jane eyre essay titles

81 Jane Eyre Essay Topic Ideas & Examples

🏆 best jane eyre topic ideas & essay examples, 📌 most interesting jane eyre topics to write about, 👍 good research topics about jane eyre, ❓ jane eyre essay questions.

• Jane Eyre by Charlotte Bronte: The Novel Reading Analysis If the formalist theory is applied to Jane Eyre, the main point of such analysis would be the form of the novel, its structure, and the imagery.
• Significance of Jane’s and Antoinette’s Dreams in Jane Eyre and Wide Sargasso Sea The dream is a premonition of danger that is ahead; although she dreams after fighting with her friend Tia, it also represents her conscience because her friend despises her during the ordeal. However, the dream […]
• A Hint of Things to Come: Summary and Analysis of Chapter 25 of Jane Eyre With the help of such walk, the author underlines that something mysterious and unknown to Jane is waiting for her and she has to find more powers to discover the truth.
• Bronte’s “Jane Eyre” and Rhys’ “Wide Sargasso Sea” Her immediate kin regarded her more as a burden and made her do all the hard work and she lived in a constant environment of scorn and hatred.
• Jane Eyre: Novel vs. Film Bronte’s original story narrates Jane’s story as an orphan who finds joy at the end of the story but Stevenson’s film tells the story of Jane as a person who went through a lot of […]
• Jane Eyre by Charlotte Bronte Jane Eyre appears to have great self esteem even though she is an orphan and has a lot of negative energy and criticism around her in the shape of her aunt and cousins.
• Narcissism: Jane Eyre’s Mr. Rochester This paper will explore the notion of narcissism and use examples from Bronte’s s novel to prove that Mr. Rochester consistently behaves in a way that forces the reader to question the moral integrity of […]
• Compare the Relationship of Mothers and Daughters in Jane Eyre and Wide Sargasso Sea The two works by the authors are related in that one work is the rewrite of another or almost the duplicate of another and therefore almost all the themes are the same in both books […]
• Jane Eyre and Daisy Miller: Two Women Ahead of Their Time and Their Men Jane tells her story as explicitly as she can and yet much of the substance of that story is given in the descriptive passages where she uses natural symbolism to convey the mysteries of her […]
• Home Theme in the “Jane Eyre” Film by Fukunaga While Jane is looking for a building full of people who support her to call it her home, her real home is a person she loves.
• Charlotte Bronte’s Portrayal of Childhood in “Jane Eyre”
• The Maturation of a Girl Into a Woman in “Jane Eyre” by Charlotte Bronte
• Passion vs. Reason in “Jane Eyre” by Charlotte Bronte
• The Theme of Gender and Marriage in “Jane Eyre”
• Critique of the Behaviour and Values of the 18th Century in “Jane Eyre”
• The Significance of Class Relations in “Jane Eyre”
• The Portrayal of Females in “Jane Eyre” and “The Handmaid’s Tale”
• An Analysis on the Portrayal of Males in “Jane Eyre”
• Crucial Ideas in the Novel “Wide Sargasso Sea” and “Jane Eyre”
• Identity and Independence of Jane Eyre in Charlotte Bronte’s Novel
• The Representation of Social Class and Feminism in “Jane Eyre”
• The Lack of Laughter in Charlotte Bronte’s “Jane Eyre”
• Psychological, Emotional and Physical Horror in “The Yellow Wallpaper” and “Jane Eyre”
• Female Mental Illness in “Jane Eyre” and Great Expectations
• A Religious Approach of Evangelical Christianity in “Jane Eyre”
• The Evolution of the Main Character in “Jane Eyre”
• Comparing and Contrasting Jane Eyre’s Mental State From Text to Adaptation
• Challenges Faced and Solved in “Jane Eyre”
• Jane Eyre’s Passion, Sexuality, and Desire in Charlotte Bronte’s Novel
• The Presentation of Women in Society in “Jane Eyre” and “Rebecca”
• The Symbolism of Fire and Ice in “Jane Eyre” by Charlotte Bronte
• Jane Eyre and Religions Teachings of Forgiveness
• A Feminist Approach to “Jane Eyre” by Charlotte Bronte
• Struggling for Self Realization in “Jane Eyre” by Charlotte Bronte
• The Evolution of Rochester’s Character in “Jane Eyre”
• Resolving the Issue of Equality Through Freud’s Psychoanalytic Theory in “Jane Eyre”
• Importance of Setting in “Jane Eyre” by Charlotte Bronte
• Women History of Empowerment in “Jane Eyre”
• Sadness, Hope, and Tension in “Jane Eyre” by Charlotte Bronte
• Analysis of Jane and Rochester’s Relationship in Bronte’s “Jane Eyre”
• The Significance of the Character of Jane Eyre
• Individual vs Society in Charlotte Bronte’s “Jane Eyre”
• A Critique of the Social Hierarchies of Victorian England in “Jane Eyre”
• Jane Eyre as an Independent Woman in 19th Century
• Imperialism and Colonialism in the Novel “Jane Eyre” by Charlotte Bronte
• Escaping the Society of Patriarchy in Bronte’s “Jane Eyre”
• Rebellion Against Conformity in “Jane Eyre” by Charlotte Bronte
• Emotions Over Rationality in Final Chapter of “Jane Eyre”
• Progression of Female Characters From Jane Eyre to Hermione Granger
• Moral Identity of an Orphan in “Jane Eyre” by Charlotte Bronte
• How Does Charlotte Bronte Convey Childhood and School Experience in “Jane Eyre”?
• How Are Women Presented in “Jane Eyre”?
• What Makes Jane Eyre an Unusual Woman for Her Time?
• How Does Charlotte Bronte Use the Different Houses in “Jane Eyre”?
• How Does Bronte Convey Jane Eyre’s State?
• How Does Charlotte Bronte Develop the Gothic Features of “Jane Eyre”?
• How Much Sympathy Does the Reader Feel for Jane Eyre at Different Stages in the Story?
• What Are the Main Moral Messages of “Jane Eyre”?
• To What Extent Is Charlotte Bronte Reflecting Victorian Morality in “Jane Eyre”?
• How Does Bronte Create Tension and Suspense in “Jane Eyre”?
• How Does Bronte Show the Reader Jane’s Resilience in “Jane Eyre”?
• How Does Charlotte Bronte Use Setting and Weather in “Jane Eyre”?
• How Effectively Does Charlotte Bronte Convey the Child’s Viewpoint in “Jane Eyre”?
• How Does Post-colonialism Help Interpret and Evaluate “Jane Eyre”?
• How Does Bronte’s Characterisation of Jane Eyre?
• How Narrative Techniques Are Employed Within “Jane Eyre”?
• How Many Chapters Are in “Jane Eyre” by Charlotte Bronte?
• What Is Jane Eyre’s Occupation?
• How Is Lowood Different From What Jane Had Anticipated in “Jane Eyre”?
• In Jane Eyre, What Does Jane Tell St. John and His Sisters of Her Past in “Jane Eyre”?
• What Is the Basic Storyline of “Jane Eyre”?
• In What Ways Might “Jane Eyre” Be Considered a Feminist Novel?
• How Does Charlotte Bronte Present Jane Eyre’s Oppression and Her Ability to Overcome It?
• How Does Thornfield Project That Good Things Will Happen to Jane Eyre?
• How Does Charlotte Bronte Use Language Detail and Setting in “Jane Eyre”?
• How Do “Jane Eyre” Subvert Gender Stereotypes?
• How Does Charlotte Bronte Develop the Adult Jane Eyre Through the Child’s Presentation?
• How Does Charlotte Bronte Portray John Reed, Mrs. Reed, and Mr. Brocklehurst in “Jane Eyre”?
• How Did Jane Eyre and Shirley Valentine Achieve Independence?
• How Does Religion Affect the Novel “Jane Eyre” by Charlotte Bronte?
• Chicago (A-D)
• Chicago (N-B)

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AP® English Literature

The ultimate guide to “jane eyre” for the ap® english literature free response questions.

