, and that her interests must be treated with just as much respect.

At the end of the novel, Jane returns to Rochester, her true love, and takes residence in the private Ferndean. Some critics argue that both the marriage to Rochester and the acceptance of a life withdrawn from the world overturn all efforts made on Jane’s part to assert her individuality and independence. It should be noted, however, that Jane only goes back to Rochester when the obstacles which create inequality between the two have been eliminated.

The death of Rochester’s first wife allows Jane to be the first and only female priority in his life. It also allows for the marriage that Jane feels she deserves, a marriage of equals. Indeed, the balance has even shifted in Jane’s favor at the end, due to her inheritance and Rochester’s loss of estate. Jane tells Rochester, “I am independent, as well as rich: I am my own mistress,” and relates that, if he will not have her, she can build her own home and he may visit her when he wishes (Chapter 37). Thus, she becomes empowered and an otherwise impossible equality is established.

Further, the seclusion in which Jane finds herself is not a burden to her; rather, it is a pleasure. Throughout her life, Jane has been forced into seclusion, whether by her Aunt Reed, Brocklehurst and the girls, or the small town that shunned her when she had nothing. Yet, Jane never despaired in her seclusion. At Lowood, for example, she said, “I stood lonely enough: but to that feeling of isolation I was accustomed; it did not oppress me much” (Chapter 5). Indeed, Jane finds at the end of her tale exactly what she had been looking for, a place to be herself, without scrutiny, and with a man whom she equaled and could therefore love. All of this is accomplished due to her strength of character, her individuality.

Charlotte Brontë’s Jane Eyre can certainly be read as a feminist novel. Jane is a woman coming into her own, choosing her own path and finding her own destiny, without stipulation. Brontë gives Jane all that she needs to succeed: a strong sense of self, intelligence, determination and, finally, wealth. The impediments that Jane encounters along the way, such as her suffocating aunt, the three male oppressors (Brocklehurst, St. John, and Rochester), and her destitution, are met head-on, and overcome. In the end, Jane is the only character allowed real choice. She is the woman, built up from nothing, who gains all she wants in life, little though it seems.

In Jane, Brontë successfully created a feminist character who broke barriers in social standards, but who did it so subtly that critics can still debate whether or not it happened.

Bronte, Charlotte . Jane Eyre (1847). New York: New American Library, 1997.

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Feminism In Jane Eyre Essay

Jane Eyre is one of the most well-known and celebrated feminist novels. The story of Jane’s journey from oppressed orphan to independent woman has resonated with readers for centuries. Jane Eyre is a timeless tale of female empowerment and an important work in the feminist literary canon.

A feminist is someone whose beliefs and actions are based on feminism (belief in the social, political, and economic equality of the sexes). Jane Eyre is a critique of gender-related preconceptions. It has a strong feminist perspective; it explores fundamental human desires and fears through the use of literary principles. As a result, Jane Eyre is an example of femininity: she’s young, self-sufficient, committed to her beliefs and Christian virtues strong.

Jane Eyre lives her life according to these values, and in doing so, Jane becomes an admirable character and a role model for future generations of women. Jane Eyre is unapologetically herself. She is honest about her feelings and thoughts, even when they are unpopular or deemed improper. Jane is not afraid to voice her opinions, even when they differ from those around her.

This is one of the most admirable qualities Jane possesses. Women at this time were expected to be seen and not heard; their opinions and thoughts were secondary to those of their male counterparts. Jane bucks this trend and proves that women are just as capable as men of thinking for themselves.

Jane is also a very independent woman. She does not rely on anyone else to take care of her or make decisions for her. Jane is very resourceful and is always able to find a way to get what she needs. This quality is often lacking in women of Jane’s time, who are used to being reliant on their husbands or fathers. Jane’s independence allows her to be in control of her own life and destiny, something that was very rare for women during the Victorian era.

Jane Eyre is an excellent role model for young women. She is a strong, independent woman who stands up for herself and what she believes in. Jane is also a very honest person who is not afraid to voice her opinion. These qualities are all things that young women should aspire to have. Jane Eyre is a feminist novel that speaks to the deep, timeless human urges and fears, using the principles of literature to chart the mind’s recesses. Jane is an admirable character and a role model for future generations of women.

Jane faces the concerns of a young lady who lacks social advantages such as family, money, and beauty, making her especially susceptible to the allure of admiration and security. Jane endures so much anguish throughout the story—as a result of her aunt’s hatred for her disobedience, when she attempts to marry Rochester but he spurns her love, and when she defies St. John by maintaining that marriages should be based on love rather than convenience.

Jane is a victim for most of the novel, but she never gives up – she continues to fight for what she believes in and ultimately prevails against all odds. Jane Eyre is therefore a feminist novel because it tells the story of a young woman who overcomes great adversity to triumph in the end. Jane is a role model for all women who have ever faced oppression and she is an example of how one can overcome anything if they have the strength to fight for what they believe in.

Despite the pain she suffers as a result of her decisions, she remains self-reliant in the face of these overpowering forces over her. And despite the fact that Jane Eyre gets reunited with Mr. Rochester at the end, it is not love but rather bravery that defines her personality.

Second, Jane Eyre is an autonomous woman. She completes her education and works for two years as a teacher after Miss Temple marries. Jane perceives that she has a tremendous desire to travel outside of Lowood, learn more about the world, and improve her living conditions after hearing about Miss Temple’s engagement. She becomes a governess who is plain and hardworking.

Jane is content with her lot, and asks for nothing more than to be left alone to do her work. Jane Eyre’s moral strength and self-respect are put to the test time and time again throughout the novel, as she struggles against a series of obstacles, including an tyrannical guardian, a cruel headmaster, a lecherous employer, and a cold society that treats her as an inferior. But Jane Eyre is no victim; she is a survivor who triumphs over adversity through her own courage and determination. In short, Jane Eyre is a feminist heroine in the truest sense of the word.

This is a powerful feminist statement, and it applies to Jane Eyre in spades. Jane is constantly seeking to better herself, both intellectually and spiritually, and she refuses to be limited by the expectations placed upon her by society. This makes her a true feminist heroine, and one who readers can admire and look up to.

“I should like to live in the country,” says Jane. “Then I could have a garden and plant flowers on it. And you may come there often to see me; for that is quite agreeable to me. It would be dull indeed if we always lived alone together!”

He stood between me and every thought of religion, as an eclipse intervenes between man and the broad daylight. I could not, in those days, see God for His creature: of whom I had made an idol.” Jane is willing to give up her own agency and views on equality in order to be with Rochester, which seems to be a common trend in many marriages during that time. However, Jane does attempt to keep some power by leaving Rochester when she learns about his big secret.

One could argue that Jane Eyre is a feminist novel because it focuses on Jane’s journey to find her own identity and independence. Throughout the course of the novel, Jane grows from a young girl into a woman who is confident in her own skin and capable of standing up for herself.

While Jane does eventually get married, she does so on her own terms and only after she is sure that she loves Rochester and he loves her back. Jane Eyre is therefore a novel about a woman finding her own voice and learning to assert her own needs, which makes it an important feminist text.

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“Contradiction in Jane Eyre: Conversations of 19th Century Feminism” by Audrey Clement

Magnificat , april 2022, introduction.

As a staple in classic feminist literature, Charlotte Brontë’s Jane Eyre plunges readers into the 19 th century feminine sphere. Brontë’s narrator, Jane, is a delightfully complex heroine who exemplifies the successes and limitations of 19th century feminist philosophy. At times, Jane is a stellar example of the independent Victorian woman struggling against a hostile patriarchal society. Other times, she is an active participant in patriarchal society, directing hostility towards other women and prioritizing male comfort and desires. For some, especially those who know and love Jane Eyre as feminist literature, the polarity inherent in Jane’s character may be difficult to interpret. As readers and scholars, I posit we can approach the issue in two ways. First and foremost, we can praise Brontë for her success in creating a character who so eloquently personifies the feminine psyche, which has been trained to always hate or criticize femininity over masculinity (which often escapes critique entirely). We can use these very contradictions to explore the progress of feminist philosophy since the novel was published.

Contradictions often peacefully coexist in our world, but that does not necessarily make them easier to understand. Deconstructionist theory attempts to do so; thus, it is helpful to our understanding of Jane to adopt a deconstructionist approach. Throughout the novel, readers become aware of a duality in Jane’s subconscious—she never addresses it herself, but her contradictory actions confirm its existence. Readers may initially process these contradictions as symptoms of a flawed character, but I believe it is more rewarding to consider these contradictions as naturally occurring psychic duality, created by a feminine mind at war with the mandates of her culture. Lois Tyson, author of Critical Theory Today , calls this phenomenon the multiple and fragmented self. She states that “we [consist] of any number of conflicting beliefs, desires, fears, anxieties, and intentions” (Tyson 257). Tyson claims that human identity is shaped by “an unstable, ambiguous force-field of competing ideologies” inherent to human existence, meaning that people will naturally contradict themselves (Tyson 249, 257). Jane is no exception, as her innate, human inclination towards intellectual and physical freedom competes with patriarchal norms for space in her psyche. Opposing perspectives are represented within a single character. The theory of a multiplicity of selves offers a solution to the confusion readers may feel—Jane’s contradictory actions do not have to be a problem. Contradictions in the fictional often reflect contradictions in the real world. Jane’s fractured character provides us an opportunity to explore a patriarchal feminist psyche that is continually at odds with itself. This fracture reveals itself most often in the ways Jane interacts with other characters in the novel.

Jane, the Halfway Feminist: How does Jane interact with other women?

