Jane Eyre quotes

• Me, she had dispensed from joining the group.'


  Mrs Reed keeps abusing her power over Jane. She keeps reminding Jane that she is inferior to the rest of the children. She also gives her power over to her children, as John keeps reducing Jane to a lower status, and forces her to call him 'Master Reed'. He treats her like a slave, belitteling her and humiliating her. Mrs Reed takes away any ideas of hope or happiness or parental care.
• Say, "What do you want, Master Reed?" was the answer. "I want you to come here," and seating himself in an armchair, he intimated a gesture that I was to approach and stand before him.'


  The verbs that Bronte uses here are intended to control her. We understand that the casual dismissal of Mrs Reed, or the commands of 'schoolboy' John Reed are presented by Bronte to inform us that Jane was an outcast by status, as she is an orphan, but also, she was an outcast in the family.
• Folds of scarlet drapery shut in my view to the right hand; to the left were the clear panes of glass, protecting, but not separating me from the dread November day.'


  The folds of the curtain indicates the build up of rage inside of Jane because of the injustice and isolation. She is physically protected, but emotionally she is weak.
• A more sociable and childlike disposition, a more atractive and sprightly manner - something lighter, franker, more natural, as it were - she really must exclude me from privileges intended only for contented, happy little children.'

  Mrs Reed claims she has dismissed Jane so that Jane can learn a valuable life lesson and become a better child. Irony and hypocrisy is evident in Bronte's word choices. 'Sprightly' and 'lighter' suggest freedom - they actually mean conforming to society's ideals. 'Contented, happy little childen' actually refers to those who do as they are told - they are in no way 'natural' or 'franker'. Bronte's 'lighter, franker, more natural' creates an impression of children who speak heir mind and behave freely. The sarcastic tone of 'as it were' suggests Jane thinks this is only true if their behaviour is socially acceptable.
• I was conscious that a moment's mutiny had already rendered me liable to strange penalties, and, like any other rebel slave, i felt resolved, in my desperation, to go all lengths.'


  While Jane is clearly rebellious, her punishment is often unjustly severe and creates further passion within her. She links here to Bertha Mason for the first time. The alliterative 'moment's mutiny' stresses how even a 'moment's' rebellion is crushed by Mr Reed. 'Mutiny' highlights Jane's natural independence. By alluding to 'rebel slave', Jane evokes ideas of unjust captivity, horrific mistreatment, and oppression of the most violent and disturbing kind. 'Strange penalties' emphasises the freedom Mrs Reed has to act however she wishes, without fear of being punished. As Jane feels 'desperation' and goes 'all lengths', we see an explicit link to Bertha Mason and her desperate actions.
• How all my brain was in tumult, and my heart in insurrection! Yet in what darkness, what dense ignorance, was the mental battle fought!'


  Jane highlights both the physical and mental conflict she feels at her treatment by John Reed, as well as the isolation she has to endure. Jane's brain (symbolising her rational side) is in 'tumult', a chaotic but passive state. This is juxtaposed with her heart (her passionate side) in 'insurrection' (rebellion), suggesting an active urge to physically and violently respond. Jane's isolation is shown through the image of 'darkness', referring to the fact that no one can see her unjust treatment. This is reinforced by the 'dense ignorance' of others to her situation - the reader questions whether or not the others are ignorant to her situation; simply do not wish to help her; or is Jane ignorant of what to do next?
• Revenge never worries my heart, degradation never too deeply disgusts me, injustice never crushes me too low; I live in calm, looking to the end.'


  Helen Burns is the opposite of Jane (and Bertha Mason) as she is calm, rational and steady - she sees the benefits of reason over passion. Whlst Helen may seem like a passion victim, this is her choice - she is deliberate and proactive in her decision to live a virtuous, Christian life. 'Degradation', 'disgusts', 'revenge' and 'injustice' all create powerful agressive reactions and are what we associate with Jane. This is juxtaposed with Helen's ideal of 'calm', suggesting a contentment and serenity that eludes Jane. The repitition of 'never' emphasises Helen's strength - 'too deeply' and 'too low' suggests an extreme mistreatment hat could overwhelm a person , but Helen has the control to withstand such events.
• We are not to conform to nature. I wish these girls to be the children of Grace: and why that abundance? I have again and again intimated that I desire the hair to be arranged closely, modestly, plainly.'