• The Albert Team
• Last Updated On: March 1, 2022

The 2017 AP® English Literature Free Response Questions focus on varying themes and are each structured differently. Here we discuss the third FRQ prompt which allows you to choose a particular work of literature as the focus of your essay.

Jane Eyre by Charlotte Brontë is a well-known classic novel. Herein we will discuss how to determine if the given prompt is appropriate for this particular literary work and give you an idea of what to review before your exam.

Jane Eyre AP® English Lit Essay Themes

To choose a literary work to answer your prompt, it’s important to examine the themes which are outlined in the assigned essay. If the theme is not relevant or well established in a work, you will do well to choose another title to examine. The following are the main themes which you may discuss in your Jane Eyre AP® English Lit Essay.

Love Vs Personal Freedom is a major theme in this novel. Jane struggles with the pursuit of meaningful relationships. She wants desperately to be loved, but not at the expense of her own values or sense of self-worth.

Religion is another prevalent theme in the story. Jane tries to find a balance between the religion she sees and her own ideas of morality. Eventually, she rejects the concrete idea of religion via the church but remains spiritually connected to God. She decides that she doesn’t need a structured religion to live a good life as a Christian.

Social Class is the third central theme in the book. Jane is a victim of Victorian England’s social class system. Because she was raised by the aristocratic caste, she feels uncomfortable in her role as a servant. It’s an internal struggle which she has to deal with causing her to speak out against the system, and it’s treatment of people.

How to use Jane Eyre for the 2017 AP® English Literature Free Response Questions

Jane Eyre is a well-known literary work, with which you should be familiar. It may well be a viable choice for the AP® English Lit free response question. However, that is dependent on the question. Each year the 3rd FRQ is different, and the CollegeBoard supplies a list of suggested books to reference for your essay. The absence of a book from the list does not disqualify it from use, that being said; it’s important to know how to choose which book to use for the given analysis.

In preparation for your exam, it’s a good idea to read previous years’ free response questions posted on CollegeBoard. The following review is for the 2016 FRQ prompt.

2016 FRQ 3: Many works of literature contain a character who intentionally deceives others. The character’s dishonesty may be intended to either help or hurt. Such a character, for example, may choose to mislead others for personal safety, to spare someone’s feelings, or to carry out a crime.

Choose a novel or play in which a character deceives others. Then, in a well-written essay, analyze the motives for that character’s deception and discuss how the deception contributes to the meaning of the work as a whole.

Jane Eyre is on the suggested list for this prompt for obvious reasons. The theme of deception is represented by various characters in the story. The most prominent one is Edward Rochester, who lies to hide his insane wife in his attic. A possible thesis is as follows.

In Jane Eyre , Edward Rochester lives a life based on deceit. He pursues his own type of happiness by hiding his wife, lying, and working to please only himself. However, this life of deception and selfishness is unacceptable to Jane, causing a conflict central to the story.

To support this thesis, you may point out that Rochester tried to justify his wrongdoings to Jane and seemed to have even bought into his own deceit, as seen in the following quotes.

“Nature meant me to be, on the whole, a good man, Miss Eyre: one of the better end; and you see I am not so. […] Then take my word for it,—I am not a villain: you are not to suppose that—not to attribute to me any such bad eminence; but, owing, I verily believe, rather to circumstances than to my natural bent, I am a trite common-place sinner, hackneyed in all the poor petty dissipations with which the rich and worthless try to put on life.” (1.14.61)

“Besides, since happiness is irrevocably denied me, I have a right to get pleasure out of life: and I will get it, cost what it may.” (1.14.63-65)

However, Jane does not entirely buy into his explanations and argues that he would sully her if she allowed him to marry her, despite his ongoing marriage.

“And what will you do, Janet, while I am bargaining for so many tons of flesh and such an assortment of black eyes?”

“I’ll be preparing myself to go out as a missionary to preach liberty to them that are enslaved—your harem inmates amongst the rest. I’ll get admitted there, and I’ll stir up mutiny; and you, three-tailed bashaw as you are, sir, shall in a trice find yourself fettered amongst our hands: nor will I, for one, consent to cut your bonds till you have signed a charter, the most liberal that despot ever yet conferred.” (2.9.129-132)

To examine another possible use for Jane Eyre on your 2017 English Lit Exam we will take a look at another prompt.

2015 FRQ 3 : In literary works, cruelty often functions as a crucial motivation or a major social or political factor. Select a novel, play, or epic poem in which acts of cruelty are important to the theme. Then write a well-developed essay analyzing how cruelty functions in the work as a whole and what the cruelty reveals about the perpetrator and/or victim.

Although Jane Eyre is not on the suggested list for this particular prompt, you can still write a well-thought out essay for the nove l . Cruelty is an underlying theme throughout the story. A possible thesis is as follows. In Jane Eyre, the subject of cruelty manifests in both physical and psychological means of individuals and society. This abhorrent behavior shapes the character of Jane Eyre throughout her life, coloring the way she interacts with the world. The isolation and ostracization she experiences, early in her life, are the driving force behind her need to feel loved and accepted, later in the story.

To elaborate on this thesis and explain what it reveals about the perpetrator and/or victim, you will need to choose your examples and expand upon them. In the following quote, Jane is reminded, yet again, of her own poverty and told that she should be thankful for what little she has.

“ You ought to be aware, Miss, that you are under obligations to Mrs. Reed: she keeps you: if she were to turn you off, you would have to go to the poor-house.”’ You ought to be  aware, Miss, that you are under obligations to Mrs. Reed: she keeps you: if she were to turn you off, you would have to go to the poor-house.’

I had nothing to say to these words: they were not new to me: my very first recollections of existence included hints of the same kind. This reproach of my dependence had become a vague sing-song in my ear; very painful and crushing, but only half intelligible.” (1.2.14-16)

In the next excerpt, Jane describes the way she was exiled even in a home filled with other children. She describes herself as something that does not fit with the household norm.

“ I was a discord in Gateshead Hall; I was like nobody there; I had nothing in harmony with Mrs. Reed or her children, or her chosen vassalage. If they did not love me, in fact, as little did I love them. They were not bound to regard with affection a thing that could not sympathize with one amongst them; a heterogeneous thing, opposed to them in temperament, in capacity, in propensities; a useless thing, incapable of serving their interest, or adding to their pleasure; a noxious thing, cherishing the germs of indignation at their treatment, of contempt of their judgment. I know that had I been a sanguine, brilliant, careless, exacting, handsome, romping child—though equally dependent and friendless—Mrs. Reed would have endured my presence more complacently; her children would have entertained for me more of the cordiality of fellow-feeling; the servants would have been less prone to make me the scape-goat of the nursery.” (1.2.30)

Thanks to her upbringing, and the way she was looked down on for having no money, Jane has a fear of poverty.

“Poverty looks grim to grown people; still more so to children: they have not much idea of industrious, working, respectable poverty; they think of the world only as connected with ragged clothes, scanty food, fireless grates, rude manners, and debasing vices: poverty for me was synonymous with degradation.” (1.3.63)

In the next passage, Jane explains how her isolation caused her to view school as a welcome change.