A patriarchal feminist psyche is characterized by the desire for one’s personal advancement as a woman accompanied by the refusal to advocate for the advancement of all women, either consciously or unconsciously. In other words, the patriarchal feminist is unfamiliar with solidarity; she sees other women as competition rather than allies. In her book on the marginalization of feminism, bell hooks says that perceiving other women as threats is a direct result of patriarchal indoctrination: “We are taught that our relationships with one another diminish rather than enrich our experience. We are taught that women are “natural enemies,” that solidarity will never exist between us because we cannot, should not, and do not bond with one another” (hooks 43). Indeed, for feminine identifying feminists, analyzing how we perceive and interact with women may reveal our patriarchal biases more effectively than our interactions with men precisely because society indoctrinates women to oppose one another. Such is the case with Jane.

As the novel progresses and Jane transitions into womanhood, she increasingly interacts with women who are unlike herself in status and appearance. It is towards these women that Jane directs her ire. These emotions range from outright disparagement to quiet condescension. Her criticism often seems motivated by patriarchal expectations, where no matter how women present themselves, they are subjected to disapproval. hooks states that “[S]exism is perpetuated by the victims themselves who are socialized to behave in ways that make them act in complicity with the status quo” (43). Jane, as a member of patriarchal society, may subconsciously criticize other women by measuring them against an unrealistic patriarchal standard. For example, Jane’s scathing internal monologue criticizes Miss Ingram for her defects:

She was very showy, but she was not genuine: she had a fine person, many brilliant attainments; but her mind was poor, her heart barren by nature: nothing bloomed spontaneously on that soil; no unforced natural fruit delighted by its freshness. She was not good; she was not original: she used to repeat sounding phrases from books: she never offered, nor had, an opinion of her own. (Brontë 199).

While Jane’s assessment of Miss Ingram’s character may not be inaccurate, the manner in which she criticizes her is fueled by the patriarchy. Jane begins to dislike Miss Ingram because of her insults aimed towards governesses and lower classes of women, but rather than criticizing Miss Ingram on the quality of her arguments (or lack thereof), Jane attacks her personality and her intelligence; thus, the criticism falls flat. Additionally, Jane’s internal outburst seems motivated by jealousy, not simply moral principle— she is intently aware that Miss Ingram is chasing the attention of Mr. Rochester, whose attention she wishes for herself. Jane remarks that “Miss Ingram was a mark beneath jealousy: she was too inferior to excite the feeling” (Brontë 199), yet spends pages denouncing her character. She also admits to being “irresistibly attracted” to Rochester and Miss Ingram’s interactions, and watching them carefully:

I see Mr. Rochester turn to Miss Ingram, and Miss Ingram to him; I see her incline her head towards him, till the jetty curls almost touch his shoulder and wave against his cheek; I hear their mutual whisperings; I recall their interchanged glances… I saw all his attentions appropriated by a great lady, who scored to touch me with the hem of her robes as she passed (Brontë 199).

One wonders if Jane truly escapes the jealousy she claims Miss Ingram is incapable of inspiring. Indeed, it seems more likely that Jane views Miss Ingram as a threat to Jane’s access to Rochester, which causes Jane to internally reject her.

Jane has a similar reaction to Miss Oliver later in the novel, although their interactions are not characterized by the bitterness Jane feels for Miss Ingram. The similarity in Jane’s reactions to these women lies primarily in her propensity to unfairly evaluate and criticize them. For example, even though Jane does not outright dislike Miss Oliver, she clearly looks down on her for her giddy and flirtatious nature. Jane describes Miss Oliver as “coquettish… not worthlessly selfish…indulged since birth… hasty… vain… unthinking… not profoundly interesting or thoroughly impressive” (Brontë 400). Jane, self admittedly a “cool observer of her own sex,” counteracts every positive quality of Miss Oliver’s with something inherently negative or “wrong” with her character. Her interactions with these women are characterized by a sense of personal superiority. This ingrained patriarchal perspective affects how she thinks about other women, to such an extent that she cannot form lasting bonds with women different from herself. Jane does experience lasting relationships with women in the novel, which is why prominent scholars like Adrienne Rich praise the novel for its depiction of female solidarity. We see Jane extend financial support to Mary and Diana, potentially allowing them to move more freely in society, as well as form lasting friendships with both. In her early life, she bonds with Helen Burns and Miss Temple, who support one another through numerous difficulties. These achievements are not diminished if we recognize that Jane Eyre does not depict solidarity between all women.

I am not claiming that the responsibility for developing solidarity that crosses social boundaries lands solely on Jane’s shoulders. In fact, as members of the upper echelon, it is logical to assume that socialites like Miss Ingram and Miss Oliver could more easily make the first move on that front (as Miss Oliver does!). I do believe that Jane’s hostile interactions with women of other social classes reveal the limitations of Jane Eyre as a feminist manifesto, and reveal Jane’s inability to escape patriarchal thinking. hooks says that “[w]omen are divided by sexist attitudes, racism, class privilege, and a host of other prejudices… unless… barriers separating women can be eliminated… we cannot hope to change and transform society as a whole” (44). Through Jane, Brontë strengthens established societal boundaries by eliminating the possibility for women of different social classes to bond, revealing the limitation of her feminist thought. Jane is only open to sisterhood with specific types of women—granted, it is unlikely that Ms. Ingram would be open to sisterhood with Jane, but the author’s choice to draw that socio-economic boundary with such rigidity says something about the quality of woman Brontë believes is deserving of total liberation. Indeed, the women Jane does bond with are all eerily like her, both in their socio-economic standing and philosophy (Diana, Mary, Helen, Miss Temple, etc.). Although there are plenty of criticisms to be had about how socially privileged white women (like Blanche Ingram) do little to nothing to dismantle patriarchal ideals, praising one kind of woman while disparaging another does little to change hierarchical structures; it is not productive. By pitting readers against certain women to support Jane, Brontë undermines the effective feminist advocacy of Jane Eyre from a modern perspective.

The Patriarchal Feminist: Seeking Male Approval and Denying Male Accountability

The contradictions within Jane’s patriarchal feminist psyche manifest in her interactions with men as well. Although Jane is always the focal point of these interactions, it is fascinating how Jane continually seeks the approval of men. A patriarchal society tells women that they have no value outside of their relationships to men. In the words of bell hooks, “Male supremacist ideology encourages women to believe we are valueless and obtain value only by relating to or bonding with men” (hooks 44). A patriarchal society pushes Jane towards the approval of men rather than bonds with women, as evidenced by her relationship with St. John. Although Jane is not interested in St. John romantically, she still seeks to please him, even when it is unpleasant for her. She learns “Hindo-stanee” instead of German at his behest, while Mary and Diana “agreed that St. John should never have persuaded them to such a step” (Brontë 433). As time progresses, Jane states that: “I… wished more to please him: but to do so, I felt daily more and more that I must disown half my nature… it racked me hourly to aspire to the standard he uplifted” (Brontë 434). Jane sacrifices her personal comfort as well as quality time with Mary and Diana (with whom she was learning German) in favor of St. John’s approval of her. She prioritizes male attention over herself and other women, perhaps subconsciously, indicating society’s indoctrination which tells her to be submissive and agreeable to men’s desires.

Although Jane does seek St. John’s approval frequently, their relationship also provides her ample opportunity to assert her independence and personal agency, creating contradiction. There are limits to Jane’s prioritization of St. John’s wants; at a point, she insists on prioritizing herself and her wants. Jane’s reaction to St. John’s proposal even demonstrates progressive feminist ideas for the time period—she attempts to bond with St. John platonically, stating: “I regard you as a brother—you, me as a sister.” The society in which Jane operates only allows women and men to bond intimately through marriage and romantic relationships (an exception could be made for siblings). St. John’s reaction makes this clear, as he immediately refuses the potential connection, implying impropriety: “We cannot—we cannot… it would not do” (Brontë 442). Contrary to her earlier acquiescence to St. John’s wishes, Jane firmly establishes herself her own personal agent; she makes decisions for herself, regardless of outside approval or disapproval. She also aligns herself with femininity here, as her main reasoning for refusing St. John is quite romantic; they “did not love each other as man and wife should” (Brontë 442). It is clear in her interactions with St. John that Jane is often torn between patriarchal societal norms and her feminist values—they are symptomatic of her fractured self.

Jane’s relationship with Rochester carries the same confusing contradictions. Many scholars have criticized Jane and Rochester’s relationship on the basis of romantic love; they argue that Jane’s choice to enter into a romantic relationship is a betrayal of herself. In her essay “Jane Eyre: The Temptations of a Motherless Woman,” Adrienne Rich characterizes their initial relationship as a patriarchal “temptation” (Rich 474). Rich argues that Jane must refuse traditional Gothic understandings of romance, which she does by leaving Rochester a first time. Rich also believes that Rochester and Jane’s marriage is inherently practical and unromantic (Rich 482). I agree with Rich that there are problems in Jane and Rochester’s relationship; however, I do not believe the problem is the fact they love one another. Jane’s romantic feelings are not the cause of the inequality in this relationship. Rochester’s problematic actions are. Additionally, Jane’s inability (or refusal) to hold Rochester accountable for his condescending, misogynist, or abusive actions shows how she has been trained by a patriarchal society to sympathize with Mr. Rochester over the women he is hurting. There are many examples of Mr. Rochester hurting women verbally, psychologically, and physically, and Jane dismissing (and therefore accepting) his behavior. Even Adèle, a small child, does not escape maltreatment; Mr. Rochester often speaks negatively of her and insults her to her face, like when he claims “She is not bright, she has no talents” (Brontë 130). Jane never addresses this with Rochester, yet she rightfully criticizes Ms. Ingram for the same behavior, showing how she aligns with Mr. Rochester over other women (Brontë 200). Mr. Rochester also psychologically manipulates Jane, which is played off as a poor attempt at romance (when he masquerades as a fortune teller to get information). Of course, the most serious of Mr. Rochester’s infractions is his abuse of Bertha.

