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Feminist Ideals and the Women

of "Jane Eyre" 90An Essay on Jane Eyre

In the mid-nineteenth century, a woman would have carried the burden of "staying in her placeIn other words, she was subject to the generally accepted standards and roles that society ha

placed upon her, which did not necessarily provide her with liberty, dignity or independence. Yif Charlotte Bronte's character Jane Eyre had truly existed in that time period, she would havdefied most of these cultural standards and proved herself a paradigm for aspiring feminists her day. Jane's commitment to dignity, independence, freedom of choice, unwillingness submit to a man's emotional power and willingness to speak her mind were fostered by somfemale characters in the novel. Yet these traits also contrast sharply with some of Bronte's othfemale characters Jane Eyre can be labeled as a feminist role model due to her relationshipwith men that defied the generally accepted roles of the nineteenth-century woman. This title especially fitting when her life is compared and contrasted to other female characters in thnovel.

In order to understand Jane's role as a feminist, a definition of this term must be establishedThe word "feminist" is defined as "one who advocates equal rights for women" ("Feminist" 1)Yet a "feminist" does not necessarily protest in the streets; any woman who wishes to be equwith men and expresses this viewpoint in word and action can be considered to possess ideaon which the feminist movement is based. Though women had been writing feminist texts sincthe late 18th century, an actual feminist movement did not form in Britain until the late 19tcentury under leaders such as Emily Pankhurst and Millicent Fawcett ("Feminist" 1). CharlotBronte was publishing Jane Eyre just as First Wave Feminism was beginning to develop, witwriters such as Elizabeth Barrett Browning, Louisa May Alcott, Emily Dickinson and EmiBronte proving their worth as writers and incorporating feminist ideals into their work (Steely12-13). Jane Eyre was one of many post-Civil War novels "aimed at young female readers which an adolescent woman attempts to gain maturity and ascendency over the terms of hworld" (Steelye 13).

Jane Eyre, of course, did not take to the streets with her feminist ideals, but she expressed heview of women's equality almost subconsciously, through word and deed. She lived in a "worthat measured the likelihood of her success by the degree of her marriageability," which wouhave included her familial connections, economic status and beauty (Moglene 484). Yet, Jandoes not allow her goals to rest solely upon marrying. True, Rochester's betrayal throws her inthe depths of despair, but she tells St. John expressly that she could be perfectly happy as simple teacher with her own school and a few pupils.



Two of Jane's actions are the most explicit in proving her role as a feminist. The first is hattitude toward Mr. Rochester's attempts to lavish her with jewels and expensive garments foher wedding. In fact, she says that "the more he bought me, the more my cheek burned withsense of annoyance and degradation" (Bronte 236). Her unwillingness to be objectified is thstrongest indication that she does not define herself by two of the "marriageability" componenpreviously discussed: economic status and beauty.

The second action is Jane's leaving of Mr. Rochester, which exhibits her courage. By this deeshe both defies the Victorian expectation of submitting to a man's will (ie, acting as Rochestermistress) and shows that she can break from the emotional power that Rochester wields oveher. Though it is hard for her to leave, she nevertheless draws up the courage to leave a life security, promise and love for the unknown, refusing to let this man maintain his grip on heheart. In addition, her refusal to become a mistress shows that she has maintained a certadignity, refusing to give in to her physical and emotional desires that would be seen as uncoutby society.

Some may argue that Jane eventually "gives in" to her emotions when she returns to M

Rochester. This return, however, was not done in the spirit of surrender, but due to threalization that even if she returns to Rochester, his love will free her, not imprison her as will SJohn's. Notably, she only returns after she has received a large inheritance from her uncleBecause she is now established as Mr. Rochester's social equal, her return is not out oneediness or greed. After all, she returns of her own free choice and because of her belief thshe can "become a wife without sacrificing a grain of her Jane Eyre-ity" (Rich 474).

