Edward Fairfax Rochester Edward Fairfax Rochester Authors: Bronte, Charlotte Description: Young Jane Eyre was orphaned and sent to live with her uncle, who dies shortly after her arrival. Her step-aunt despises her and sends her to Lowood School so that she can become a governess. She wins the friendship of everyone there, but her life is difficult because conditions are poor at the school. Not until typhus kills many of the students do conditions improve. Jane completes her education there and obtains a position as governess at a house called Thornfield. Jane's student is Adele Varens, a petulant but loving illegitimate child of the master of the house, Edward Rochester. Rochester is rarely at home and Jane spends most of her time with Adele and the housekeeper, Mrs. Fairfax. When Rochester does come home, he is often moody and imposing. One night, Jane wakes to strange noises and the smell of smoke. She finds Rochester unconscious in his bed, which is on fire. Other odd things happen in the house: Jane often hears strange laughter and thuds. Jane has meanwhile realized that she loves Rochester but in her pride refuses to confess it.

When Rochester invites a group of friends to the house, including Blanche Ingram whom he is expected to marry, Jane is treated like a servant by the guests. One of the guests, Mr. Macon, is mysteriously injured. Jane is also troubled when her former guardian, Mrs. Reed, calls her to her death bed and admits that several years earlier she had received a letter from one of Jane's distant relatives, John Eyre, a wealthy man who lives in Jamaica. Mr. Eyre had offered to adopt Jane, but Mrs. Reed maliciously told him that Jane had died in the typhus epidemic. When Jane returns from this visit, Rochester asks her to marry him and Jane joyfully assents. The night before their wedding, she wakes to find someone in her room, wearing her wedding veil. She screams and runs, but Rochester convinces her it is her imagination. At the wedding, a man interrupts the service, saying Rochester is already married. Rochester admits it and takes the wedding party to the attic. His wife is a Creole, Bertha Macon, who went mad immediately after their wedding fifteen years before. Now she is imprisoned in the attic. Jane decides she must run away.

Penniless, she becomes a beggar until Reverend St. John Rivers and his two sisters generously take her in. She lives with them under an assumed name, and it is only by accident that she learns simultaneously that John Eyre has died and left her his fortune and that the Rivers are her cousins. They share the fortune. Rivers presses her to marry him and join him as a missionary. He admits that he does not love her, but he thinks Jane smart and useful. Jane feels she must do her duty, but she does not want to marry Rivers. One night, Jane hears Rochester's voice calling to her. She returns to Thornfield and finds the house burned to the ground. Bertha had set fire to it and Rochester became blinded in his unsuccessful attempt to save her life. Jane and Rochester marry. Rivers dies gloriously for his cause. Commentary Jane is one of Victorian literature's rebellious heroines. Critics of the period found her unwomanly, albeit more interesting than the common angel in the house. Bertha illustrates mid-19th century attitudes toward madness. It was primarily considered an untreatable congenital disease. Bertha's role is complicated by her ethnicity.

She is the product of British imperialism, at its height at the time the novel was published. Feminists have also considered Bertha to be Bronte's alter ego. Like many Victorian women, Bertha is literally trapped in her home. Unlike most women, she retaliates, trying to kill Rochester and ruining his home and name. The section on Lowood shows how medical and social conditions are tightly tied. As a whole, the novel tries to balance reason and passion. Too much passion and one ends up like Bertha or Rochester, too little and one becomes like St. John Rivers. Jane Eyre is a thrilling read that goes over well with modern audiences. Other characters from this book: Edward Rochester (Character) Edward Rochester (Character) from Jane Eyre (2011) The content of this page was created by users. It has not been screened or verified by IMDb staff. There may be more photos available for this character. To select more photos to be displayed in this character's gallery, click the Edit Photos link. Overview Edward Fairfax Rochester, the more than beautiful... See more » Alternate Names: Edward Fairfax Rochester / Lord Edward Rochester / Lord Rochester / Mr. Rochester / Rochester Filmography ...