Scholars in the past have argued that Bertha’s character is not meant to be viewed realistically, that her primary function is metaphorical. In their book, “The Madwoman in the Attic,” Gilbert and Gubar state: “Most important, her [Jane’s] confrontation, not with Rochester but with Rochester’s mad wife Bertha, is the book’s central confrontation, an encounter … not with her own sexuality but with her own imprisoned ‘hunger, rebellion, and rage’” (339). Early feminist scholars like Gilbert and Gubar popularized the interpretation of Bertha as a mere representation of Jane’s imprisoned psyche, that Bertha is all the anger Jane is unable to express. While I find the concept intriguing, assuming Bertha is only a function of the novel erases her humanity and dismisses the abuse she has experienced. More specifically, it dismisses the abuse she has experienced at the hands of Rochester . Indeed, at no point does Brontë address the issue of Rochester’s character. When Jane learns about Bertha, she does not mention a problem with his behavior, other than the fact that he “[speaks] of her [Bertha] with hate—with vindictive antipathy,” and that “the attribute of stainless truth was gone from his idea” (Brontë 326, 321). She is upset that he lied, and that he speaks of Bertha derogatorily, but she does not blame him for his actual actions, which should be inexcusable. Jane even states that she “would not ascribe vice to him” (Brontë 321). Jane’s silence and her refusal to acknowledge his faults are indicative of the patriarchal side of her psyche as she grants him leniency when he should be challenged.

The way Jane aligns with Rochester even in his worst moments are contradicted by her ability to assert her personal agency in spite of him, similarly to the way she opposes St. John. She exerts her autonomy when she chooses to leave Rochester, saying that it would be wicked “to obey” him, that she will care for herself (Brontë 343, 344). She insists on plain clothes despite Rochester’s wish for extravagant outfits. Earlier in the novel, before their romantic relationship is established, she debates with him about her rate of pay and insists her salary be on her terms, not his (Brontë 243). These instances create duality, where we simultaneously see Jane as a feminist and a product of the patriarchy. It seems Jane is a feminist for herself, but struggles when it comes to advocating for others or defining herself outside of male approval (although these struggles are not all-encompassing). However positive and inspiring Jane’s moments of clarity may be, her dismissal of the suffering of other women significantly limits the novel’s ability to serve as a feminist work.

Analyzing the failures of dated works may seem pessimistic to some; however, I do not believe the intent of this kind of analysis is to disqualify or discount works that have been important to so many readers. The purpose of deconstructive analysis is to highlight where a text is revolutionary, and to point out areas where texts no longer serve or represent us. It is a celebration of its successes and our progress.

The issues of feminine independence and women’s rights portrayed in Jane Eyre still resonate with modern-day readers, as equality is still a work in progress. Women are still confined through a lack of opportunity, unequal pay, and countless other areas, and these women are searching for solutions just like Jane. Analyzing the failures of Jane’s feminism teaches us that the solution will never be harming other women or perceiving them as threats, even if we are acting through silent complicity. Perhaps, like Jane, we are not aware of how our own patriarchal indoctrination blinds us to the everyday harm we do. I hope this analysis can serve as a reminder to others (as it did to me) that we are all peddlers of patriarchal oppression when we lack self-awareness. We are all capable of self-reflection and growth; this is the true heart of feminism.

Works Cited

Gilbert, Sandra M., et al. “A Dialogue of Self and Soul: Plain Jane’s Progress.” The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination , Yale University Press, 2020, pp. 336–71, https://doi.org/10.2307/j.ctvxkn74x.14.

hooks, bell. Feminist Theory: From Margin to Center . South End Press. Boston, 1984. Print.

Tyson, Lois. “Deconstructive Criticism.” Critical Theory Today: A User-Friendly Guide, 2nd ed.,. Taylor & Francis Group. New York, 2006, pp. 249-261.

Rich, Adrienne. “Jane Eyre: The Temptations of a Motherless Woman.” Jane Eyre: An Authoritative Text, Context, Criticism , edited by Richard J. Dunn, W.W. Norton & Co., 2001, pp. 469-483.

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Themes and Analysis

By charlotte brontë.

‘Jane Eyre’ represents the typical contemporary feminist woman who loves herself and searches for respect from others. Some of the well-thought-out themes she personifies anchor around self-love, romantic love, spirituality, independence, and social class.

Article written by Victor Onuorah

Degree in Journalism from University of Nigeria, Nsukka.

Among other themes, religion also comes up top as a major influencing factor that goes on to shape the protagonist in Charlotte Brontë’s ‘ Jane Eyre ,’ and the lessons learned to stay with her for the rest of her life – often serving as a curb to her immoderations and moral excesses.

Jane Eyre Themes

Spirituality.

Spirituality makes a major part of Charlotte Brontë’s ‘ Jane Eyre ’ – and goes on to have a massive influence on several of the book’s characters , especially on Jane, the protagonist. Because the book’s time setting is centered around Victorian English society , from the early 1800s, Christianity became the prevalent religion that had the most influence on the people.

Jane certainly has a few people in her life – like Helen and St. John Rivers- that help sharpen her spirituality and build a moral life. Although, like these characters whose views are extreme, she finds a middle ground that works well with her personality.

Independence and Self Love

Charlotte Brontë succeeded in building Jane into a strong, independent woman who develops a sort of iron-clad mentality on her selfhood and integrity. She discovers the kind of woman she wants to be from early on, and It’s not life, and actions are dictated by men or society. She works towards this goal without compromises, even though she has no close family, home, or social security to make the decision easier.

Social Class

Social class is another such theme dealt with heavily by Charlotte Brontë in her book, ‘ Jane Eyre ,’ and readers get to see this being called into action throughout the book. As is normal with the class system, the people at the low end of the class tend to suffer the most, and Jane finds herself in this position – having lost her parents at a tender age and left to stay with her mean aunt who, despite her affluent status, is unable to lift Jane the social ladder instead causes more troubles for her by horribly treating her.

Key Moments in Jane Eyre

At Gateshead, ten years old, Jane endures the most horrible treatment living with Mrs. Reed, a wealthy but cruel widow and mother of three, and also Jane’s aunt.
Aside from putting up with her mean aunt, Jane also has to manage her mean cousins – especially John Reed, who often bullies her at the slightest chance.
Jane soon gets into trouble with Mrs. Reed for challenging John and is put into a chamber called the ‘red room,’ the same place where Mrs. Reed’s husband and Jane’s uncle had spent his final hours.
Jane is traumatized by a possible ghostly presence and reacts to it by crying and fainting.
After her release, she is tended to by two persons, Bessie – a servant who is the only one in the house that feeds and truly cares for her; and Mr. Lloyd, a pharmacist who has come to treat her.
After examining Jane and feeling pity for her, Mr. Lloyd advises Mrs. Reed that allowing Jane to go to a distant school may be the only way to get rid of her troubles.
Jane is sent to a highly disciplinary Lowood School where she meets some nice people, but also deplorable ones. One of the latter is her headmaster, Mr. Brocklehurst, who is later fired for his hypocrisy, extravagance, and poor management skill.
At Lowood, Jane also meets the kind and virtuous Helen Burn – who sadly dies prematurely, and a caring mother figure-like Miss Temple – who replaces Mr. Brocklehurst.
Jane stays at Lowood for eight years and leaves afterward – seeking new experiences from the outer world. She finds a job as a home tutor at Thornfield, where she attends to the young and vibrant Adéle, an illegitimate stepdaughter of the shrewd and aggressive Mr. Rochester, Jane’s boss and owner of the Thornfield mansion.
Shortly after, Jane begins falling for her boss, and one time saves him from a fire set by Mr. Rochester’s mentally sick wife, Bertha Mason, although Jane doesn’t know about this as housekeeper Grace Poole takes the blame instead.
Mr. Rochester, who secretly now has feelings for Jane, intends to make her jealous and brings home Blanche Ingram, a beautiful woman, as his mistress. Jane is devastated by this and doesn’t say anything.
Suddenly and unexpectedly, Mr. Rochester proposes to Jane. Astonished and dumbfounded, Jane accepts, but the wedding is not about to stand Richard Mason, Mr. Rochester’s in-law, flies into town with a lawyer to disrupt the marriage.
Jane learns that Mr. Rochester has a living wife after he takes them to the attic where she’s kept. This is too much for Jane to handle, so she leaves Thornfield.
Depressed and without any clear destination, Jane wanders the street for three days – sleeping outside and begging for bread.
On the third day, and to Jane’s luck, a clergyman, St. John Rivers, and his two sisters find Jane around their residence, the Moor House, and bring her in. He helps Jane secure a teaching job in Morton and helps Jane claim an inheritance of 20,000 pounds left by her John Eyre, which Jane knows nothing about.
St. John also tells Jane that John Eyre was also their uncle – this makes Jane and the Rivers siblings cousins.
St. John plans a missionary trip to India and asks Jane to marry and accompany him. Jane wants to travel but doesn’t love him enough to marry him. She continues to ponder about it until one, and in what feels like a dream, Mr. Rochester calls out to her to come home to him.
She leaves for Thornfield the next morning only to find the house is burnt to ashes by Bertha – who died in the fire, leaving Mr. Rochester with an arm and blind after he managed to rescue the servants.
Jane locates Mr. Rochester at his new home in Ferndean and marries him.
After one decade of marriage, the couple stays very happy with their children. Jane shares that her husband regained half of his sight early enough to see his first son being born.