In fact, Jane's relationship with Mr. Rochester is a constant struggle for her to maintain her owindividual identity (Eagleton 493-494). In other words, she plays the role of servant yet makesperfectly clear to him that she does not consider herself below him in terms of spiritual qualities

She insists to him that she is more than her social status, saying, "Do you think, because I apoor, obscure, plain, and little, I am soulless and heartless? You think wrong! I have as mucsoul as you--and full as much heart! And if God had gifted me with some beauty and mucwealth, I should have made it as hard for you to leave me, as it is now for me to leave you(Bronte 222). When Mr. Rochester refers to her as his equal and likeness, it appears that Janhas made headway in asserting her equality with the master.

In some respects, Jane finds herself almost superior to Mr. Rochester morally, for Rochestersin of keeping Bertha Mason a secret gives rise to questions about the quality of his characterJane is comparatively moral, as evidence by her refusal to become nothing more than h

mistress. Rochester's dilapidated state at the end of the novel not only displays the deterioratioof his physical body, but perhaps is also a symbol of the weakening of his soul. Here it seemthat he is now truly equal, or even less equal to Jane, who has developed her soul to ipotential by finally discovering how to balance her independence with passion. After this journeof self-discovery, she can finally "rehumanise" Jane also refuses to give in to a manpatriarchal attempts by refusing St. John's demand that she marry him for reasons with whicshe does not agree. After all, St. John admits he does not love her and then uses his religiouviews as an excuse to goad her into marrying him. In fact, he even attempts to make her feguilty by saying that God would not be pleased with two people living together with "a divideallegiance: it must be entire" (Bronte 357). By making this claim, however, he seems to b



implying that God would only be happy if St. John had full and complete ownership of JaneThough Jane is tempted, she does not give in because she realizes that in order to please him"I felt daily more and more that I must disown half my nature, stifle my faculties, wrest my tastefrom their original bent, force myself to the adoption of pursuits for which I had no naturvocation... it racked me hourly to aspire to the standard he uplifted" (Bronte 326). In othwords, it pained her to realize that her marriage might be based on a lifestyle for which she hano desire and a partnership void of true love.

This desire for independence has been apparent since Jane's early childhood experiences aGateshead where she is subject to the cruelty of Aunt Reed. This woman shows the young gno love and wishes to have ultimate authority over her mind and spirit, similar to St. Johnintentions. Her punishment of locking Jane in the Red Room nurtures a central characteristic the young girl: the desire to survive with dignity. Jane declares to Aunt Reed that this "violenaction is an injustice and that she cannot live in this unloving environment. At the end of hdiscourse, she feels her soul begin "to expand, to exult, with the strangest sense of freedom, triumph, I ever felt... as if an invisible bond had burst and that I had struggled out into unhopedfor liberty" (Bronte 31). This is the beginning of a spirit that Jane carries forward into her futu

relationships with men, beginning with the detestable Mr. Brocklehurst. For example, shdisplays courageous defiance to Mr. Brocklehurst in answer to his question about where evchildren are sent after death (Bronte 27). This scene, especially when put into context of thlater part of the novel, emphasizes her willpower to stand up to a man. The cruel master Lowood School is another example of a man in Jane's life who attempts to rule completely ovwomen, as exemplified by his attempts to force the girls into subordination and simple living.

This fortitude and mental strength begins with Mr. Brocklehurst but is further nurtured througmore interpersonal interactions at Lowood School. At this institution is a woman whose feminiattitude influences Jane's thinking and who teaches the young girl that kindness and love exis

in her world. Miss Temple has an independent spirit that has allowed her to accomplish certain level of open-minded intellect. She is a successful teacher, forward thinking, unmarrieand ambitious. She stands up to the authoritative male figure Mr. Brocklehurst, certainly aunexpected action of any woman in her position. As Jane's first positive female role model, MisTemple encourages the spirit of independence and dignity in Jane.