  Brocklehurst stresses the need for Lowood girls to conform to his ideals, even down to their physical appearance - he sees Julia's curls as a sign of excess. The girl's hair is symbolic of thr control Brocklehurst, and society, can have over others. The tri-colon emphasises that this contol is physical (closely), spiritual (modestly) and social (plainly). The fact they 'are not to conform to nature' shows how the girls have to reject their natural instincts, and instead folloe 'Grace' and live by religious rules. 'Again and again' reinforces the fact that the repression these girls suffer these girls suffer is never-ending.
• Reckless and feverish, I wished the wind to howl more wildly, the gloom to deepen to darkness, and the confusion to rise to clamour.'

  Looking out of the window at Lowood, the landscape should inspire loneliness. Instead, Jane embraces the power and intensity that nature can bring. Bronte uses pathetic fallacy by creating a wild, howling wind, linking to Jane's natural character as someone who refuses to be constrained and contained. The swift, rolling 'w' sound mimics the fluid, unrestricted nature of Jane and stresses the adverb 'wildly', a word summing up how Victorian society would have viewed her. Jane embraces extremes of emotion. She wants 'gloom' to become the far more severe 'darkness', and the gentle 'confusion' to turn to the 'reckless' 'clamour.
• Women feel just as men feel; they need exercise for their faculties, and a field for their efforts, as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer.'


  Gender inequality was common in Victorian Britain, but Jane rejects the accepted social convention of 'separate spheres' for men and women. The pronoun 'they' brings all women together - Jane is speaking on behalf of all women, not just herself. Imagery that shows a dynamic, energetic attitude, such as 'exercise' and 'field for their efforts' refers to the fact that the mind and feelings are almost physical - they need exercising or they will waste away and 'suffer'. 'Rigid a restraint' and 'absolute a sagnation' further Jane's message - feelings are portrayed in terms of physical restriction and confinement.
• That then I longed for a power of vision which might overpass that limit; which might reach the bust world, towns, regions full of life I had heard of but never seen - that I desired more of practical experience than I possessed; more of intercourse with my kind, of acquaintance with variety of character, than was here within my reach I valued what was good in Mrs Fairfax, and what was good in Adele; but I believed in the existence of other and more vivid kinds of goodness, and what I believed in I wished to behold.'


  Jane's life seems mediocre compared to Gateshead and Lowood, since their are no hardships or oppression. She has reached a sort of plateau in her life and as a child she was emerssed into vindicating herself and so now she feels the need, she is yearning for more.
• He laid a heavy hand on my shoulder, and, leaning on me with some stress, limped to his horse. Having once caught the bridle, he mastered it directly and sprang to his saddle.'


  In this first meeting between Jane and Rochester, the immediate bond between them is evident to the reader through the fact he physically leans on her. The alliteration of the deep 'h' sounds is 'heavy' and burdensome, mimicking the burden Rochester will become on Jane both physically and mentally. the image of Rochester 'leaning on me', applying 'some stress', foreshadows the pressure Jane will feel as their relationship develops. The sibilance in 'sprang to his saddle' and phrases such as 'he mastered it directly', show the vibrant personality of Rochester compared to the tedious St. John Rivers.
• I see at intervals the glance of a curious sort of bird through the close-set bars of a cage: a vivid, restless, resolute capture is there; were it but free, it would soar cloud high.'


  Bronte uses this bird motif throughout the novel. This imagery creates a continued theme of freedom/restrictions throughout the novel. (Note that at the beginning of the novel, Jane chooses to read a book about birds.) Rochester observes Jane, and he tells her about his observations. This means that Rochester is interested in her, since a master usually doesn't take much notice of his servants.
• Believe me, you are not naturally austere, any more than I am naturally viscous. The Lowood constraint still clings to you somewhat; controlling your features, muffling your voice, and restricting your limbs.'


  Rochester foresees Jane's behviour becoming more 'natural' with him, especially as he himself cannot beave according to the conventional master/servant dynamics around her. Jane and Rochester are both psychologically similiar. Their social circumstances has forced them to pick up certain traits that are not true to their character.
• He held out his hand, I gave him mine: he took it first in one, then in both his arm.'


  The fire symbolises a turning point in their relationship, and Jane and Rochester are now on a more equal footing. Once more, Bronte casts Jane in the role of the heroine, not only saving Rochester from the fire, but also bringing out the passionate side of him which seemed to have been dormant. This is the first time Rochester calls her 'Jane' and not 'Miss Eyre', and it is the first time that they physically touch. Bronte deliberately drags out this scene, making the readers expect that the next time Jane and Rochester meet, their relationship will develop the love between them even further. The fact that he hld her hand shows their physical connection. Rochester leads it, because in the Victorian Era it was unacceptable for women to do these kind of things.
• You, a favourite with Rochester? You, gifted with the power of pleasing him? Go! Your folly sickens me.'