Style and Tone

In the story of ‘ Jane Eyre ,’ Charlotte Brontë utilizes a descriptive first-person perspective – allowing her protagonist, Jane, to share her deeply touching story with her readers for a chance to fully understand her plight and the pains she passed through on her way to becoming an independent, well-respected wife and society woman.

Charlotte’s tone for ‘ Jane Eyre ’ is warm and welcoming , thanks to the personality of the book’s protagonist. However, the book is by designation a gothic romance and so is characteristically imbued with plot mysteriousness, occasional dread, and horror.

Figurative Languages

Charlotte Brontë brings to play a wide range of figurative languages in her masterwork, ‘ Jane Eyre ,’ and except for a good few, quotes therein are typically stretchered using sentence joiners like commas, semicolons et cetera. For the figurative language, readers should expect to find a bulk of metaphors, similes, and personification being used throughout the pages of the book.

Analysis of Symbols in Jane Eyre

Fire is portrayed on several occasions in Charlotte Brontë’s ‘ Jane Eyre ,’ and outside of its literal meaning, concerning Jane, it’s a clear motif for her drive, delicateness, and passion towards achieving her goals.

Ice and Chills

These hold a motif of loneliness, personal pains, and suffering Jane faces at different points in her life – from Gateshead, under her cruel aunt and her children – to Lowood school, then to sleeping three days in the streets. Ice and chills are a representation of the harsh conditions Jane faces throughout the book.

The Red-Room

Restrictive, repressive, and scary, the red room symbolizes how society represses Jane’s shine and ability to become an independent, self-sustaining woman of her time, seeing as that is nearly impossible for any woman to achieve in such a society.

What is a frontal theme in ‘ Jane Eyre ’?

Search for one’s voice, freedom and independence prove a prevalent theme in Charlotte Brontë’s ‘ Jane Eyre ,’ however, there are also the themes of love, religion and spirituality, and social class.

What does the red room signify in Charlotte Brontë’s ‘ Jane Eyre ’?

One important sign of the red room is its restrictive and scary nature, and this is similar to the limitations and challenges Jane would later face in the outer society.

In Charlotte Brontë’s ‘ Jane Eyre ,’ how does Jane become the woman she always wanted to be?

Jane becomes the best version of herself because she sets a goal for herself, follows through on it, and in the end, becomes an independent woman with her voice and obtains respect and equality for her gender.

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About Victor Onuorah

Victor is as much a prolific writer as he is an avid reader. With a degree in Journalism, he goes around scouring literary storehouses and archives; picking up, dusting the dirt off, and leaving clean even the most crooked pieces of literature all with the skill of analysis.

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Introduction

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Table Of Contents

Jane Eyre , novel by Charlotte Brontë , first published in 1847 as Jane Eyre: An Autobiography , with Currer Bell (Brontë’s pseudonym) listed as the editor. Widely considered a classic, it gave new truthfulness to the Victorian novel with its realistic portrayal of the inner life of a woman, noting her struggles with her natural desires and social condition.

When the novel begins, the title character is a 10-year-old orphan who lives with her uncle’s family; her parents had died of typhus . Other than the nursemaid, the family ostracizes Jane. She is later sent to the austere Lowood Institution, a charity school , where she and the other girls are mistreated; “Lowood,” as the name suggests, is the “low” point in Jane’s young life. In the face of such adversity, however, she gathers strength and confidence.

Young woman with glasses reading a book, student

In early adulthood, after several years as a student and then teacher at Lowood, Jane musters the courage to leave. She finds work as a governess at Thornfield Hall, where she meets her dashing and Byronic employer, the wealthy and impetuous Edward Rochester . At Thornfield Jane looks after young Adèle, the daughter of a French dancer who was one of Rochester’s mistresses, and is befriended by the kindly housekeeper Mrs. Alice Fairfax . Jane falls in love with Rochester, though he is expected to marry the snobbish and socially prominent Blanche Ingram. Rochester eventually reciprocates Jane’s feelings and proposes marriage. However, on their wedding day, Jane discovers that Rochester cannot legally marry her, because he already has a wife, Bertha Mason , who has gone mad and is locked away on the third floor because of her violent behaviour; her presence explains the strange noises Jane has heard in the mansion. Believing that he was tricked into that marriage, Rochester feels justified in pursuing his relationship with Jane. He pleads with her to join him in France, where they can live as husband and wife despite the legal prohibitions, but Jane refuses on principle and flees Thornfield.

Jane is taken in by people she later discovers are her cousins. One of them is St. John , a principled clergyman. He gives her a job and soon proposes marriage, suggesting that she join him as a missionary in India. Jane initially agrees to leave with him but not as his wife. However, St. John pressures her to reconsider his proposal, and a wavering Jane finally appeals to Heaven to show her what to do. Just then, she hears a mesmeric call from Rochester. Jane returns to Thornfield to find the estate burned, set on fire by Rochester’s wife, who then jumped to her death. Rochester, in an attempt to save her, was blinded. Reunited, Jane and Rochester marry. Rochester later regains some of his sight, and the couple have a son.

The book was originally published in three volumes as Jane Eyre: An Autobiography , with Currer Bell listed as the editor. (The Lowood section of the novel was widely believed to be inspired by Charlotte Brontë’s own life.) Though some complained that it was anti- Catholic , the work was an immediate success. Jane Eyre ’s appeal was partly due to the fact that it was written in the first person and often addressed the reader, creating great immediacy. In addition, Jane is an unconventional heroine, an independent and self-reliant woman who overcomes both adversity and societal norms. The novel also notably blended diverse genres . Jane’s choice between sexual need and ethical duty belongs very firmly to the mode of moral realism. However, her close escape from a bigamous marriage and the fiery death of Bertha are part of the Gothic tradition.

Jane Eyre inspired various film, TV, and stage adaptations , including a 1943 movie that starred Orson Welles as Rochester and Joan Fontaine as Jane. Jean Rhys ’s novel Wide Sargasso Sea (1966) offers an account of Rochester’s first marriage.

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Scholastic Award Winners

“Is Jane Eyre Really A Feminist Novel?”

Adelaide Zheng , Contributor | March 14, 2019

Adelaide Zheng won a Silver Key for this critical essay.

Simone de Beauvoir once wrote in her famous work The Second Sex that “[o]ne is not born, but rather becomes, a woman.” Similarly, in the literature world, the language and structure of texts “reproduce gender inequalities” by alienating female characters and making them become what the stereotype describes (Moon). However, in Jane Eyre by Charlotte Brontë , the center of the story is not a male but an orphaned girl who undergoes many struggles to finally become an independent woman. Jane Eyre is treated as an inferior at Aunt Reed’s house and witnesses her own best friend’s death at the Lowood School; she falls in love with Edward Rochester when serving as a governess for his supposed daughter Adèle , then escapes the house as she discovers that he has a living, crazy wife. Eventually, she comes back to Edward after becoming an heiress to a fortune. Many readers of Jane Eyre consider the protagonist a feminist because of her exemplary individual progress. Indeed, Jane Eyre exhibits outstanding personal qualities in this novel, which can be interpreted as feminist characteristics; however, I argue that Jane’s personal growth does not necessarily imply feminism because her mind is still limited to an inferior category, which is why this novel does not qualify as a feminist novel.

Charlotte Brontë distinguishes Jane Eyre from the rest of women of her time, bestowing her with bravery, persistence and autonomy, suggesting Brontë ’s admiration of those qualities that are often suppressed in women. When Brontë first published the novel in 1847, she used an ambiguous pseudonym, Currer Bell, to avoid prejudice against female authors. Interestingly, Jane Eyre is presented as a non-compromising character whose attitude toward authority may reflect what Brontë thought of herself but did not dare to show. Jane says “no” when Rocheser asks her if he is handsome, refuses to pay respect to people based on their social status, and insists that no one has “the right to command [her]” ( Brontë 148). Her sharp personality is best shown through her dialogue with Rochester as she famously claims, “[d]o 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!” ( Brontë 281). Jane Eyre possesses vital qualities and an equally full soul that readers are not used to seeing in a female character, especially a “poor, obscure, plain, and little” one. The stark contrast between Jane’s physical image and her inner qualities suggests Brontë ’s own belief in women’s journey to independence .

However, just as Brontë chose not to publish the novel under her name at the beginning, Jane Eyre’s progressive actions are, in fact, limited to a weaker, feminine category, suggesting that this novel does not intend to achieve a feminist agenda. Throughout the novel, Jane Eyre makes very little comment on the problems of gender inequality, nor does she show the urge to change women’s roles in her society. For example, she does not show anger toward the fact that her cousin John Reed spends all the money gambling while the Reed sisters can only stay at home; she feels “less…justified in judging and blaming” the possible loveless marriage between Mr. Rochester and Lady Ingram ( Brontë 207); she also implies that women’s beauty has equal weight with men’s virtues by telling Rochester that “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” ( Brontë 281). Those sporadic details reflect Bronte’s fixed underlying assumptions about women’s weaker roles in society. I believe that Brontë did not intend to write a feminist novel—if her own protagonist is quiet when it comes to fighting gender stereotypes, how would this novel be classified as a feminist novel?