This dignity was also strongly influenced by her childhood friend Helen Burns. Helen faces hstruggles with a dignity that is based more upon her Christian views than anything feminist, bdignity nonetheless. Even on her deathbed, she places her dire fate in the hands of God, whom she has so much faith (Bronte 71). Though Jane struggles to understand this at first, sh

soon incorporates this dignity into her being. In addition, this experience was one of Jane's firopportunities to formulate her own, independent opinion of a highly complex topic: religion. Shwas introduced by Helen to a religion based on complete trust and faith, one based on hypocrisand subordination by Mr. Brocklehurst and yet another based on ambition by St. John. Shtakes all of these examples into consideration but does not go to any of those extremes. Shsimply uses religion as a guide to ask God for help when in dire situations, such as thinterruption of her wedding or when she is wandering the moors. She has the ability to form hown opinion of religion, just as she forms an opinion of social classes when, as previous



discussed, she implores Mr. Rochester to look beyond her servitude and into the affairs of hheart.

Diana and Mary Rivers inspire Jane to further this personal intellect. In fact, Diana urges Jannot to go to India, which may indicate she has the same opinion on independence as JaneDiana and Mary, while not as passionate and forceful as Jane in their ideas, neverthelesembody the same "feminist" characteristic Jane: a desire for intellect. Jane aspires to their levof intelligence, saying, "They were both more accomplished and better read than I was; but wieagerness I followed in the path of knowledge they had trodden before me" (Bronte 308).

While Jane is often inspired by women who share her views, two women contrast sharply witJane, which emphasizes both her free-thinking tendencies and her role as a womaunconstrained by societal demands. Blanch Ingram and Bessie are two female characters in thnovel who have given in to those demands. Blanche Ingram is probably the best example ofwoman who does not fall under the category of "feminist," due to her misplaced self-worthBlanche is not deeply in love with Rochester, yet she wishes to marry him because of his wealtAs Jane attests, Blanche "cannot truly like him, or not like him with true affection. If she did, sh

need not coin her smiles so lavishly, flash her glances so unremittingly, manufacture airs selaborate, graces so multitudinous" (Bronte 164). These actions, along with her fancy garmenand constant obsession with her appearance, show that Blanche places her self-worth on twcomponents of "marriageability": her physical beauty and the social status that she has thpotential to obtain. This stands in sharp contrast to Jane, who prides herself on beinindependent from a man and not defining herself by the riches Mr. Rochester offers her.

Jane also contrasts, but in a different way, with her former maid Bessie Lee. Jane has thability to finish her schooling and the opportunity to marry outside of her social class despite thchallenge. Bessie marries Robert Leaven, a coachman who would be considered in the sam

social class, and is therefore confined to that class through the end of the novel. Though Bessis happily married, her marriage contrasts with Jane's, which will "lift" Jane into a new sociclass and therefore a new life.

If feminists challenge the norm, then Jane Eyre can definitely be defined as one. Her defiancof authority, or at least, those who try to wield authority over her, is proof of this assertion. MBrocklehurst, Mr. Rochester and St. John each drew from her a certain defiance that portrayeher as nothing less than resilient and passionate. The fact that Jane refuses to give part of hnature to the will of any of these men shows that she does not consider herself below them, buwishes to maintain a dignified, independent self, free from their demands and desires.

addition, she is able to form her own opinions about religion and social standards as a result (or in spite of) these men as well as other women in the novel. Her relationships to the othfemale characters are the strongest indications of Jane's strength, fortitude and insistence obreaking from societal standards of the day. Some women inspire her independent spirit whiother contrast sharply with Jane's free-spirited attitude. Though Jane does not announce to thworld that she is trying to begin any type of feminist movement, her actions and decisionnevertheless could set a model for any forward-thinking woman in the mid-nineteenth centurySt. John's opinion that her "words are such as ought not to be used: violent, unfeminine, anuntrue" (Bronte 363) seem to be Bronte's hint that indeed, Jane's actions were not typical of woman in that era.