  Jane is humiliating herself. The question mark suggests her disbelief that she ever entertained the idea in her mind. The sentence at the end concludes that all her previous emotions and encounters with Rochester have been a 'folly', an act of foolishness. This is all a defense mechanism on Jane's par, to make sure that she doesn't get hurt as much as she would if she never had thought of the possibility of Rochester being with another woman.
• I have justone word to say for the whole tribe; they are a nuisance. Not that I ever suffered much from them; I took care to turn the tables.'

  Blanche Ingram emphasises the divide between the upper and working class by cruelly dismissing the role of governess deliberately within Jane's presence. The imagery of 'tribe' has associations with simple, unevolved, almost savage behaviour. The idea of a governess as a 'nuisance' develops the idea of them as a pest, almost like vermin. Blanche's prejudice is taken further by her use of pronouns - she clearly saw the relationship as 'I' and 'them', not a partnership or relationship in any way. The reference to 'suffered' suggests one person always needs to maintain a position of authority over another. The fact that Blanche 'took care' to make sure someone else suffered shows a malicious streak similiar to the Reeds.
• You should hear mama on the subject of governesses: Mary and I have had, I should think, a dozen at least in our day; half of them detestable and the rest ridiculous, and all incubi - were they not, mama?'


  Jane overhears this speech by Blanche Ingram during one of the social gatherings at Thornfield. Blanche expresses the upper-class prejudice against governesses and other members of the lower-class. Instead of respecting governesses for the work that they must do, Blanche mocks them openly and without any consideration for Jane's presence in the room. In her mind, a governess is nothing more than a servant and worthy and worthy of even less respect. This attitude is one that Jane constantly faces as a governess; Mr Rochester is the only member of high society who ever treats her with respect.
• The great horse chest nut at the bottom of the orchard had been struck by lightening in the night and half of it split away.'


  Bronte uses pathetic fallacy to symbolise Jane and Rochester's relationship. There is imagery connected to the ripeness of their relationship and there is imagery connected to the tragic time which is on its way to the couple. Through the use of sharp contrast, Bronte is able to foreshadow the separation that will soon befall Jane and Rochester.
• In the deep shade, at the farther end of the room, a figure ran backwards and forwards... ir grovelled, seemingly on all fours: it snatched and growled like some strange wild animal: but it was covered with clothing.'


  Bertha is one of the elements which move the novel into the gothic genre. The description of Bertha emphasises her madness, but also shows her human side, and links closely to both Jane and the oppression she has endured. Both 'deep shade' and 'farther end' are symbolic of the way in which society hides and entraps those who won't conform, much like Jane in the Red Room. The animalistic imagery of 'snatched and growled' reminds the reader of Jane's fight with John Reed - she is referred to as a 'mad cat'. Furthermore, this animal is 'wild', and at Lowood Jane wants the wind to blow 'wildly'. 'Covered with clothing' shows Jane and Bertha are not animals - they are people who were cruelly mistreated and reacted physically against this injustice.
• A Christmas frost had come at midsummer; a white December storm had whirled over June; ice glazed the ripe apples, drifts crushed the blowing roses; on hayfield and cornfield lay a frozen shroud.


  Jane is struggling to cope with her conflicting emotions when she finds out that Rochester is married - everything she knew to be good in life has been destroyed. In all five images, something beautiful, warm and plentiful ('midsummer', 'June', 'apples', 'roses' and 'fields') has been defeated by something cold, dead and all-consuming ('frost', 'storm', 'ice', 'drifts' and 'frozen shroud'). The reference to abundance and a growing natural life in 'ripe', 'roses' and 'hayfield and cornfield' all became stagnant - 'glazed', 'crushed' and 'lay'. All the positive images and associations had brightness and colour, but are left white, blank and covered over as if dead.
• Soothe him; save him; love him; tell him you love him and will be his. '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'.'

  Jane is torn between her desire to love and care for Rochester, and her desire to maintain a level of self-respect. To stay with him would be morally wrong. Jane stresses that Rochester is totally reliant on her, both emotionally ('soothe him'), spiritually ('save him') and romantically ('love him'). The tone of 'will be his' is submissive, something Jane is not, yet her isolation if she leaves is seen in the image of no one in 'the world' caring for her. 'Cares' suggests she is not asking for much, yet she still says no. Jane remains true to herself, seen in the adjective 'indomitable', suggesting inner strength, reinforced by the short sentence stucture of 'I care for myself'.
• Impotent as a bird with both wings broken.'