“I scarcely knew what school was; Bessie sometimes spoke of it as a place where young ladies sat in the stocks, wore backboards, and were expected to be exceedingly genteel and precise; John Reed hated his school, and abused his master: but John Reed’s tastes were no rule for mine, and if Bessie’s accounts of school-discipline (gathered from the young ladies of a family where she had lived before coming to Gateshead) were somewhat appalling, her details of certain accomplishments attained by these same ladies were, I thought, equally attractive. She boasted of beautiful paintings of landscapes and flowers by them executed; of songs they could sing and pieces they could play, of purses they could net, of French books they could translate; till my spirit was moved to emulation as I listened. Besides, school would be a complete change: it implied a long journey, an entire separation from Gateshead, an entrance into a new life.” (1.3.70)

In the following quotation, you will notice that Jane’s previous experiences with unjust cruelty made her unaccepting of the idea that one should be kind in response to cruelty.

“If people were always kind and obedient to those who are cruel and unjust, the wicked people would have it all their own way: they would never feel afraid, and so they would never alter, but would grow worse and worse. When we are struck at without a reason, we should strike back again very hard; I am sure we should—so hard as to teach the person who struck us never to do it again. […] I must dislike those who, whatever I do to please them, persist in disliking me; I must resist those who punish me unjustly. It is as natural as that I should love those who show me affection, or submit to punishment when I feel it is deserved.” (1.6.50, 52)

The experiences which Jane underwent in her childhood caused her to see her situation at Lowood in a different fashion than those people who may have come from a happy home. “Probably, if I had lately left a good home and kind parents, this would have been the hour when I should most keenly have regretted the separation: that wind would then have saddened my heart; this obscure chaos would have disturbed my peace: as it was I derived from both a strange excitement, and reckless and feverish, I wished the wind to howl more wildly, the gloom to deepen to darkness, and the confusion to rise to clamour.” (1.6.14)

In the next excerpt, Jane explains that her need for approval and love supersedes her want to be morally just.

“’If all the world hated you, and believed you wicked, while your own conscience approved you, and absolved you from guilt, you would not be without friends.’

No: I know I should think well of myself; but that is not enough: if others don’t love me, I would rather die than live—I cannot bear to be solitary and hated, Helen.’” (1.8.11-12)

The following passage illustrates how important a sense of family was to Jane, owing to her lack of family and love, during her childhood.

“‘ And you,’ I interrupted, ‘cannot at all imagine the craving I have for fraternal and sisterly love. I never had a home, I never had brothers or sisters; I must and will have them now: you are not reluctant to admit me and own me, are you?’” (3.7.127)

In conclusion, Jane Eyre has many themes you may find helpful for the last Free Response Question on the AP® English Literature Exam. When reading the prompt and deciding on what literary work to use for your essay, remember to choose a subject where the theme outlined in the given instructions is prevalent.

In the case of Jane Eyre, love vs. personal freedom, religion, and social classes are a few of the more prominent themes discussed. However, as we saw with the 2016 prompt example, this story has many underlying themes which you may examine for your Jane Eyre AP® English Lit Essay.

For more help preparing for your AP® English Literature exam we suggest you read The Ultimate Guide to 2015 AP® English Literature FRQs . And, for writing advice for the AP® English Lit free response questions, Albert.io’s AP® English Literature section has practice free response sections with sample answers and rubrics.

Looking for AP® English Literature practice?

Kickstart your AP® English Literature prep with Albert. Start your AP® exam prep today .

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Charlotte Brontë

Ask litcharts ai: the answer to your questions.

Welcome to the LitCharts study guide on Charlotte Brontë's Jane Eyre . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Jane Eyre: Introduction

Jane eyre: plot summary, jane eyre: detailed summary & analysis, jane eyre: themes, jane eyre: quotes, jane eyre: characters, jane eyre: symbols, jane eyre: literary devices, jane eyre: quizzes, jane eyre: theme wheel, brief biography of charlotte brontë.

Historical Context of Jane Eyre

Other books related to jane eyre.

• Full Title: Jane Eyre: An Autobiography
• When Written: 1847
• Literary Period: Victorian
• Genre: Victorian novel. Jane Eyre combines Gothic mystery, a romantic marriage plot, and a coming-of-age story.
• Setting: Northern England in the early 1800s.
• Climax: Jane telepathically hears Rochester's voice calling out to her.
• Point of View: First person. Jane recounts her story ten years after its ending.

Extra Credit for Jane Eyre

Bells and Brontës: The Brontës became a literary powerhouse when Charlotte, Emily, and Anne all wrote successful first novels. Each sister published under a masculine-sounding pseudonym based on their initials. Charlotte Brontë became "Currer Bell"; Emily Brontë wrote Wuthering Heights (1845-46) as "Ellis Bell", and Anne Brontë published Agnes Gray (1847) as "Acton Bell." Women could enter the marketplace as writers and novelists, but many writers, including the Brontës and Mary Anne Evans ("George Eliot"), used male pseudonyms to keep from being dismissed as unimportant.

Essays About Jane Eyre: Top 5 Examples and Prompts

Writing essays about Jane Eyre? Take a look at our essay examples about Jane Eyre and be inspired by our additional prompts.

Jane Eyre is widely considered a classic novel that poignantly exposed the struggles of Victorian women through a story of love and emancipation. Jane Eyre is a Victorian novel written by Charlotte Brontë and published in 1847. Many aspects of the novel are said to derive from the personal story and experiences of the author herself. 

Brontë published this masterpiece with the gender-neutral pen-name Currer Bell to evade criticisms as the rebelliousness of Jane Eyre was defiant of the accepted social mores of its period. While it stirred controversy in its time, the heroine of the novel, with her grit to conquer adversities, break the rules and achieve her desires, offers many lessons that inspire many to this day. 

Read on and see our top essay examples and writing prompts to help with your essays about Jane Eyre.

1. Jane Eyre And The Right To Pester by Olivia Ward Jackson

2. jane eyre: content warnings are as old as the novel itself by jo waugh, 3. the tension between reason and passion in jane eyre by nicholas johnson, 4. reading jane eyre: can we truly understand charlotte brontë or her heroine today by sam jordison, 5. christianity as a form of empowerment in charlotte bronte’s jane eyre by noam barsheshat , 1. summary and personal reflection, 2. pervasive imageries, 3. jane eyre in the perspective of feminism, 4. best jane eyre film adaptations, 5. how is jane eyre’s life story similar to brontë’s, 6. what are the primary themes in jane eyre, 7. describe the characters, 8. how did jane eyre find her “true home” , 9. jane eyre as a bildungsroman, 10. jane eyre and economic independence, top 5 essay examples.

“Indeed, parallels can be drawn between Jane Eyre and those trapped in a professional hierarchy today. In rejecting an unwanted pass from a superior employee, far worse than damaging a fragile male ego, a woman could offset a chain of consequences which could threaten her entire career.”

The essay pays attention to the similarities between the class conflicts during Jane’s time and the hierarchies in the modern workplace. Finally, as feminists today argue over what practices and behavior would qualify as sexual misconduct, the essay turns the spotlight to Jane, with her determination to stand up against those who pester her, as a possible model.

“Why was the novel considered inappropriate for young girls, in particular? Many Victorians considered it “coarse and immoral”…The novel’s addictiveness might also have been an issue.”

The essay takes off from a university’s warnings against reading Jane Eyre and fellow Victorian novel Great Expectations, citing the “distressing” passages in the novels. The essay collates and presents the commentaries of people in shock with the warning. However, the piece also shows that such cautionary measures were not exactly new and, in fact, the first reaction when the book came to light.