Another disturbing aspect of Jane Eyre —which makes it less qualified as a feminist novel—is the fact that the power balance between Jane Eyre and Edward Rochester is only achieved when Jane inherits money and Edward becomes blind. Jane does not have a choice other than to escape from Thornfield Hall when she discovers Edward’s crazy wife, Bertha. Interestingly, this description of Jane’s escape fits into what Sandra Gilbert, an American literary critic, describes as being “not uncommon for heroines of nineteenth-century literature by women” (Murfin 466). When she is imprisoned in the little red room at Aunt Reed’s house, Jane has also momentarily succumbed to madness, which is a form of escape from the realistic world that male heroes are disapproved of. A male hero, such as Odysseus, is almost never portrayed as someone who would become mad or escape from his dilemmas; instead, madness and escape are synonyms for cowardness and incompetence in a man’s world. Thus, it is not surprising that Jane only achieves power balance with Edward when she inherits money and Edward becomes blind. This particular plot in the novel, to some extent, affirms that women are born to be weaker than men, and that weakness indicates inferiority.

Jane Eyre’s characteristics, such as bravery, persistence and autonomy, do not automatically make her a feminist because her thinking is still limited to a feminine category; therefore, Jane Eyre is not qualified to be a feminist novel. Indeed, Jane’s outstanding personal qualities make her one of the most powerful female fictional characters in the world of literature; however, a closer look at the book’s details suggests that Jane is still not progressive enough to revolutionize her thinking about broader concepts like gender inequality. That said, the Brontë sisters’ contribution to the literary world, especially in advancing women authors’ status, should not be discredited. As we are judging Jane Eyre from a modern standard, we can consider this novel as not progressive enough; however, taken into the context of nineteenth century England, Charlotte Brontë shows courage in creating her protagonist, Jane Eyre, to evolve from a helpless, little girl to an independent, brave young woman. Sadly, three hundred years later, the underlying assumptions about women’s roles in society have changed little. Even though we consider ourselves a generation of progress, who, among us, obtains the courage and persistence, like Jane Eyre does, to fight for true gender equality?

Works Cited

Brontë, Charlotte. Jane Eyre . Sterling Publishing Co, 2017.

Moon, Brian. “Feminist Criticism.” Literary Terms , PDF ed. Excerpt originally published in Literary Terms , .

Murfin, Ross C. “Feminist Criticism and Jane Eyre.” Feminism Criticism: A Selected Bibliography , PDF ed. Originally published in Feminist Criticism: A Selected Bibliography .

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Feminist Fridays: What’s the Deal with Jane Eyre?

This week, I’m reading Bad Feminist by Roxane Gay (go pick it up—it’s awesome), so I’ve been thinking a lot about how feminism manifests itself in literature. I think it’s hard for any modern female writer not to wonder how literature has historically represented her gender. So that’s why at the Adroit blog, we’re launching the Feminist Fridays series—and what better place to start than Jane Eyre feminism.

We want to talk about what makes a character, writer, or piece of writing feminist, and how the evolution of society impacts the way that we write about women in literature. Let’s dive in.

The real question, though, is if that silhouette’s messy hairdo is feminist.

To start, I would like to point out that the feminist criticism of literature isn’t about playing the “Feminist or Not Feminist?” game. Frankly, it doesn’t matter whether or not we can bang a gavel and definitively call a piece of literature feminist. But it’s important to be able to determine the feminist merits of literature because of the implications and social influence that literature can have. After all, do we want a teen girl in her high school English class to learn from her reading material that her purpose in life is to serve her husband? I sure hope not. But sometimes, I find it hard to look at the women of classic literature and think, “Yes! This is the kind of woman that I want to be.”

When literary scholarship is so ingrained in older works, how do we evaluate literature through a modern feminist lens?

Before examining the feminist merit of a novel, we need to define what feminism means. I think that feminism is about having complete and total agency over our lifestyle and choices, regardless of race, sexual orientation, gender identity, and any other facet of our being.

Let’s talk Charlotte Brontë. If you’ve never read Jane Eyre , this is the part where you go read the SparkNotes summary.

Jane Eyre is widely considered to be one of the first feminist novels, but I’ve never been sold on the idea. I do believe, though, that within the context of Victorian England, Jane Eyre could be considered feminist, but only to an extent. This is the crux of the problem, though—society has (thankfully) grown enough in the past couple hundred of years that what may have seemed incredibly feminist in the nineteenth century is antithetical to twenty-first century feminism. Jane’s actions are deeply rooted in her moral beliefs, and the ability to make conscious lifestyle choices for herself is inarguably feminist. But when I look at Jane’s choices through a contemporary lens, I can’t help but feel that, despite her moral character, she fails to fully liberate herself from an oppressive, marriage-obsessed culture.

Jane Eyre focuses largely on the gothic, mysterious relationship between Jane and Rochester, the man who owns the estate where Jane is a governess. As I flip through my copy of Jane Eyre , I notice an uncomfortable trend: from chapters thirteen through eighteen, each chapter’s opening sentence centers on Mr. Rochester. It’s okay to be boy-crazy (and still feminist!), but come on, Jane, seriously? Get it together.

On her wedding day, Jane finds out that Rochester is already married to a manic woman trapped in the attic of the estate (Okay, Rochester. Totally not creepy.). After the wedding is called off, Brontë writes that Jane “was a cold, solitary girl again: her life was pale; her prospects were desolate.” I don’t know about you, but I’m not too keen on the message that life is “desolate” without a man to marry.

Shortly after the reveal, Rochester implores Jane to begin their life together far away in a romantic French villa. Although Jane is in love with Rochester and admits that she would enjoy life with him in France, she chooses not to go with him because she is afraid of being considered his mistress, since they aren’t married. Instead, Jane tries to support herself by working various jobs around the countryside until she faints on a doorstep.

“Frankly, it doesn’t matter whether or not we can bang a gavel and definitively call a piece of literature feminist. But it’s important to be able to determine the feminist merits of literature because of the implications and social influence that literature can have.”

Jane’s decision not to go to France is often considered to be The Pinnacle of Feminism—she refuses to be anything less than Rochester’s wife. While the choice to put her self-esteem above a man is admirable, I can’t help but feel frustrated that Jane would throw away the prospect of a happy, romantic life in a French villa just because she prizes the institution of marriage enough to believe that only a legal document can validate her relationship.

Marriage has its place in modern society, but it’s hard to deny that its origins were inherently patriarchal. Still, I would find it more appealing if Jane decided that she cared more about her personal happiness than whether she would potentially be considered a mistress… But of course, what’s a good book without some heart-breaking conflict?

Fast-forward a bit in the plot. A man named St. John asks Jane to marry him and work as a missionary in India. Jane declines because she does not love him. This time, I’ll go ahead and cheer Jane on. She knows that she won’t truly be happy if she marries a man for the sake of convenience, and the fact that she has the right to make this decision is a step in the right direction. Good for you, Jane.

Later, Jane returns to Rochester’s estate, only to find out that a fire killed his wife—in other words, Rochester is no longer married. He is, however, physically handicapped and blind. Only after Rochester’s physical state deteriorates can Jane feel like his equal. Jane says, “perhaps it was that circumstance that drew us so very near–that knit us so very close: for I was then his vision, as I am still his right hand.” Jane derives happiness from her ability to service Rochester; the relationship brings her joy because she feels useful, and only from her utility can she feel loved and respected.

And they all lived happily ever after… right?

Brontë portrays this as a happy ending, but from a feminist perspective, I’m not happy.

Let’s start with the flawed concept that a man and a woman aren’t equal until the man is maimed by a giant fire. From Brontë’s perspective, Jane and Rochester can’t have a functional marriage until their relationship is mutually beneficial. Love and respect are not enough—Rochester must benefit when Jane takes care of him in his weakened physical state, and Jane must benefit when she elevates her social status by marrying a rich man.

I reject the idea that Jane was inferior to Rochester to begin with. Sure, he is of a much higher social class (Jane was a governess in his estate, remember?), but if they are in a truly healthy relationship, this shouldn’t matter.

I think this is what makes me feel so uncomfortable when Jane Eyre is referred to as a major feminist novel. Let’s stop insisting that the ideal woman is a morally-guided Christ figure and start giving women the power to make life choices that don’t depend on marriage and child-rearing. Let’s separate our self-worth from our relationship status, and when we do find a suitable partner, let’s consider them our equals on the simple basis that we are human beings who respect each other, and not on the basis of codependency.

Although Jane Eyre bordered on radical at the time of its publication—so radical that Brontë published it under a male name—I don’t think that we can consider Jane a feminist role model in the twenty-first century. Instead, literature should function as an education in how society has evolved since the 1840s, and how Jane Eyre and Charlotte Brontë lacked the social mobility to fit my mold—my twenty-first century American mold—of what a modern feminist role model should be. Jane’s journey towards understanding herself and finding peace is lodged in her relationships with men, and I don’t think that the novel can send a holistically feminist message when Jane’s self-worth and happiness are so strongly affected by the men in her life.

But in Victorian England, a woman’s social mobility was closely related with her romantic relationships. As Roxane Gay writes in Bad Feminist , “feminism is flawed because it is a movement powered by people and people are inherently flawed.” So maybe Jane is a “bad feminist.” Maybe in a modern Jane Eyre , Jane would have had an option to better herself and her life in ways that didn’t involve marriage.

I don’t blame Charlotte Brontë for living when she lived, but I still wish that Jane Eyre wasn’t so widely considered to be the quintessential feminist novel. Morality is great and all, Jane, but I think that there are other protagonists out there who can more effectively prove to women that they are people who matter outside of their reproductive and marital abilities.

High school writers should check out our free, annual online Summer Mentorship Program , which opens to applications every year in mid-February, as well as our Adroit Prizes for Poetry and Prose , which recognize spectacular high school and college writers each year. You may also like to check out some additional helpful content we have for high school students, such as the Vol. I of our Dear Writer: Tips for Young Writers Series .

What a nicely thought-out piece! I still love Jane’s insistence on living by her own lights. Created at a time when women were always portrayed following their hearts, Jane instead insists that following her conscience is even more important. Still, I think you are totally right that Jane’s choices don’t mean the same thing in today’s world that they meant in hers.