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Feminismul în Jane Eyre

Jay Sheldon

Feminismul a fost un subiect important şi controversat în scrierile pentruultimele două secole. Cu romane, cum ar fi Pride lui Jane Austen şi prejudecată,sau chiar lui William Shakespeare Macbeth fascinaţia asupra acestui subiect de cătreautori este evident. În Charlotte Bronte lui Jane Eyre personajul principal, JaneEyre, explorează adâncimea la care femeile pot acţiona în societate şi găseşte propria eilimitele în Anglia victoriană. De asemenea, împreună cu noţiunile de feminismurmaţi de multe ori subiecte de deosebirile de clasă şi limitele.

Există un număr amplu de dovezi care sugerează că tonul de JaneEyre este de fapt una foarte feminista si poate fi foarte bine gandit ca relevante pentrufemeile de astăzi, care simt că au fost discriminat din cauza de acologen. La începutul secolului al 19-lea, au existat puţine şanse pentrufemei, şi, astfel, multe dintre ele se simte inconfortabil atunci când încearcă să intre mai multepărţi ale societăţii. Lipsa de oportunităţi educaţionale avansate pentru femeişi înstrăinarea lor din aproape toate domeniile de activitate le-a dat puţin în opţiuneade viaţă: fie să devină o soţie casa sau o guvernantă. Deşi astăzi un tutore poate ficonsiderată o clasa destul de mare şi de locuri de muncă intelectuală, în epoca victoriană oguvernantă a fost puţin mai mult decât un agent care a fost plătit să împărtăşiţi valoarea ei

limitatede cunoştinţe în domenii limitate la un copil. Cu puţin respect, de securitate, sauo clasă se pot simţi cu siguranţă ca un inteligent, pasionat şi dogmaticfemeie tânără, cum ar fi Jane Eyre ar merita şi să fie capabil de mult mai mult.Insecuritate din această poziţie, fiind aruncat în jurul valorii de cu nerespectarea complete

pentrusentimentele sau preferinţele, este doar una dintre multe caracteristici istovitor deaceastă ocupaţie. Totuşi, pentru Jane să apară chiar şi în societate, devenind unguvernanta părea singura cale rezonabilă pentru ei.

Feminism in Jane Eyre

Feminism has been a prominent and controversial topic in writings for the past tw

centuries. With novels such as Jane Austen's Pride and Prejudice, or even Willia

Shakespeare's Macbeth the fascination over this subject by authors is evident. In Charlot

Bronte's Jane Eyre the main character, Jane Eyre, explores the depth at which women ma

act in society and finds her own boundaries in Victorian England. As well, along with th







notions of feminism often follow the subjects of class distinctions and boundarie

There is an ample amount of evidence to suggest that the tone of Jane Eyre is in fact a ver

feminist one and may well be thought as relevant to the women of today who feel the

have been discriminated against because of there gender. At the beginning of the 19t

century, little opportunity existed for women, and thus many of them felt uncomfortabl

when attempting to enter many parts of society. The absence of advanced educationa

opportunities for women and their alienation from almost all fields of work gave them littoption in life: either becomes a house wife or a governess.

Although today a tutor may be considered a fairly high class and intellectual job, in th

Victorian era a governess was little more than a servant who was paid to share her scarc

amount of knowledge in limited fields to a child. With little respect, security, or class on

may certainly feel that an intelligent, passionate and opinionated young woman such a

Jane Eyre should deserve and be capable of so much mor

The insecurity of this position, being tossed around with complete disregard f

her feelings or preferences, is only one of many gruelling characteristics othis occupation. However for Jane to even emerge into society, becoming

governess seemed the only reasonable path for her.