“​​At the end of many trials Charlotte permits Jane to return at last to her lover…. They feel no passion or intrigue..  Instead of fire and ice, Charlotte gives us warm slush. Perhaps she never resolved the tension between reason and passion for herself, and so was unable to write convincingly about it.”

Johnson dives deep into how Brontë juxtaposed reason and passion in her novel’s imageries, metaphors, and even characters. In his conclusion, Johnson finds the resolution to the tension between passion and reason unsatisfactory, surmising that this weak ending conveys how Brontë never resolved this conflict in her own life.

“It’s easy to think we are more sophisticated because we now know more about – say – the early history of Christianity. Or because Brontë is, of course, ignorant of modern feminist theory, or poststructuralism. We can bring readings to her work that she couldn’t begin to imagine. But she could easily turn the tables on us…”

The essays reflect on how one from modern society could fully comprehend Brontë through the protagonist of her masterpiece. Jordison emphasizes the seeming impossibility of this pursuit given Brontë’s complex genius and world. Yet, we may still bask in the joy of finding an intimate connection with the author 200 years after Jane Eyre’s publication. 

“Through her conflicts with various men―specifically, Mr. Brocklehurst, Mr. Rochester and St. John Rivers―Jane’s spiritual identity empowers her and supports her independence.”

This critical essay points out how Jane Eyre reconciled feminism and Christianity, highlighting the latter as a vehicle that empowered Jane’s transformation. Despite Jane’s determined spirit to find true love, she reflects her spiritual view of Christianity to prevent falling into an illegitimate love affair, preserving her well-being and self-empowerment. 

10 Best Prompts on Essays About Jane Eyre

Check out our list of the best prompts that could get you started in your essay about Jane Eyre:

Provide a concise summary of the life of the young, orphaned Jane Eyre. First, cite the significant challenges that have enabled Jane’s transformation into a strong and independent woman. Next, provide a personal reflection on the story and how you identify with Jane Eyre. Then, explain which of her struggles and experiences you relate with or find most inspiring. 

From the chestnut and the red room to the ice and fire contrasts, investigate what these imageries signify. Then, elaborate on how these imageries impact Brontë’s storytelling and contribute to the desired effect for her writing style. 

Jane Eyre is highly regarded as one of the first feminist novels. It is a critical work that broadened Victorian women’s horizons by introducing the possibilities of emancipation. Write about how Brontë portrayed Jane Eyre as a feminist if you do not find that the novel advances feminist ideologies, write an argumentative essay and present the two sides of the coin. 

It is estimated that over 16 film adaptations have been made of the book Jane Eyre. Watch at least one of these movie versions and write an analysis on how much it has preserved the book’s key elements and scenes. Then, also offer insights on how the movie adaptation could have improved production, cinematography, cast, and adherence to the book plot, among other factors. 

Draw out the many parallels between the lives of Jane Eyre and her maker Charlotte Brontë. Suppose you’re interested in knowing more about Brontë to identify better and analyze their shared experiences and traits. In that case, The Life of Charlotte Bronte by Elizabeth Gaskell is highly recommended. 

Some of the themes very apparent in the novel are gender discrimination and class conflict. First, point out how Brontë emphasizes these themes. Then, dive deep into other possible themes and cite scenes where you find them echoing the most. 

Describe the characters in the novel, from their roles to their traits and physical appearances. Cite their significant roles and contributions to Jane’s transformation. You may also add a personal touch by focusing on characters with whom you relate or identify with the most,

While Jane grew up in Gateshead with the Reed family to whom she is related by blood, the despicable treatment she received in the place only motivated her to take on a journey to find her true home. First, map out Jane’s search for love and family. Then, explain how finding her “true home” empowered her. 

A bildungsroman roman is a literary genre that focuses on a protagonist’s mental, spiritual, and moral maturation. Discuss the criteria of a bildungsroman novel and identify which parts of Jane Eyre fulfill these criteria.

You may also compare Jane Eyre against heroes of other bildungsroman novels like Pip in Charles Dickens’s Great Expectations. Lay down their similarities and key differences.

In the latter part of the novel, Jane gains greater economic independence thanks to the substantial wealth she inherited. But before this discovery of inheritance, Jane had struggled with economic stability. So, first, tackle how finances affected Jane’s life decisions and how they empowered her to see herself as an equal to Rochester. Then, write about how women today perceive economic security as a source of self-empowerment. 

For help with your essays, check out our round-up of the best essay checkers . 

If you’re still stuck, check out our general resource of essay writing topics .

Yna Lim is a communications specialist currently focused on policy advocacy. In her eight years of writing, she has been exposed to a variety of topics, including cryptocurrency, web hosting, agriculture, marketing, intellectual property, data privacy and international trade. A former journalist in one of the top business papers in the Philippines, Yna is currently pursuing her master's degree in economics and business.

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by Charlotte Bronte

Jane eyre themes.

The main quest in Jane Eyre is Jane's search for family, for a sense of belonging and love. However, this search is constantly tempered by Jane’s need for independence. She begins the novel as an unloved orphan who is almost obsessed with finding love as a way to establish her own identity and achieve happiness. Although she does not receive any parental love from Mrs. Reed , Jane finds surrogate maternal figures throughout the rest of the novel. Bessie, Miss Temple , and even Mrs. Fairfax care for Jane and give her the love and guidance that she needs, and she returns the favor by caring for Adèle and the students at her school. Still, Jane does not feel as though she has found her true family until she falls in love with Mr. Rochester at Thornfield; he becomes more of a kindred spirit to her than any of her biological relatives could be. However, she is unable to accept Mr. Rochester’s first marriage proposal because she realizes that their marriage - one based on unequal social standing - would compromise her autonomy. Jane similarly denies St. John's marriage proposal, as it would be one of duty, not of passion. Only when she gains financial and emotional autonomy, after having received her inheritance and the familial love of her cousins, can Jane accept Rochester's offer. In fact, the blinded Rochester is more dependent on her (at least until he regains his sight). Within her marriage to Rochester, Jane finally feels completely liberated, bringing her dual quests for family and independence to a satisfying conclusion.

Jane receives three different models of Christianity throughout the novel, all of which she rejects either partly or completely before finding her own way. Mr. Brocklehurst 's Evangelicalism is full of hypocrisy: he spouts off on the benefits of privation and humility while he indulges in a life of luxury and emotionally abuses the students at Lowood. Also at Lowood, Helen Burns 's Christianity of absolute forgiveness and tolerance is too meek for Jane's tastes; Helen constantly suffers her punishments silently and eventually dies. St. John, on the other hand, practices a Christianity of utter piousness, righteousness, and principle to the exclusion of any passion. Jane rejects his marriage proposal as much for his detached brand of spirituality as for its certain intrusion on her independence.

However, Jane frequently looks to God in her own way throughout the book, particularly after she learns of Mr. Rochester's previous marriage and before St. John takes her in to Moor House. She also learns to adapt Helen’s doctrine of forgiveness without becoming complete passive and returns to Mr. Rochester when she feels that she is ready to accept him again. The culmination of the book is Jane’s mystical experience with Mr. Rochester that brings them together through a spirituality of profound love.