  Her mind decided to leave Rochester because she knew that it was good for her. Her mind is her rational side. However, her heart is her more passionate side - she cannot control it and her heart longs for Rochester. A bird is free, but here, the bird is trapped and powerless and Jane feels like she has restricted herself and trapped her feelings inside of her. She has the ability to control herself, but she lets her feelings take over. Bronte is questioning what freedom is - Jane feels restricted by her feelings even when she has left Rochester.
• You, Jane, I must have you for my own, entirely my own, will you be mine? Say yes quickly.'

  'God and nature intended you for a missionary's wife... you are formed for labour, not for love.'


  Rochester's proposal is one of passion - he ultimately offers her love without marriage; St John's proposal is one of reason - he offers her a marriage without love. Bronte presents a dichotomy in the characterisation of the two men that Jane is unable to accept the proposal of either of them: she requires a relationship filled with both reason and passion. She resists and rebels against both men by rejecting both of their proposals (neither is a clear proposal of marriage - one is an invitation to adultery, and the other is a business contract) by making it clear that marriage should have both legitimacy and love.
• I should kill you - I am killing you? Your words are such as ought not to be used: violent, unfeminine, and untrue.'


  This speech of St John, despite being a man of religion, holds very misogynistic views about women. Misogynist is the idea of men hating women, or having beliefs on what woman can and can't do. He is deciding Jane's fate, by calling her words 'untrue'. St John is also depriving her of her femininity by depriving her of love by expecting her to give up love, which is ironic because he is the one calling her 'unfeminine'. St John is also being violent in his words as he undermines her emotionally.
• To rush down the torrent of his will into the gulf of his existence, and there lose my own.'


  Bronte is using the metaphor 'torrent' as in a torrent of water. It shows St John's violent nature, not in a physical sense. Why it may be tempting for Jane, extremities are tempting and seductive because they make life easier as you submit to a higher authority - there is a certain nihilistic pleasure that Jane derives out of this possibility. Her feelings start to betray her - the power of St John's persuasion means that Jane needs a supernatural intervention to break this reverie.
• Thornfield Hall is quite a ruin: it was burnt down just about harvest time.'

  This phrase is an intensifier to exaggerate the immense destruction of Thornfield and how it left Rochester worthless. The noun 'ruin' not only implies financial ruin, but also suggests Rochester's fall in society. This adverbial phrase highlights the irony regarding how the period in which Thornfield was burnt down (harvest time) actually signalled a ime of growth and new life for Jane. However, for Rochester, it is one of helplessness and loss. One without obstacles because now Jane is with him to help him move on and live a better, sin free life.
• A dreadful calamity! such an immense quantity of valuable property destroyed: hardly any of the furniture could be saved. The fire broke out at dead of night, and before the engines arrived from Millcote, the building was one mass of flame. It was a terrible spectacle: I witnessed it myself.'


  For Jane it was a happy and relieving moment finding out about Thornfield because it gives her hope for a new beginning. This is ironic because a fire would cause pity a despair. Thornfield was a place of sin and immorality for Jane and Rochester, but now that it has been burnt down it is as though the sins within it have diminished, leaving Rochester and Jane as new people. For others, this was a time of greif. However for Jane, it gives her hope of a new life. Now she can care about her own living arrangements rather than having to fit in to existing establishments (Thornfield). This further reinforces Jane's independence.
• I told you I am independent, sir, as well as rich: I am my own mistress.'


  Jane repeatedly tells Rochester she's no longer in need of his support as she is independent to reassure him of her motives. We see Jane reassuring Rochester that her desire to be with him is not borne out of pity, instead continuation of the previous passion. The fact that Jane seperates the two qualities 'independent' and 'rich' to show that for Jane, independence is not necessarily a consequence of her newfound, unexpected wealth. The reference to independent' could imply several things: her not having to rely on Rochester means to live; Jane now having the experience of living on her own; and it could further imply how she is 'independent' of her passions as a destructive force for her. To summarise, though it is Jane's wealth which eradicates her vulnerability and ambiguity in social class and position, it is actually her 'independent' spirit which has been streangthened by experience that allows her to assert that she makes her own decision, and not under the scrutiny, neither from herself, nor from society.
• Just as if a royal eagle, chained to a perch, should be forced to entreat a sparrow, to become its purveyor.'