aka "Studio One" - USA (original title) ... aka "Studio One Summer Theatre" - USA (summer title) ... aka "Summer Theatre" - USA (summer title) ... aka "Westinghouse Studio One" - USA (alternative title) ... aka "Westinghouse Summer Theatre" - USA (summer title) ... aka "Kraft Television Theatre" - USA (original title) ... aka "Kraft Mystery Theatre" - USA (new title) Jane Eyre : Everything seems unreal. Rochester : I am real enough. Jane Eyre : You, sir, are the most phantom-like of all. See more » Update You may correct errors and omissions on this page directly. Clicking the 'Update' button will take you through a step-by-step process. IMDb Everywhere Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! Reading Points for Jane Eyre Reading Points for Jane Eyre Because Jane Eyre is such a long novel and we are working through it in only 2 days, here are some points to focus your reading. For our first day of discussion, read the Author's Preface and Chapters 1-17.

We will discuss general themes, but you should pick out a few quotes to interject into the discussion. General Points Brontï¿½ populates the novel with many female characters roughly the same age as Janeï¿½Georgiana and Eliza Reed, Helen Burns, Blanche Ingram, Mary and Diana Rivers, and Rosamund Oliver. How do comparisons with these characters shape the reader's understanding of Jane's character? What is the role of physical beauty in Jane Eyre? What does the author suggest about its importance to individual happiness? Jane certainly deviates from some of the social standards of her time about what roles women should play; we know, also, that Charlotte Brontï¿½ , like her character, chafed against the restrictions she faced because she was a woman. Is Jane Eyre , then, a "feminist" novel? What is Brontï¿½ saying in this novel about the role of women in her society? Colonialism, national pride and the British Empire surface very subtly in this novel (more in the second half). Where do you see representations of these? In the characters, the landscape/setting, the physical structures, the insistence on proper and moral behavior?

Chapter Discussion Points These questions may form the basis for class discussion, homework, or quizzes. However, you should familiarize yourself with these questions even if they are not assigned--they may help you sort out difficulties with the text. You should try to answer the questions in a figurative sense, not just in a literal sense. In other words, look for the deeper meaning behind each question by asking yourself if there is any symbolism involved. Preface Analyze the quote "Conventionality is not morality. Self-righteousness is not religion." In light of what critics of the time had to say about Jane Eyre, what is the thrust of Brontï¿½'s response? Chapter 1 What purpose do the descriptive passages from Berwick's History of British Birds serve at this stage of the text? What are your impressions of John Reed? What do you make of the abuse that Jane suffers? Is it realistic? Chapter 2 In this chapter, note Jane's thoughts of suicide. Jane Eyre was a watershed novel at the time it was written because it blended two styles of novels: the romantic novel and the gothic novel. Where do you see elements of Romanticism and Gothicism in the novel so far?

Jane's fears of the ghost are consistent with her vivid imagination; yet the ghost never appears, and Jane is returned to cruel reality. Chapter 3 Most readers of today are familiar with the signs of child abuse, emotional abuse, and neglect. While these terms were arguably unknown to Brontï¿½ in the mid 19th century, how does her treatment of Jane reflect what we know about them? Chapter 4 What is unexpected in Jane's answer to how she plans to avoid going to Hell? How does the anecdote of the "little psalm angel" heighten our contempt for Brocklehurst? Why does Bessie begin to treat Jane with kindness at this point in the text? What lesson does Jane learn on how to deal with people she fears? How is this unusual when compared with the depiction of the other children of this time period, such as the "little psalm angel" and the "girls of the school?" Chapter 5 In this chapter, notice "Jane's" first direct address of the "reader." How does Miss Temple fit in with your expectations of her from Brocklehurst's interview with Jane? In fact, how does her character compare to most of the other adult characters encountered in the text so far?