Social position

Brontë uses the novel to express her critique of Victorian class differences. Jane is consistently a poor individual within a wealthy environment, particularly with the Reeds and at Thornfield. Her poverty creates numerous obstacles for her and her pursuit of happiness, including personal insecurity and the denial of opportunities. The beautiful Miss Ingram's higher social standing, for instance, makes her Jane's main competitor for Mr. Rochester’s love, even though Jane is far superior in terms of intellect and character. Moreover, Jane’s refusal to marry Mr. Rochester because of their difference in social stations demonstrates her morality and belief in the importance of personal independence, especially in comparison to Miss Ingram’s gold-digging inclinations. Although Jane asserts that her poverty does not make her an inferior person, her eventual ascent out of poverty does help her overcome her personal obstacles. Not only does she generously divide her inheritance with her cousins, but her financial independence solves her difficulty with low self-esteem and allows her to fulfill her desire to be Mr. Rochester’s wife.

Gender inequality

Alongside Brontë's critique of Victorian class hierarchy is a subtler condemnation of the gender inequalities during the time period. The novel begins with Jane's imprisonment in the "red-room" at Gateshead, and later in the book Bertha's imprisonment in the attic at Thornfield is revealed. The connection implies that Jane's imprisonment is symbolic of her lower social class, while Bertha's containment is symbolic of Victorian marriage: all women, if they marry under unequal circumstances as Bertha did, will eventually be confined and oppressed by their husbands in some manner. Significantly, Jane is consciously aware of the problems associated with unequal marriages. Thus, even though she loves Mr. Rochester, she refuses to marry him until she has her own fortune and can enter into the marriage contract as his equal.

While it is difficult to separate Jane's economic and gender obstacles, it is clear that her position as a woman also prevents her from venturing out into the world as many of the male characters do – Mr. Rochester, her Uncle John, and St. John, for instance. Indeed, her desire for worldly experience makes her last name ironic, as "Eyre" derives from an Old French word meaning "to travel." If Jane were a man, Brontë suggests, she would not be forced to submit to so much economic hardship; she could actively attempt to make her fortune. As it is, however, Jane must work as a governess, the only legitimate position open for a woman of her station, and simply wait for her uncle to leave her his fortune.

Fire and Ice

The motifs of fire and ice permeate the novel from start to finish. Fire is presented as positive, creative, and loving, while ice is seen as destructive, negative, and hateful. Brontë highlights this dichotomy by associating these distinct elements with particular characters: the cruel or detached characters, such as Mrs. Reed and St. John, are associated with ice, while the warmer characters, such as Jane, Miss Temple, and Mr. Rochester, are linked with fire. Interestingly, fire serves as a positive force even when it is destructive, as when Jane burns Helen's humiliating "Slattern" crown, and when Bertha sets fire to Mr. Rochester’s bed curtains and then to Thornfield Manor. The first of Bertha’s fires brings Jane and Mr. Rochester into a more intimate relationship, while the second destroys Thornfield and leads to Bertha's death, thus liberating Rochester from his shackled past. Although the fire also blinds Rochester, this incident helps Jane see that he is now dependent on her and erases any misgivings she may have about inequality in their marriage. Although Brontë does not suggest that the characters associated with ice are wholly malignant or unsympathetic, she emphasizes the importance of fiery love as the key to personal happiness.

Gothic elements

Brontë uses many elements of the Gothic literary tradition to create a sense of suspense and drama in the novel. First of all, she employs Gothic techniques in order to set the stage for the narrative. The majority of the events in the novel take place within a gloomy mansion (Thornfield Manor) with secret chambers and a mysterious demonic laugh belonging to the Madwoman in the Attic. Brontë also evokes a sense of the supernatural, incorporating the terrifying ghost of Mr. Reed in the red-room and creating a sort of telepathic connection between Jane and Mr. Rochester. More importantly, however, Brontë uses the Gothic stereotype of the Byronic hero to formulate the primary conflict of the text. Brooding and tortured, while simultaneously passionate and charismatic, Mr. Rochester is the focal point of the passionate romance in the novel and ultimately directs Jane’s behavior beginning at her time at Thornfield. At the same time, his dark past and unhappy marriage to Bertha Mason set the stage for the dramatic conclusion of the novel.

External beauty versus internal beauty

Throughout the novel, Brontë plays with the dichotomy between external beauty and internal beauty. Both Bertha Mason and Blanche Ingram are described as stunningly beautiful, but, in each case, the external beauty obscures an internal ugliness. Bertha’s beauty and sensuality blinded Mr. Rochester to her hereditary madness, and it was only after their marriage that he gradually recognized her true nature. Blanche’s beauty hides her haughtiness and pride, as well as her desire to marry Mr. Rochester only for his money. Yet, in Blanche’s case, Mr. Rochester seems to have learned not to judge by appearances, and he eventually rejects her, despite her beauty. Only Jane, who lacks the external beauty of typical Victorian heroines, has the inner beauty that appeals to Mr. Rochester. Her intelligence, wit, and calm morality express a far greater personal beauty than that of any other character in the novel, and Brontë clearly intends to highlight the importance of personal development and growth rather than superficial appearances. Once Mr. Rochester loses his hand and eyesight, they are also on equal footing in terms of appearance: both must look beyond superficial qualities in order to love each other.

Jane Eyre Questions and Answers

The Question and Answer section for Jane Eyre is a great resource to ask questions, find answers, and discuss the novel.

Why did Jane go to the party?

Jane attends the party out of curiosity, she leaves because Rochester's guests are rude and arrogant.

What is it that you most admire about Jane?

I think this is asking for your opinion rather than mine. What do you admire about Jane? Is it her sense of independence as a woman in a patriarchal culture? Is it her thirst for education? Is it her resilience?

Why was Jane so invested in the ingrams?

I think your quesstion is embodied in the character of Blanche Ingram. The young and beautiful society lady who is Jane's primary romantic rival. Jane is convinced that the haughty Miss Ingram would be a poor match for Mr. Rochester, but she...

Study Guide for Jane Eyre

Jane Eyre is a book by Charlotte Brontë. The Jane Eyre study guide contains a biography of Charlotte Bronte, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Jane Eyre
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Essays for Jane Eyre

Jane Eyre is a novel by Charlotte Brontë. Jane Eyre literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Jane Eyre by Charlotte Bronte.

• Women in Literature: Examining Oppression Versus Independence in Henry V and Jane Eyre
• Jane Eyre: The Independent and Successful Woman Of the Nineteenth Century
• Mystery and Suspense
• In Search of Permanence
• Jane's Art and Story

Lesson Plan for Jane Eyre

• About the Author
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• Introduction to Jane Eyre
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
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E-Text of Jane Eyre

Jane Eyre is an e-text that contains the full text of Jane Eyre by Charlotte Brontë.

• Chapters 1-5
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• Chapters 16-20

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Essays on Jane Eyre

Prompt examples for jane eyre essays, jane's journey to independence.

Trace Jane Eyre's journey to independence and self-discovery throughout the novel. How does she evolve as a character, and what challenges and obstacles does she overcome on her path to finding her own voice and identity?

The Role of Social Class

Analyze the role of social class in "Jane Eyre." How do class distinctions affect the characters' interactions and choices? Discuss the significance of Jane's lower social standing and her relationships with characters like Mr. Rochester and St. John Rivers.

Gothic Elements and Atmosphere

Examine the use of gothic elements and atmosphere in the novel. How does Charlotte Brontë create a sense of mystery and suspense in the story? Discuss the role of Thornfield Hall and the character of Bertha Mason in contributing to the gothic ambiance.

Feminism and Gender Roles

Discuss the feminist themes in "Jane Eyre." How does Jane challenge traditional gender roles and expectations? Explore her relationship with Mr. Rochester in the context of gender dynamics and power struggles.

Religion and Morality

Examine the themes of religion and morality in the novel, particularly in Jane's interactions with characters like Mr. Brocklehurst and St. John Rivers. How do these characters' beliefs and actions influence Jane's own moral development?