This is an unfair assessment, I feel: The book is about two main characters, Jane and Rochester, and their relationship. The plot is concerned with their love story – its themes are about independence, but the plot is a love story, and so for it to end with the love story’s culmination is perfectly natural, as is the bulk of the book concering Jane’s interactions with Rochester and thoughts on their relationship.

The fact is Rochester says Jane is his equal before he’s maimed, and she as well. In any case the book’s feminist value do not lie in something as superficial as whether she marries or not at the end but in Jane’s character and her unbending, unbreakable, impassioned will and need to be an independent woman and make her own choices. She does not bend to Rochester, in their many intellectual conversations, she does not bend to her ‘family’ in the beginning, not to the moralizing religious men in the story, at her school, with St. John. And Jane is ultimately the one to seek marriage and ask for Rochester’s hand – when he does it earlier in the book the whole thing goes to the dogs, when she’s the active part in the end all is right.

When she leaves him it’s not because she worships the idea of marriage and the paper slip that proves it – it’s because she respects herself too much to be a man’s mistress, and to be fooled and passively submit to his games. She needs to reestablish control over her own life. He’s not burned so that he’s "brought down" to her level, his handicap is a symbol of how Jane has become the stronger part in their marriage as a result of her pride. At every single turn Jane stays true to herself to the point where readers even today thinks she’s ‘stubborn’ or difficult when in fact it’s the only way for her to maintain her self-respect in a sexist, classist society.

This was of course wildly radical for its times – CB was however not just speaking ‘for her times’. Adressing her male critics who had judged her not for her writing but for her gender she brought up an issue that’s as relevant today: “To you I am neither man nor woman. I come before you as an author only. It is the sole standard by which you have a right to judge me–the sole ground on which I accept your judgment.”

Her feminism was clear enough in her books and outside of it. And if you want a Charlotte Bronte novel that’s more explicitly anti straight-marriage and with an ending that satisfies that particular want may I suggest Villette. "Shirley" is also explicitly feminist in its supremely radical reshaping of Christian mythology where Eve takes the shape of a titan, a god and a creator, not a fallen sinner. That book does end in marriage, but with the most biting satire to go with it.

Amanda, I used to read the book as you do. I discounted any pages I didn’t personally identify with and only ran with the love story. But a closer reading of the entire novel will show you that this is a story about the strength of one female character, which happens to include a love story we still love to be entertained by. I almost feel as if you’re reading this as if Bronte and Jane are one, which they most decidedly are NOT. Bronte has Jane tell a first person narrative. Those first hundred pages before she falls for Rochester are there for a reason, and those hundred pages when she lives with St. John are there for a reason as well. She is her own person with her own set of beliefs that she will not put aside for love. Yes, for several chapters she is wildly caught up with her passion for Rochester; this is Jane talking, as a first person narrative should. And Bronte has Jane find herself again, and value herself and the beliefs she has held her life long, since before she met Rochester. At your age I thought she was nuts to run away, and I hated that Rochester was punished and I even almost blamed Jane for it! But in those pages while Jane is away teaching school (watch your facts, you claim she did odd jobs before fainting at St.John’s doorstep, not so, she begged), Bronte is laying out the evidence that Jane wasn’t driven merely by religious duty to leave Rochester. It was deep personal conviction. Otherwise, she would have accepted St John’s proposals as her duty. He’s a minister, he’s virtuous, handsome, etc. As Rochester says at the end, St John had it all, how could Jane not choose him? But Jane will either choose love on her terms or remain single and work, and when released from work, strive to create a sense of domesticity that as an orphan she has lacked her life long. Bronte has created Jane to have self knowledge. She knows who she is and what is right for her, regardless of what the world expects or thinks of her. And I haven’t even touched on the issue of financial independence. Yes, this is a feminist novel, as relevant today as it was when it was written.

What a great entry! congratulation for your work, I enjoyed it a lot! 🙂

Absolutely love love love this – couldn’t agree more! Studying Jane Eyre for A-Level English Lit and found this extremely helpful, thank you v much

This helped me a lot with my English essay! I really admire your writing, it is very cohesive and brings up good points I hadn’t thought of. Keep it up!

I appreciate your point of view, but I think you’re discrediting the time in which the novel was written. It was 1847, and a female doing the things Jane did was thought to be completely radical. So yes, it was feminist at the time, but it doesn’t mean that it doesn’t have literary merit or value in feminist history and culture today.

I enjoyed your point of view as it is different from many that I have heard. I would like to point out that Jane considered herself Mr. Rochester’s equal before he was disabled and told him this when he very first professed his love to her.

I really liked your different point-of-view expressed in the article. You definitely have a point, but I feel it’s unfair to judge and criticise the book outside of its context — literary criticism requires a certain mindset that you are always comparing it to its time, not the modern world. If we compared books to the modern world, it would defeat the point of the book really. I feel Jane Eyre is an important piece of feminist literature, just as To Kill a Mockingbird is an important piece of literature commenting on the treatment of POC. To Kill a Mockingbird’s portrayal surely isn’t ideal in the modern understanding of black rights, or one to be copied in the modern world, but that does not in any way degrade its immense importance. It’s still an important book commenting on the treatment of black people. In the same vein, Jane Eyre is still an important feminist novel. You have to criticise novels within their context to gain a sense of their importance, not a modern one. Also, as Christina and Matias so eloquently pointed out, there are some misunderstandings of the text’s meaning. I see where you’re coming from, and agree that in a modern view, Jane Eyre isn’t the ideal feminist novel, but I still believe Jane Eyre is an important feminist novel in the timeline of feminist literature. I don’t think anyone would say Jane Eyre is without flaws, or that Jane Eyre’s life is something to be copied completely in the modern world, but that doesn’t mean it is any less a feminist novel, and an important one at that.

Wonder what one would do with complete and total agency

In my small sphere of thoughts I considered this novel is a mixture of love and feminist elements. In the Victorian context it’s a very well known feminist novel because at that time female were suffering of male dominance everywhere in Victorian England. secondly Jane self decision power shows female strength and strong physics. On the other hand this novel is a love story because the happy end and the lust of Jane romance for Rochester shows the love site of this novel.

Oh my gosh, I totally agree! I never understood why people thought this was so good. It’s also totally inappropriate that he was her employer, let’s not forget that. It never seemed about love, but about manipulation. He seemed to toy with her. Oh well, I could go on and on. Glad I’m not alone! Julia

Thank you for this article: I recently reread Jane E for the first time in about 20 years and I feel like I’ve had to re-evaluate so much of what I thought I loved about the book in my teens. Jane’s life with the Reeds, at boarding school and the slowly growing relationship between Jane and Rochester is still thrilling. But the period of living with St John and her decision to turn him down is sooo drawwwn out as to be unbearable. I mean, I’m impressed that she sticks to her guns and refuses to spend her life in the tropics on anybody else’s terms. But if she is so interested in education, why does she jack in the job at the little village school so quickly as soon as her financial circumstances pick up? (PS: I can see much debate in the comments about how Rochester’s disabilities ‘bring him down’ to Jane’s status – but don’t forget that, as a newly minted heiress, Jane is now a hot prospect herself. Rochester certainly doesn’t forget it…)

Hi! I for one never thought that Jane Eyre was a "feminist" novel. In fact, the word ", feminist" wasn’t coined until the late nineteenth century, the 1890’s I believe, sure Jane does some serious soap – boxing but in the end all she wanted was a man. Harriet Martinue commented that all of CB’s novels were nothing more than girl meets boy stories and that women can and should be able to be happy and fulfilled without a man. Which got CB’s back up so that she never spoke to Ms. Martinue again. Oh, the real reason Jane didn’t ride off into the sunset with Rochester was because she was afraid that a few years down the road he would dump her like he did his other mistresses.That is also why poor Rochester had to be crippled,blinded,and maimed…it made him easier to handle. You should read the book "Imagined Human Beings" by Bernard J. Paris. His essay on Jane Eyre (and Charlotte Bronte) from a psychological approach is spot on! He said what I always thought about Jane Eyre but which I couldn’t articulate properly. In fact,some of things he said about Jane Eyre could also apply to Hannibal Lecter. 😀

Although I don’t agree with everything you said, I really enjoyed this article. It made me laugh because it’s fun to read. Originally I came across your blog because I’m researching for a term paper, but I love it. I love the concept of "Feminist Friday" and surely will come by every now and then! Thank you!

Is it not a misread to say that Jane only saw herself as Rochester’s equal once he was maimed and blinded? Did she not previously see herself as his equal, and he hers?

I do hope this was written tongue-in-cheek…. surely the maiming of Rochester in the fire is Godly punishment for attempting to trick Jane into a bigamous marriage and then offering her the position of mistress, therefore committing adultery. Her moral stance is her guiding light despite her lack of social status and economic power at a time when women were defined by their sex in a patriarchal system. For a woman to strike out and work in itself was a threat to men as she was neither wife nor mother and therefore beyond his control. This is a feminist text throughout.

Jane Eyre as a Feminist Novel

1. introduction to jane eyre.