Chapter 6 In this chapter, Jane receives another lesson in strength, this time from Helen Burns. What do you think of Burns' diction and speech? What do you think of her philosophy? Chapter 7 What do you think of Mr. Brocklehurst's philosophy of education in this chapter? Discuss Brontï¿½'s feelings on the "nature of man." Is she being serious or tongue-in-cheek? Chapter 8 Compare Jane Eyre to other mistreated heroines from children's stories (Cinderella, Rapunzel, Snow White). Knowing that Jane Eyre is the novel that broke many rules about how a mistreated heroine should act, compare and contrast them to Jane. Chapter 9 Pay attention to the lush descriptions of Miss Temple in chapter 8 and spring at Lowood in chapter 9. How would descriptions like these affect readers in the mid 19th century? How do they affect readers of today? Notice the parallels between life at Lowood in the spring and Jane's new lifestyle. How is this "pathetic fallacy" a form of foreshadowing? Chapter 10 Read the first paragraph of chapter 10.

If Brontï¿½ means that she has only related events that are important, what are those important events and how are they important to Jane's development as a character? What do you think of Jane's prayers for a "new servitude"? What can you make of Bessie's character in her differing reactions to Jane's looks and her abilities? What is the effect that Brontï¿½ is trying to convey to the reader? Pay attention to the appearance of a mysterious Mr. Eyre. Chapter 11 What do you make of the first two paragraphs in chapter 11? Analyze this passage with regard to literary theory and the nature of the narrator. What affect does Mrs. Fairfax's description of Rochester have on the reader? How does Brontï¿½ achieve this affect? Chapter 12 Why is Jane so restless? Why is the way Jane and Rochester meet appropriate? Chapter 13 How has Thornfield changed with the arrival of Mr. Rochester? What is the significance of this? Brontï¿½ makes liberal use of French in her dialogue. What does this say about her audience? How do you compare to that audience? Rochester studies Jane's paintings.

What do you make of the paintings? What does this incident add to the story? Comment on the character and appearance of Rochester. How does he measure up to other romantic heroes? Chapter 14 When Rochester says he is "paving hell with energy" and that he is "laying down good intentions," he is alluding to an old saying: "The road to Hell is paved with good intentions." This quote has been attributed to Karl Marx, but it really reflects Blake's Marriage of Heaven and Hell and its "Proverbs of Hell": "the road to excess leads to the palace of wisdom." This chapter gives more insight on the nature of Rochester through his battle of wits with Jane. What is revealed about Rochester here? What is the outcome of their conversation? Chapter 15 Why does Jane become more affectionate and tolerant of Adï¿½le, both literally and figuratively? We see that something odd is going on at Thornfield with Rochester's demand that he "like it if he can," the strange laughter, and the attempt on his life. Note at the end of the chapter the change in the relationship between Jane and Rochester. Chapter 16 The discussion of Miss Blanche Ingram between Jane and Mrs.

Fairfax should recall Rochester's opinions of love and jealousy in his romance with Adï¿½le1s mother, Cï¿½line Varens. What do you make of Jane creating a harsh piece of artwork for herself and a lovely piece of artwork depicting Miss Ingram? Chapter 17 Beginning with the serving of coffee, Brontï¿½ shifts her narrative into the present tense. Why does she do this, and what is the effect on the reader? How does Brontï¿½ transmit the characters of the Ingram ladies successfully to the reader? Chapter 18 Sometimes Jane's naï¿½vetï¿½ offers Brontï¿½ a chance to satirize the attitudes and actions of aristocracy. How does Brontï¿½ satirize love as seen by the upper class? Comment on the sudden appearance of both Mr. Mason and the old gypsy woman. Chapter 19 This chapter shows another change in the relationship between Rochester and Jane. Analyze this new stage. Chapter 20 In this chapter, Brontï¿½ again changes into the present tense. Why? At this point in the novel, it is very clear that Rochester is deeply involved with some mystery surrounding Grace Poole.