Jane Eyre 's este atât gotic si romantic, conturand de multe ori o atmosferă de mister, secret,sau chiar oroare. În ciuda acestor elemente gotice, personalitatea lui Jane este prietenos şitonul este, de asemenea, afectuos şi confesionale. Spiritul ei neabătut şi natura increzute infuzmai departe cartea cu energie mare şi se adaugă un gust filosofice şi politice

Jane Eyre' s tone is both Gothic and romantic, often conjuring an atmosphere of mystery,secrecy, or even horror. Despite these Gothic elements, Jane's personality is friendly and thetone is also affectionate and confessional. Her unflagging spirit and opinionated nature further infuse the book with high energy and add a philosophical and political flavour

Relaţiile între femei şi bărbaţi

Jane se lupta continuu pentru a realiza egalitate şi pentru a depăşi opresiunea. În plus faţă de ierarhie de clase, ea trebuie s

lupte împotriva dominaţiei-patriarhal împotriva celor care cred că femeile care urmează să fie inferioare bărbaţilor şi să încerce

să-i trateze ca atare. Trei figuri centrale de sex masculin ameninţă dorinţa ei pentru egalitatea de şanse şi de demnitate: dom

Brocklehurst, Edward Rochester, şi râurile Sf. Ioan. Toate cele trei sunt misogin la un anumit nivel. Fiecare încearcă să

păstreze Jane într-o poziţie de supunere, în cazul în care ea nu este în măsură să-şi exprime gândurile şi sentimentele ei. In

cautarea ei pentru independenţă şi auto-cunoaştere, Jane trebuie să scape Brocklehurst, respinge Sf. Ioan, şi vin la Rocheste

numai după ce asigurându-se că acestea se pot casatori la egal la egal. Această ultimă condiţie este îndeplinită o dată pe Ja

se dovedeşte capabil să funcţioneze, prin timp, ea petrece la Casa de Moor, într-o comunitate şi într-o familie. Ea nu va depi

numai pe Rochester pentru dragoste şi ea poate fi independent financiar. În plus, Rochester este orb la sfârşitul romanului şi



prin urmare depinde de Jane să mai fie ". Propunerii, si ghidul de" La capitolul12, Jane articulează ceea ce a fost pentru timp

ei o filosofie radical feministe:

Femeile ar trebui să fie, în general, foarte calm: dar femeile se simt la fel ca si barbatii se simt, au nevoie de exercitii pentru

facultăţile lor, şi un câmp pentru eforturile lor de fel de mult ca fraţii lor fac, ei suferă de prea rigidă o restricţie, de asemenea, o

stagnare absolută, exact ca şi bărbaţii ar avea de suferit, şi aceasta este ingust la minte, în lor mai privilegiate colegii-creaturi s

spun că ei ar trebui să se limiteze la a face budinci şi a tricotat ciorapi, pentru a juca la pian şi saci de brodare. Este nechibzui

să le condamne, sau razi la ele, în cazul în care încearcă să facă mai mult sau pentru a afla mai mult particularizate sa

pronunţat necesare pentru sexul lor.

Gender Relations

Jane struggles continually to achieve equality and to overcome oppression. In addition to class hierarchy, she must fight

against patriarchal domination—against those who believe women to be inferior to men and try to treat them as such. Three

central male figures threaten her desire for equality and dignity: Mr. Brocklehurst, Edward Rochester, and St. John Rivers. Al

three are misogynistic on some level. Each tries to keep Jane in a submissive position, where she is unable to express her ow

thoughts and feelings. In her quest for independence and self-knowledge, Jane must escape Brocklehurst, reject St. John, an

come to Rochester only after ensuring that they may marry as equals. This last condition is met once Jane proves herself ab

to function, through the time she spends at Moor House, in a community and in a family. She will not depend solely on

Rochester for love and she can be financially independent. Furthermore, Rochester is blind at the novel's end and thus

dependent upon Jane to be his “prop and guide.” In Chapter 12 , Jane articulates what was for her time a radically feminist

philosophy:

Women are supposed to be very calm generally: but 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; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves

to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them,

or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex.

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