"Jane Eyre" by Charlotte Brontë is often considered a feminist novel due to its portrayal of the eponymous character's journey towards independence and self-fulfillment. The novel, first published in 1847, follows the life of Jane Eyre as she navigates through societal expectations, love, and the pursuit of autonomy. 1.1. Brief Overview of the Novel The novel begins with Jane's childhood, where she suffers abuse and neglect at the hands of her aunt and cousins following the death of her parents. She then attends Lowood School, where she befriends Helen Burns and garners an education. As she matures, she secures employment as a governess at Thornfield Hall, where she meets the enigmatic Mr. Rochester. Their relationship evolves amidst a mysterious and haunting secret, leading Jane to ultimately choose self-respect and integrity over societal norms and romantic love. Throughout the narrative, Jane's unyielding spirit and refusal to conform to gender expectations make "Jane Eyre" a significant work in feminist literature. The novel's exploration of themes such as gender equality, independence, and the search for personal identity will be further examined in this study, along with the author's own experiences and the historical context in which the novel was written.

1.1. Brief Overview of the Novel

Jane Eyre, written by Charlotte Bronte, is a seminal work of feminist literature that follows the life of its titular character, Jane Eyre, as she navigates the societal expectations and constraints placed upon women in the 19th century. The narrative takes readers through Jane's journey from her tumultuous childhood to her independence as a woman, showcasing her resilience and defiance of the traditional gender roles of the time. Throughout the novel, Jane challenges the patriarchal norms and expectations that seek to confine her, asserting her autonomy and individuality in the face of adversity. This defiance and assertion of agency are central to the feminist themes explored in the novel, making it a significant contribution to feminist literature. One of the key aspects of Jane Eyre as a feminist novel is the way in which it portrays Jane's struggle for self-realization and independence. In a time when women were expected to be meek and submissive, Jane's boldness and refusal to conform to societal expectations make her a compelling and empowering figure for readers. The novel also delves into issues of class and gender inequality, shedding light on the limitations and injustices faced by women of Jane's time. Through Jane's experiences and interactions with the male characters in the novel, Bronte critiques the oppressive nature of the patriarchy and advocates for women's rights and equality. Ultimately, Jane Eyre stands as a testament to the strength and resilience of women in the face of societal oppression, solidifying its place as a significant work of feminist literature.

2. Feminist Literary Criticism

Feminist literary criticism is a movement that seeks to analyze and challenge the portrayal of women in literature, especially in terms of equality, representation, and social and political roles. This approach aims to uncover and challenge the underlying assumptions and biases within literary works, shedding light on issues such as gender inequality, patriarchy, and the marginalization of women's voices. In the context of Jane Eyre, feminist literary criticism can be applied to explore how Charlotte Brontë's novel addresses the constraints and expectations placed on women in the 19th century, as well as the protagonist's journey towards self-discovery and empowerment. By examining the female characters' agency, relationships, and societal roles, feminist literary criticism provides a valuable lens through which to understand and appreciate the novel's significance in challenging traditional gender norms and advocating for women's autonomy and empowerment. This approach also allows for a nuanced exploration of the ways in which Jane Eyre both reflects and subverts the patriarchal attitudes of its time, making it a rich and compelling subject for feminist literary analysis.

2.1. Definition and Scope

Feminist literary criticism is a theoretical approach that seeks to understand and challenge the ways in which literature represents gender, power, and identity. The scope of feminist literary criticism encompasses a wide range of literary works, including fiction, poetry, drama, and non-fiction, from different historical periods and cultural contexts. It aims to identify and critique the ways in which gender roles, stereotypes, and power dynamics are portrayed in literature, as well as to explore how these representations reflect and shape societal attitudes towards gender. At its core, feminist literary criticism seeks to promote gender equality and social justice by examining the ways in which literature perpetuates or challenges patriarchal norms. It also emphasizes the importance of recognizing and amplifying the voices of women writers and characters, as well as exploring the intersections of gender with other aspects of identity such as race, class, and sexuality. In this way, feminist literary criticism offers a valuable framework for analyzing and interpreting literature through a gender-conscious lens, and for understanding the ways in which literature both reflects and influences the cultural and social construction of gender.

3. Feminist Themes in Jane Eyre

In Jane Eyre, feminist themes are prevalent throughout the narrative, as the novel challenges traditional gender roles and explores the idea of independence and self-reliance for women. Jane’s journey exemplifies her determination to assert her independence and seek self-reliance, despite societal constraints. From her early years at Gateshead, where she endures mistreatment and exclusion, to her time at Lowood Institution, where she strives for self-improvement and intellectual growth, Jane exhibits resilience and a refusal to conform to the limitations imposed on her as a woman. This feminist undertone is further evident in her refusal to be confined by the expectations of marriage and social status, as she rejects the proposal of Mr. Rochester when she discovers his deceitfulness. Instead, she prioritizes her own self-respect and autonomy, ultimately embracing a life that allows her to assert her independence and self-reliance on her own terms. Through Jane’s characterization and her navigation of societal expectations, Brontë presents a compelling portrayal of feminist ideals that continue to resonate with readers.

3.1. Independence and Self-Reliance

In "Jane Eyre," the theme of independence and self-reliance is central to the development of the protagonist, Jane. Throughout the novel, Jane strives to assert her independence and assert her identity in a society that seeks to confine and limit her. From her abusive childhood to her experiences at Thornfield Hall and beyond, Jane consistently seeks to be self-reliant and autonomous. Jane's pursuit of independence is evident in her decision to leave Thornfield Hall and Mr. Rochester, despite her love for him. She refuses to be dependent on a man for her livelihood and chooses to strike out on her own, even when it means sacrificing her personal desires. Furthermore, Jane's refusal to compromise her principles, even in the face of oppressive social norms, demonstrates her commitment to self-reliance. This theme of independence is a driving force behind Jane's actions and decisions throughout the novel, reflecting the feminist ideals of autonomy and agency. Moreover, Jane's journey towards self-reliance is also a commentary on the limitations placed on women in the Victorian era. Through her experiences, the novel highlights the societal expectations and restrictions that women faced during the time, and the barriers they had to overcome to achieve independence. Jane's determination to assert her autonomy in the face of these obstacles serves as a powerful feminist statement, making "Jane Eyre" a compelling exploration of independence and self-reliance in the context of feminist literature.

4. Character Analysis

In the character analysis section, we will delve into the depiction of Jane Eyre as a feminist protagonist. Jane Eyre, the main character of the novel, embodies the qualities of a strong, independent woman who defies the societal expectations of her time. Her resilience, determination, and unwavering sense of self-worth make her a trailblazing feminist figure. We will explore her actions and decisions throughout the novel, analyzing how they align with feminist principles and ideals. Additionally, we will examine the challenges and obstacles that Jane faces as a woman in Victorian society, and how she confronts and overcomes them. Furthermore, we will delve into the complexities of Jane's character, discussing her relationships with other characters such as Mr. Rochester, St. John Rivers, and Mrs. Reed, and how these interactions shape her identity as a feminist protagonist. By closely examining Jane's character development, we aim to demonstrate how she embodies the spirit of feminist rebellion and empowerment, ultimately challenging the traditional gender roles and expectations of her time. Our analysis will shed light on the significance of Jane Eyre as a feminist novel and its impact on literature and society.

4.1. Jane Eyre: A Feminist Protagonist

In Charlotte Brontë's novel "Jane Eyre," the protagonist Jane Eyre emerges as a strong and independent woman who defies societal norms and expectations. Throughout the novel, Jane challenges the traditional gender roles and expectations of Victorian society, making her a quintessential feminist protagonist. Jane's determination to assert her independence and fight for her own happiness, regardless of the obstacles she faces, embodies the feminist ideals of self-determination and empowerment. From the beginning of the novel, Jane demonstrates a fierce sense of self-worth and a refusal to conform to the limited roles available to women in her time. Her rejection of the restrictive gender expectations of the time, her insistence on being treated as an equal, and her refusal to accept a life that is not of her choosing, all contribute to her portrayal as a feminist character. Furthermore, Jane's unwavering belief in her own moral and intellectual equality with men, as well as her insistence on the right to love and be loved on her own terms, highlight her feminist stance. Moreover, Jane's journey to find her own voice and assert her identity in a male-dominated society reflects the broader feminist struggle for equality and autonomy. Her resilience in the face of adversity, her willingness to speak out against injustice, and her refusal to compromise her values all underscore her status as a feminist protagonist. Overall, Jane Eyre's portrayal as a feminist protagonist in the novel serves as a powerful example of female agency and empowerment, making "Jane Eyre" a significant and influential feminist work in literature.

5. Reception and Impact

In the years since its publication, Jane Eyre has garnered both widespread acclaim and critical debate. Contemporary and historical views on the novel reveal the shifting attitudes towards feminism, social class, and individual agency. Initially, the novel was met with mixed reviews, with some critics praising its portrayal of an independent and strong-willed female protagonist, while others condemned it for its radical ideas and challenging of traditional gender roles. Over time, however, Jane Eyre has come to be recognized as a pioneering work of feminist literature, challenging the prevailing notions of femininity and the restrictions placed upon women in the 19th century. The impact of Jane Eyre extends beyond its initial reception, influencing subsequent generations of writers and readers. The character of Jane has become a touchstone for feminist literary criticism, embodying the struggle for self-respect, independence, and equality. The novel's exploration of complex themes such as love, identity, and morality has resonated with audiences across centuries, making it a timeless and enduring work. Ultimately, the reception and impact of Jane Eyre speaks to its enduring relevance and power as a feminist novel, cementing its status as a seminal work in the literary canon.

5.1. Contemporary and Historical Views

In examining contemporary and historical views of "Jane Eyre" as a feminist novel, it is important to consider the response the novel has received since its publication in 1847. During the Victorian era, the novel was met with both praise and criticism, with some readers applauding the protagonist, Jane, as a symbol of feminist resistance against the societal constraints placed upon women, while others condemned her as an immoral and rebellious character. In more recent times, "Jane Eyre" has been widely celebrated as a seminal work of feminist literature, with critics praising Charlotte Brontë's portrayal of Jane as a fiercely independent and resilient woman who defies traditional gender roles. The novel's enduring popularity and continued scholarly analysis reflect its ongoing significance in feminist discourse. Furthermore, its influence can be seen in the numerous adaptations and reinterpretations of the story in various forms of media, reinforcing its status as a foundational feminist text. These contemporary and historical views demonstrate the evolving understanding and appreciation of "Jane Eyre" as a feminist novel, solidifying its place in literary and feminist canon.