Romantic Love in the Novel

Analyze the portrayal of romantic love in "Jane Eyre." How does Jane's relationship with Mr. Rochester evolve, and what obstacles do they face? Discuss the idea of love as a source of strength and vulnerability in the novel.

A Feminist Approach to Jane Eyre: Struggling for Self Realization

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The Symbolism of Fire and Ice in Jane Eyre by Charlotte Bronte

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Jane Eyre and The Search for Independence

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Feminist Voice in Jane Eyre

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October 16, 1847, Charlotte Bronte

Novel, Victorian Literature

Jane Eyre, Edward Rochester, St. John Rivers, Mrs. Reed, Bessie Lee, Mr. Lloyd, Georgiana Reed, Eliza Reed, John Reed, Helen Burns, Mr. Brocklehurst, Maria Temple, Miss Scatcherd, Alice Fairfax, Bertha Mason, Grace Poole, Adèle Varens, Celine Varens, Sophie, Richard Mason, Mr. Briggs, Blanche Ingram, Diana Rivers, Mary Rivers, Rosamond Oliver, John Eyre, Uncle Reed

1. Beattie, V. (1996). The Mystery at Thornfield: Representations of Madness In" Jane Eyre". Studies in the Novel, 28(4), 493-505. (https://www.jstor.org/stable/29533162) 2. Bossche, C. R. V. (2005). What Did" Jane Eyre" Do? Ideology, Agency, Class and the Novel. Narrative, 13(1), 46-66. (https://www.researchgate.net/publication/236760140_What_Did_Jane_Eyre_Do_Ideology_Agency_Class_and_the_Novel) 3. Andersson, A. (2011). Identity and independence in Jane Eyre. (http://www.diva-portal.org/smash/record.jsf?pid=diva2%3A463653&dswid=7105) 4. Griesinger, E. (2008). Charlotte Brontë's religion: faith, feminism, and Jane Eyre. Christianity & Literature, 58(1), 29-59. (https://journals.sagepub.com/doi/pdf/10.1177/014833310805800103) 5. Sternlieb, L. (1999). Jane Eyre:" Hazarding Confidences". Nineteenth-Century Literature, 53(4), 452-479. (https://online.ucpress.edu/ncl/article-abstract/53/4/452/66369/Jane-Eyre-Hazarding-Confidences) 6. Stoneman, P. (2017). Jane Eyre on Stage, 1848–1898: An Illustrated Edition of Eight Plays with Contextual Notes. Routledge. (https://www.taylorfrancis.com/books/mono/10.4324/9781315251639/jane-eyre-stage-1848%E2%80%931898-patsy-stoneman) 7. Beaty, J. (1996). Misreading Jane Eyre: A Postformalist Paradigm. The Ohio State University Press. (https://kb.osu.edu/handle/1811/6286) 8. Bodenheimer, R. (1980). Jane Eyre in Search of Her Story. Papers on Language and Literature, 16(4), 387. (https://www.proquest.com/docview/1300110761?pq-origsite=gscholar&fromopenview=true)

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Religion, Hypocrisy, and Moral Complexity

In her preface to Jane Eyre , Charlotte Brontë takes a strong stance against religious hypocrisy, preempting the possible objection that Jane and Edward Rochester’s love goes against Victorian morality. Brontë points out that “Conventionality is not morality. Self-righteousness is not religion” (6), arguing that “self-righteous” people often use their adherence to “convention” to mask their lack of actual goodness or moral character. In the novel, Brontë exposes the fallacies, inadequacies, and outright lies of various religious philosophies, encouraging the reader to consider the moral complexity of any given situation rather than dealing in absolutes.

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Sorry, but Jane Eyre Isn’t the Romance You Want It to Be

Charlotte Brontë, a woman whose life was steeped in stifled near-romance, refused to write love as ruly, predictable, or safe.

George Smith did not know it, but he was about to meet the world’s most famous author. It was 1848. Currer Bell, author of Jane Eyre , was the most sought-after—and most mysterious—writer in the world. Even Smith, who edited and published the book, had never met the enigmatic author, a first-time novelist who had nonetheless turned down his suggestions for revision, thanking him for the advice, then announcing the intention to ignore it.

Bell had been right, of course, and Smith wrong. The book, and Bell’s identity, was the talk of London. And now, a very small woman stood before Smith, clutching one of Bell’s letters in her hand. She was Currer Bell, she told him. She was the author of Jane Eyre .

If life were like literature, Smith would have fallen in love with her then and there. Passionate, deeply intelligent, outspoken, and charmingly unaffected—Charlotte Brontë was an arresting, complex woman. If he did not love her already, he could learn: They would soon strike up a lively and close correspondence that lasted years. And Charlotte was charmed by his good looks and his bright, open personality. But Jane Eyre ’s diminutive author was no romantic heroine, and real life is not a romance.

Jane Eyre is, though. Right? The answer to that question is up for debate.

It might seem like sacrilege to question the (small r) romanticism of Jane Eyre , a story that centers on the obsessive love of a teenage governess and her decades-older boss. Over the last 172 years, the book has become a touchstone for passionate love, that once-in-a-lifetime spark we are taught to long for. Even today, the book is the subject of swoony listsicles (“11 Romantic Quotes from Charlotte Brontë’s Jane Eyre ”) and essays that uphold it as “a romance novel for the modern, intelligent woman.”

But when it was published, the bestselling book incensed readers even as it seduced them. It was condemned as immoral, unfit for women’s eyes, all but fomenting revolution. And for modern scholars, its undercurrents of rage, motherlessness , colonialism , slavery , circus freakery , and even incest (!) are more compelling than its caresses.

“The early reviews of Jane Eyre strike us today as naive and misinformed,” writes Lisa Sternlieb. She lists off common critiques of the book as anti-Christian and deeply hypocritical, including one that said that “never was there a greater hater than Charlotte Brontë.” “Yet I would argue that these reviewers hit on an element of truth in the novel,” Sternlieb muses.

Hatred. Insurrection. Patriarchy. Not exactly romantic themes. Readers have always picked up on the tension between the book’s revolutionary subtexts and its uneasy relationship with love. To twenty-first-century eyes, it shows a woman who fights for, yet abdicates to, love. To nineteenth-century eyes, it showed a woman who should abdicate to, yet fights for, love. In either century, readers demand that Jane Eyre should do cultural labor that it steadfastly resists. Its author resists our attempts at that labor, too. For Charlotte Brontë, a woman whose life was steeped in stifled near-romance, refused to write love as ruly, predictable, or safe.

Charlotte’s life was not that of her heroine, and Jane Eyre is no autobiography. But by the time her most famous book was published, Charlotte was 31 years old, and an expert in the strangling, diminishing kind of romance she bequeathed her heroine.

It wasn’t always that way. As a child, she seemed marked for love. It was part and parcel of the fantasy world that enveloped her everyday life: a fictitious kingdom called Angria, which she wrote into being with her younger brother, Branwell . In what amounted to a competitive literary apprenticeship, they wove their fantasy land into a place of lewd thrills. Angria seethed with war, rape, rebellion, kidnapping, and revenge. It was a hotbed of the kind of love that could build a kingdom, then tear it to shreds.

That vision of love was so intense that it permeated into real life. When she was 23, Charlotte turned down a proposal from her best friend’s brother. “I had not, and never could have that intense attachment which would make me willing to die for him,” she wrote , “and if I ever marry it must be in that light of adoration that I will regard my husband.” Besides, she wrote, her suitor would think her a “wild, romantic enthusiast indeed” if he ever really got to know her.