  'Royal eagle' - The bird imagery represents Rochester and how he used to be a dominant, strong and independent, and now he is reduced to a mere sparrow.

  'Chained to a perch' - Though he was in a good position before (in society), Jane knows that he was restricted and unhappy then too by the shackles of his marriage even then.

  'Should be forced' - This may be showing the punishment that he is facing for deception and atempting bigamy. It also shows that he can't be a controlling figure anymore, since this time, he is the one who is being forced.

  'To entreat' - This decreases his status and shows how he went down from his original height and position at the top of the food chain to a meagre position near the bottom.

  'Sparrow' - A sparrow is a fairly normal bird, and this shows the decrease of his power and strength. Jane compares him from a great and mighty eagle and how now he is an insignificant sparrow. This also shows his dependency and his vulnerability.

  Bronte's message - Bronte allows Jane to use the bird motif whereas so far in the novel, it has always been Rochester who has condescended to use this for Jane. This shows that linguistic reversal of roles, and the shift of power dynamics. The difference over here though, is that Jane is not using this to her advantage, or patronising Rochester.
• A poor blind man whom you will have to lead about by the hand?... A crippled man, 20 years older than you, whom you will have to wait on?'

  'A poor blind man' 'a crippled man' Rochester is questioning the extent as to how much Jane actually loves him. However we actualy know that Jane really loves him because we see she rejected St John.

  Rhetorical question - due to his insecurties he has to question whether Jane will stay with him as he is in this vulnerable state. He may feel he is a burden upon Jane becase of his powerlesness. In a way he is reassuring himself, protecting himself and claiming a verbal guarantee of Jane's loyalty. Rochester's manipulation continues.

  Because he is in a powerless position he wants Jane to support him. Bronte has reversed the good fortune an turned it into misfortune to convey that love isn't about social standards within society, for e.g money and position.
• Because you delight in sacrifice.'


  'Because' - subordinating conjunction. Rochester is taking ownership of Janes feelings or emotions. He feigns (fakes) incredulity (disbelief) at the idea that Jane would still want to marry him. Again, he is claiming a guarantee of her loyalty and shows a desire for untainted love.

  'Sacrifice' - shows Rochester isn't making accurate observations because Jane doesn't 'delight' sacrifice and if she did she wouldn't stay with St John. Of course, it can be argued that Rochester knows she doesn't delight in sacrifice but he is doing it to reassure himself as he feels a threat to his masculinity.
• All my confidence is bestowed upon him, all of his confidence is devoted to me; we are precisely suited in character - perfect concord is the result.'


  'All' - Adverb shows that there is little doubt in their relationship. Both fully confide in each other and have nothing to hide in their relationship.

  'Bestowed upon him' - Shows their emotion & passion is on the same platform - trust - bestowed shows how she trusts him as there are no obstacles in their path - Bertha dies & no Blanche. Bronte presents their love as a gift.

  'Devoted' - It shows that Rochester has fully submitted himself to love & Jane - There's no doubt about the crime of bigamy. His injuries make him 'devoted' to her as he relies upon her.

  'Precisely suited in character' - 'precisely' shows how now they are exactly equal in footing, fortune + religion unlike they were before with status. They are also equal in God's eyes displaying how religion is now a part of Rochester's life after the fire at Thornfield.

  'Perfect concord' - It shows their religious beliefs of becoming one entity - they depend on each other, which was foreshadowed at the beginning when Rochester first arrived falling off the horse. They now need each other to live as they are both lost without one another.

  Shows Bronte's views on marriage; how they are psychologically similarn/ similar in character but not in their position.
• The last letter I recieved from him drew from my eyes human tears and yet filled my heart with divine joy.'


  'Yet' shows how these tears aren't out of sadness on St John's behalf towards Jane, rather they are out of happiness that St John, even though Jane may not agree with St John's stance on religion, she is glad that he fulfils his ambition. This shows that St John's and Jane's views are different when it comes to religion. In fact they are antithetical and do not coincide with each other as we see that St John sees God as religion whilst Jane sees love as religion. The fact that Jane sees religion as love is shown through the adjective 'divine' as we see that Jane gained natural pleasure one that is felt towards a relation when she learns of this acceptance as she perceives religion as a compassion in which it binds people with its love. This quote represents a cyclical structure as the book ended and started with the theme of acceptance and starting was acceptance in terms of social class and the book ends with religious acceptance. This represents how Jane has changed and has been moulded through the different obstacles she faced into a person who stands for not only justice for women also social justice combined.