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An Overview: Jane Eyre as a Feminist Novel

In 1847 when Jane Eyre was published, the contemporary woman was enveloped in a narrow social cloister. The influence of the patriarchal customs prevalent, over the woman, is clearly seen in Jane Eyre. Slowly a growing feminist consciousness is budding in woman's bosom which we see in Charlotte Bronte's heroine, Jane Eyre. This essay explores how and where the patriarchal constructs oppose Jane and how and where her feminist consciousness gives stiff resistance, long before the ideas of feminism were concretely fabricated. Jane Eyre is a timeless classic crucial to early feminist literature.

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Bahreldin Abaker

This paper attempts to explore how successful Charlotte Bronte is in creating for her novel Jane Eyre a heroine of her age, dramatizing her own autobiography, including social problems that she encountered as a woman during the Victorian era. And how she can tackle and address many nineteenth century Victorian social problems such as class and gender inequality, race prejudice, and religious beliefs. The research uses the descriptive analytical method, and in it is revealed that Bronte has deliberately created Jane, the main character along with other female characters to refute Victorian inherited conventions that treated women unfairly, many critics and writers think and confirm that women were oppressed during Victorian era. Bronte made an innovation by raising a powerful, passionate, female character who can articulate her thought, and fight for her rights. This portrayal contracts with the real women images of Victorian time, who were oppressed and marginalized by men. It is su...

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Noélia Borges

RETHINKING FEMALE ARCHETYPAL IMAGES IN CHARLOTTE BRONTË’S JANE EYRE AT THE TURN OF THE CENTURY NOÉLIA BORGES UNIVERSIDADE FEDERAL DE SANTA CATARINA 1999 Supervising Professor: Dr. José Roberto O’Shea This dissertation proposes to rethink female archetypal images in Charlotte Bronte’s Jane Eyre, focusing on the influence of the said images on the heroine's psychological development. As Bronte’s novel was written at a time the nineteenth century when women’s condition was mostly determined by male culture, that is, their feminine self was to a great extent constructed by socially oppressive parameters and their experiences were mainly confined to domesticity and reproduction, I present in the Introduction an overview of nineteenth-century women’s social and psychological oppression, the effects of social, economic, and political constraints upon women’s lives, careers, and minds, and eventually, some of the ways in which they have broken out of patriarchal bonds. To assess the pos...

Arpita Sawhney

Since ages, the ideal of beauty has been deeply ingrained in women. They have come to internalize the ideology which terms beauty as the foremost virtue in women. Charlotte Bronte in her famous novel, Jane Eyre, has not presented Jane as a gorgeous woman exuding charm and beauty in her looks. Rather, by showing Jane’s individualism and her capacity to see life from her own perspective, Bronte has empowered her heroine to value freedom and independence in the most unfavourable circumstances.

Over the past decades, Jane Eyre has been read and interpreted by scholars both to its religious themes, and the doctrinal and theological controversies of femininity in Bronte’s era. Based on the previous journals and studies regarding Jane Eyre and feminism in the early nineteenth century, this study examines how Charlotte Bronte contravenes Victorian Era theology in her novel, Jane Eyre, through Jane’s character and journey of feminist spirituality that comports with a Christian worldview. By depicting Jane’s resistance to conventional female subject-position, Bronte portrays the tensions real Victorian women experienced in trying to meet conflicting demands of domesticity and faith in their lives. The paper further supports that Jane Eyre’s Christian commitments are compatible with the book’s feminist emphases by examining Jane’s relationship with Mr Rochester and Saint John and her struggle to find independence by following God’s will. This study’s finding is important to the field of literary studies as it gives a detailed interpretation of Jane Eyre that suggests answers to the debates over whether Jane Eyre is a novel of female liberation or a novel of female restraint.

IJREAM Publishing House

EDITOR IJREAM

This research paper aims to focus on the protagonist’s defying nature in the novel Jane Eyre by Charlotte Bronte. It also aims to picture the nineteenth century woman nature from various perspectives. It is not a single thought emerging from a single discipline. This paper defines the life of helpless woman all over the world. Bronte (1831-1855) belongs to British literature. She is a nineteenth century novelist. Bronte in her novel Jane Eyre (1847) exposes the urbanity of puritans. During Victorian era feminist ideas spread among the educated middle class women and inequitable laws were repealed.

Hazhar R A M A D H A N Ahmed

The paper appears how Bronte's Novel looks at the persevering of women and how they might overcome inconveniences and fulfills triumph. And shows up the Thinking of Women's freedom, It is apparent that Charlotte's conviction framework in her portrayal of her gallant lady based on her real-world, set up herself as a recognized women's dissident woman writer in her treatment of women's circumstance, In this regard, the paper partitioned into three parts. The essential parcel considers the irrefutable and social establishments of Victorian society. The minute parcel incorporates the examination of considering, at final, the third parcel managing on substance through revelations of the status of women inside the Victorian novel.

Majid Mgamis

This article offers a fresh perspective on Anne Brontë's feminist stance in her novels The Tenant of Wildfell Hall and Agnes Grey. While previous scholars have criticized Brontë's portrayal of her female protagonists in a manner that contradicts her feminist message, this article argues that Brontë's nuanced portrayal of the complexities of female subjectivity within the social, cultural, and historical constraints of her time is essential to her feminist stance. Anne Brontë empowers her female characters with realistic feminine tools to cope with the patriarchal suppression they face and calls for a rethinking of the miserable situation of women in the Victorian patriarchal society. The article argues that Brontë's aim is not to call for an impossible revolution through an ideal feminine figure but rather to promote action based on the reality of the situation. This article's originality lies in its fresh and sophisticated interpretation of Brontë's feminist stance that avoids reducing her characters to mere symbols of resistance and acknowledges the complexities of female subjectivity in a patriarchal society.

OBJECTIFICATION OF WOMAN AND NATURE IN CHARLOTTE BRONTE'S JANE EYRE

Yıldız Merve Öztürk

The first chapter of this study begins with a theoretical background. The first part of this chapter handles what ecofeminism is. In the second half of the first chapter, the study explores the issues of feminism in the nineteenth century. This part focuses on women’s roles, rights and their occupations in the Victorian period. Later, the study unveils the effects of the industrial revolution and capitalism on men, women and nature. In the second part of the dissertation, the effects of industrialization on the attitudes of men are examined. In this chapter, the work explores the construction of the male-dominated culture in the novel with the Industrial Revolution. Later this chapter analyzes the approach of men to women and nature in the novel, Jane Eyre, from an ecofeminist perspective. This part sheds light on the fact that being superior and dominant in the novel is the most important factor for men. The novel observes that men objectify women and nature in order to achieve authority. In the third chapter, the thesis focuses on how women and nature are conceptualized in the novel Jane Eyre. The study underlines that women and nature are conceptualized in similar ways. Women and nature are seen close to each other due to their reproduction, fertility and passivity in the social sphere. This fact creates a close relationship between woman and nature. Women know the real value of nature, and they are aware that nature ensures the continuity of life on earth. In return, nature becomes the companion of women; it supports women in difficult moments and meets their needs. Therefore, this chapter underlines that there is a powerful relationship between women and nature due to their existence as objects in the novel. As a result, this study analyses Charlotte Brontë 's Jane Eyre, from an ecofeminist perspective, and reveals that in the novel as a result of the industrial revolution men treat women and nature as objects and it creates a closeness between women and nature. Keywords: Ecofeminism, feminism, male-centrism, Victorian society, gender roles, the industrial revolution, Jane Eyre, exploitation of nature, discrimination against women, culture, nature.

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International Journal of English Literature and Social Sciences

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Journal of Philology and Educational Sciences

Individuality and Self-Worth: Feminist Accomplishment in Jane Eyre

Feminism In Jane Eyre Essay

More Essays

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“Contradiction in Jane Eyre: Conversations of 19th Century Feminism” by Audrey Clement

Jane, the Halfway Feminist: How does Jane interact with other women?

The Patriarchal Feminist: Seeking Male Approval and Denying Male Accountability

Works Cited

Themes and Analysis

Jane Eyre Themes

Independence and Self Love

Social Class

Key Moments in Jane Eyre

Style and Tone

Figurative Languages

Analysis of Symbols in Jane Eyre

Ice and Chills

The Red-Room

What is a frontal theme in ‘ Jane Eyre ’?

What does the red room signify in Charlotte Brontë’s ‘ Jane Eyre ’?

In Charlotte Brontë’s ‘ Jane Eyre ,’ how does Jane become the woman she always wanted to be?

Join or Create Groups

About Victor Onuorah

Block Member?

Publication and analysis

“Is Jane Eyre Really A Feminist Novel?”

Beowulf Essay

Therapy Session – Fiction Piece

Poem – “i look through”

Scholastic Art Winners

Silent – Essay

Feminist Fridays: What’s the Deal with Jane Eyre?

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Jane Eyre as a Feminist Novel

1.1. Brief Overview of the Novel

2. Feminist Literary Criticism

2.1. Definition and Scope

3. Feminist Themes in Jane Eyre

3.1. Independence and Self-Reliance

4. Character Analysis

4.1. Jane Eyre: A Feminist Protagonist

5. Reception and Impact

5.1. Contemporary and Historical Views

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