Jane Eyre may have a wild, romantic streak, but its heroine’s love counters everything readers have been taught to desire. Neglected in childhood and traumatized at a school where she is humiliated and starved, Jane arrives at Thornfield ready to love. At first, it seems she’ll get her chance: There are romantic promises, forbidden glances, anguished prayers. But though her story delivers sexual tension and an agony of will-they-or-won’t-they that lasts into its final pages, nothing about Jane’s love is what you’d expect. Brontë drapes her book in the trappings of romance, then snatches them away, subverting our fantasies at every turn.

“Like so many other (yes) romance writers,” writes the literary critic Sandra M. Gilbert, “Charlotte Brontë created a heroine who wants to learn what love is and how to find it, just as she herself did. Unlike most of her predecessors, though, Brontë was unusually explicit in placing that protagonist amid dysfunctional families, perverse partnerships, and abusive caretakers.”

Chief among Brontë’s baits-and-switches is her hero, a brooding man readers—and Jane—are all too ready to adore. Edward Fairfax Rochester is boorish and brutal. He engages his 18-year-old employee in work talk that is the 19th-century version of #METOO employment investigation fodder. He’d fit right in with the modern “seduction community,” conducting a master class in negging as he reminds Jane of her inferiority, then compliments her wit. In one particularly repulsive episode, he messes with her mind by disguising himself as a Roma fortune teller.

Affection-starved Jane only realizes her “master” loves her after he pushes her toward an appalling apex of emotional cruelty. He intends to marry her rival, he implies. Then he changes his mind. Finally, after all but forcing her to accept his abrupt proposal, he takes her in his arms.

But Rochester’s momentary tenderness is just that—momentary. While he’s been playing dress-up and making out with a teenager beneath a tree in his Gothic garden, he’s been guilty of unforgivable cruelty, holding his first wife captive for her “intemperance” and, Brontë implies, her race. The wedding is called off, so Rochester makes one last bid for Jane’s love, begging her to stay and live with him as his bigamous mistress. It is too much to bear.

The same year she turned down her first marriage proposal, Charlotte turned away from the illicit fantasies of Angria. Both she and Branwell were in their twenties now, and they had lingered together in their imaginary world for too long.

“I have now written a great many books,” she wrote . “I long to quit for a while that burning clime where we have sojourned too long… The mind would cease from excitement & turn now to a cooler region, where the dawn breaks gray and sober & the coming day for a time at least is subdued in clouds.”

Something else threw cold water on her passions: A letter she received from Britain’s poet laureate, Robert Southey, in 1837. Charlotte had sent the poet a poem of her own, asking whether it was worth pursuing her literary ambitions. But Southey didn’t encourage her. Instead, he warned her against what he called “a distempered state of mind” that would render the mundane life of a woman intolerable. “Literature cannot be the business of a woman’s life,” he wrote, “and it ought not to be.” Charlotte wrote back, assuring him she’d try to write as little as possible.

A few years later, burned out on governessing and with no hopes of marriage, she continued her search for cooler climes. This time, she went to Belgium. As an adult student at a girls’ school in Brussels, Charlotte planned to acquire the “finish,” and the fluency in French, that would qualify her to run her own school in England. What she really wanted, though, was a change of scenery, an antidote to her restlessness.

She learned more than one language there. Constantin Héger, the married headmaster of the school, befriended her. He encouraged her to write, to speak her mind. For a woman who had been told there was no place for women in writing—by Britain’s most respected poet, no less—his argumentative, constructive criticisms in the margins of her essays must have had the effect of a powerful aphrodisiac. Soon she came home again, this time fleeing her obsession with Héger.

In 1913, Héger’s children published four letters from Charlotte to Héger that they had discovered among their mother’s things. Three of the four had been torn into pieces and discarded, then retrieved and carefully stitched together with paper and thread by his wife, Zoë Héger. She likely saved the letters as potential evidence; they might prove useful if Charlotte made trouble for the school. Instead, they are testimony of Charlotte’s agony.

“Day and night, I find neither rest nor peace,” she wrote . “Monsieur, the poor do not need a great deal to live on. They ask only the crumbs of bread which fall from the rich men’s table.” Charlotte was ready to take whatever crumbs he had left to give.

The author may have been hungry for crumbs, but Jane Eyre is not. When she finds out her soon-to-be-husband isn’t free to marry, she faces down his betrayal with shocked strength. When Rochester steamily suggests she move with him to France, where no one knows or cares that he’s already married, she refuses. Not that it’s not tempting. But the offer is a “silken snare,” a luxurious trap.

“While he spoke my very conscience and reason turned traitors against me, and charged me with crime in resisting him,” says Jane:

They spoke almost as loud as Feeling: and that clamoured wildly. “Oh, comply!” it said. “Who in the world cares for you? or who will be injured by what you do?” Still indomitable was the reply—“I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself.

Maybe Charlotte’s refusal to let her heroine sin with Rochester was a rebuke to herself. Or it may have been a reminder to move forward. Jane presses on, running away from sin and toward herself. If she cannot be on equal footing with her partner, she will not have him at all.

In this sense, Jane’s flight is as much from inequality as it is from sin. Even before he copped to his attic-bound madwoman of a wife, Rochester made it clear that he wanted to own Jane. As his wife, she would have been his concubine: a petted plaything, but not an equal. Jane’s furious opposition to that—her insistence on meeting him on equal footing—riled Jane Eyre ’s critics and appalled readers.

For the literary critic Nancy Pell, Jane’s refusal of Rochester is part of a deep-rooted critique of social and economic institutions that echoes throughout the novel. By the time she falls in love, Jane knows she can fend for herself. “Knowing that she can earn thirty pounds a year as a governess,” Pell writes , “Jane rejects being hired as a mistress or bought as a slave. Once again she resolves to keep in good health and not die.”

She does more than refuse to die; she thrives. Jane escapes Thornfield and befriends the Rivers sisters and their intolerable brother, St. John, a Calvinist minister who gives her a job as a teacher in an obscure village. Coincidence then teaches her that not only are the Rivers siblings her cousins, she is an heiress. She shares the wealth, enjoying the money that has raised her out of obscurity.

Jane has one more obstacle to overcome: St. John’s insistence that she marry him and become a missionary in India. St. John is arguably even more sadistic than Rochester. He expects Jane to follow him to the ends of the earth, and to do so with a cold substitute for love.

“God and nature intended you for a missionary’s wife,” he tells her. “It is not personal, but mental endowments they have given you: you are formed for labour, not for love. A missionary’s wife you must—shall be. You shall be mine: I claim you—not for my pleasure, but for my Sovereign’s service.”

His words could be construed as a kind of reassurance: Marital rape, he suggests, won’t be part of his bargain. But his words crack like a whip. They are the words of a man who has judged a woman’s body and found it lacking. St. John would never make out with Jane beneath a tree. If she left him, he wouldn’t beg for her to stay. He wouldn’t take her as his mistress or take her to France. The principled minister finds no pleasure in his future wife.

Certainly, Charlotte had stopped thinking of herself as a wife by the time she wrote Jane Eyre . She was too busy watching other people’s children, tending her half-blind father, and sewing shirts for her drug-addicted brother. When they were not governessing or teaching, all of the Brontë women labored alongside their servants, peeling potatoes and baking bread, tending to the endless toil of daughters, sisters. But not wives.

“I’m certainly doomed to be an old maid,” she wrote . “I can’t expect another chance—never mind I made up my mind to that fate ever since I was twelve years old.”

Spinsterdom did have its uses: It allowed Charlotte to write. Without a husband to attend to, Charlotte could spend the hours between her father’s bedtime and her own with her pen. It could be a lonely bargain, but it was one that allowed her to create Jane Eyre .

St. John’s tempting bargain—Jane Eyre’s second proposal of marriage—is the last thing that stands between her and happiness. Equipped with new knowledge and a new dismissal of the skim-milk version of love he offers, she decides that sin on her own terms is preferable to virtue on St. John’s. Turning down her cousin and returning to a man who, for all she knows, is still married, is helped along when she hears Rochester calling her name. “But indeed, Jane doesn’t merely ‘think’ of Mr. Rochester,” notes Gilbert. “Rather, in a moment of mystically orgasmic passion she virtually brings him into being.”

Jane, bolstered by her own financial security and her refusal to be diminished by a man who sees her only as a source of labor, is in a different position than she was when she left Rochester for the first time. She is ready for his call. She is ready to go to him on her own terms.

That return has vexed readers for 172 years. Jane’s seeming surrender—her willingness to re-enter a dysfunctional, if not abusive, relationship—infuriates scholars, too, especially those immersed in feminist theory.

The book is a “patriarchal love fantasy,” writes the literary scholar Jean Wyatt in an essay tellingly named “A Patriarch of One’s Own.” For Wyatt, Jane Eyre is an expression of “defiant autonomy” that nonetheless gives in to a damaging fusion with a damaging man. Jane’s eventual marriage to her “strong oak of a man” dupes readers, Wyatt suggests:

The apparently revolutionary nature of Jane’s egalitarian marriage allows an old fantasy to get by the ideological censors of her readers, so that we all, feminists and Harlequin romance readers alike, can enjoy the unending story of having one’s patriarch all to oneself forever.

It makes for an “excruciating ending,” writes the sociologist Bonnie Zare. The completion of Jane and Rochester’s love trajectory, she writes, is painful:

For after being taken advantage of by Rochester’s abusive tricks, Jane is supposed to attain ultimate fulfillment in a subservient relationship with a husband whose devotion seems to spring mostly from his new state of physical vulnerability.

In his new wife, Zare implies, Rochester has gained an all-too-willing caretaker.

But is Jane really doomed to a life of subservience? Not exactly, says Pell. “‘An independent woman now,’ Jane reappears at Thornfield,” she writes. “She has refused to be Rochester’s mistress or St. John’s mistress of Indian schools; now she is her own mistress and her proposal to Rochester is striking… Even their marriage can hardly be considered typically Victorian. Jane possesses a great deal of money in her own right, and although Rochester is far from the helpless wreck he is sometimes taken to be, he is dependent upon Jane ‘to be helped—to be led’ until he regains his sight.”

Gilbert, too, rejects the premise that Jane Eyre demeans herself by returning to Rochester. “In a proud denial of St. John’s insulting insistence that she is ‘formed for labor, not for love,’ she chooses—and wins—a destiny of love’s labors,” she writes. “There can be no question… that what Jane calls the ‘pleasure in my services’ both she and Rochester experience in their utopian woodland is a pleasure in physical as well as spiritual intimacy, erotic as well as intellectual communion.”

In the 1840s, Jane’s love for herself was so subversive it bordered on revolution. In 2019, her love of Rochester is so shocking it borders on treason. In any era, its relationship to the love it explores is uneasy, volatile. Nearly two centuries after it was published, Jane Eyre confounds every expectation.

After they met in person, Charlotte and her editor began a correspondence that can only be described as stimulating. She already knew that Smith loved her writing—when she sent him the draft of Jane Eyre , it captivated him so much that he read it through in one sitting, neglecting visitors and appointments as he rushed through the story.

It almost seemed possible that their friendship was something deeper. When Charlotte visited London, Smith begged her to stay at his house. He treated her to every amusement the city could afford. They traveled together, through London and even to Scotland, often chaperoned by his mother or sister. They even went to a phrenologist together, delighting in her anonymity and the practitioner’s pronouncement that Charlotte’s head was “very remarkable.” She wrote him into one of her books as a handsome, good-natured love interest. When they were apart, they wrote long, chatty letters, dissecting the literary news of the day.

Though only Charlotte’s half of the correspondence survived, it is honest and remarkably open. At times it is sparkling and witty. It verges on flirty, and then it falls apart.

It’s not clear how Charlotte reacted in private when George Smith told her he was engaged to be married, but her choked response was not flirty or chatty or fun:

My dear Sir In great happiness, as in great grief—words of sympathy should be few. Accept my meed of congratulation—and believe me Sincerely yours C. Brontë

Twenty-eight words, each smarting with disappointment.

A few months earlier, something strange had happened to Charlotte Brontë: She had become an object of unrequited love. The admirer in question was Arthur Bell Nicholls, her father’s curate. It was surreal to be the one pined for, the one whose crumbs were gladly gathered. When he declared himself, she told her father, who exploded. “If I had loved Mr. N—and had heard such epithets applied to him as were used,” she told a friend, “it would have transported me past my patience.”

But she did not love him, yet. It took years of moping and quiet persuasion—and perhaps Smith’s marriage—for her to decide to marry Nicholls, a man she had previously scorned as stupid and unromantic. Finally, she agreed, though she had deep reservations. During a pre-nuptial conversation with two of her friends, the kind of conversation in which virgin women asked more experienced friends about their marital obligations, Charlotte confided that she worried about what marriage might cost her. “I cannot conceal from myself that he is not intellectual,” she said .

Marriage did exact a price. Though Charlotte Nicholls loved her husband, he constricted her. He was horrified by the personal issues she discussed in her longstanding correspondence with Ellen Nussey, a friend since childhood.

“Arthur complains that you do not distinctly promise to burn my letters as you receive them,” she wrote in 1854, four months after her wedding. “He says you must give a plain pledge to that effect—or he will read every line I write and elect himself censor of our correspondence.”

Nussey agreed, grudgingly. Then she disobeyed him. We owe her much of what we know of Charlotte Brontë.

“Faultless he is not,” Charlotte wrote wryly, “but as you well know—I did not expect perfection.” She loved her husband, loved the settled life they led together. But later, she admitted that she had stopped writing: “My own life is more occupied than it used to be: I have not so much time for thinking.”

Did Charlotte kill herself by handing over her intellectual and physical well-being? Perhaps. She died soon after, likely from dehydration following severe morning sickness. But her nine months of marriage to Arthur Bell Nicholls were among the happiest of her life.

“There was but little feminine charm about her, and of this fact she herself was uneasily and perpetually conscious,” George Smith wrote decades later. “I believe that she would have given all her genius and fame to have been beautiful. Perhaps few women ever existed more anxious to be pretty than she, or more angrily conscious of the circumstance that she was not pretty.”

Those lines jump out from an otherwise respectful, even loving, memoir of his time with Charlotte Brontë. Smith certainly wasn’t the first person to notice that Charlotte’s nose and mouth were large, that she was missing teeth and so nearsighted she crouched over books and papers. But his assessment—his assumption that Brontë’s unease in public was due to discomfort with her physical appearance instead of, say, being unused to city life or worried about being recognized by readers or fearful of meeting her critics in person—is disappointing.

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In the end, even George Smith, who had had direct access to so many of Charlotte’s thoughts and feelings, and whom she admired so much, felt the need to snipe about her appearance instead of assessing her legacy or engaging with her body of work. Even those who cared most about Charlotte Brontë underestimated her, even after they knew she had made a deliberate choice to write a disquieting story about a plain woman in love.

“I will prove to you that you are wrong,” she reportedly told her sisters during a debate on how to write heroines. “I will show you a heroine as plain and as small as myself, who shall be as interesting as any of yours.”

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