At the end of the chapter, who does he initially hint may help him find happiness? When Jane can not respond to Rochester1s hinting, his tone and attitude change immediately. What does this say about Rochester as a character? Chapter 21 In this chapter, we are treated to an example of what the Reed sisters have become. How does Jane respond to their personalities. How does Jane compare and contrast to them? Describe the resolution of the relationship between Jane and Mrs. Reed. Is it different from what you expected? Would it have been different from what Brontï¿½'s audience would have expected? Chapter 2 Chapter 22 is short and ostensibly deals with Jane's return to Thornwood. What function might this chapter serve in terms of the entire text? Note again the switch in tense on page 231. Chapter 23 In Jane's impassioned speech in this chapter, you should be able to find pieces of both Bessie and Helen Burns. How do the philosophies of these two influential characters color Jane's words? Chapter 24 This chapter is pure Jane Eyre. How is Jane different than most brides of romance stories? What would Brontï¿½'s audience have thought of her behavior?

Chapter 25 When Jane regards her wedding gown on page 261, what mood does Brontï¿½ establish? Why does Brontï¿½ narrate with such a heavy hand when she writes "Stay till he comes, reader; and when I disclose my secret to him, you shall share the confidence"? Chapter 26 What is the irony in Jane wearing "the plain square of blond" veil for her wedding? What do you think of the fact that Jane's uncle and Mr. Mason were business associates? Re-read Jane's recollections of the events leading up to the introduction of Bertha Mason. Why does Brontï¿½ "play" the scene this way? Chapter 27 "Reader, I forgave him at the moment on the spot." What is your reaction to this? When Rochester explains the circumstances of marriage to Bertha Mason, how do you respond as a reader? Does Brontï¿½ succeed or fail to produce sympathy for this character? How? Compare the symbolism of "(a) wind fresh from Europe" and the "fiery West Indian night." What do these symbols represent? Are they ironic in any sense? Jane explains her rationale for not complying with Rochester.

Is this in character with the Jane we have come to know? How? Chapter 28 The suffering that Jane endures is compounded by her belief that she has "no claim to ask" for help. How is this philosophy in keeping with her character? As the author of the text, Brontï¿½ is the artist who chooses what events happen in the plot (much the same way a painter can choose the composition of a painting, or a sculptor can choose where and how to carve the elements of a sculpture). Why did she choose to create a section where her main character goes through so much pain? Is it appropriate? Chapter 29 Do a little research. Where do the names Mary, Diana, St. John, and Hannah come from, and what is the significance attached to those names? Compare the meanings of the names to their respective characters in the previous chapter and this one? Chapter 30 Compare the Rivers family to the Reed family. In what way are they similar? In what way are they foils? Do the names signify anything?

Chapter 31 Jane's feelings toward her backwoods students and the "germs of native excellence, refinement, intelligence (and) kind-feeling" that "are as likely to exist in their hearts as in those of the best-born" are likely to have caused a stir among non-Romantics of the period. Why? Why does Jane begin this chapter in the present tense? Jane Eyre is running from an unattainable love. Who else is running as well, and what are the details? Chapter 32 A good minister is an example to his congregation; followers will learn "truth" by simply observing the daily actions of their pastor. Does St. James Rivers impart any "truths" to Jane? Chapter 33 In this chapter, the final pieces of the puzzle slip into place. Is this resolution too coincidental or is it satisfactory? Chapter 34 Characterize the similarities and differences between St. John's offer of marriage and Rochester's. Why does Jane refuse St. John when she is willing to accept a life with him in India? Couldn1t she grow to love him? How does her response fit in with what we know about Jane as a character?

Hot climates seem to have a special symbolic meaning in the text (note Rochester's discussion of the West Indies). What do you make of it? Chapter 35 Jane's conversation with Diana, although acceptable and unexceptional to us, would have bordered on the scandalous in Brontï¿½'s day. What is it about Jane's viewpoint that would have drawn so much anger? Does Jane's near surrender to St. John Rivers, stopped only by "the voice of Edward Fairfax Rochester" speaks to her "in pain and woe" diminish her strength of character? Why would Brontï¿½ have slipped again into the realm of the supernatural if Jane had enough strength in her own convictions? Chapter 36 In this chapter we learn the fate of Rochester, Bertha Mason, and Thornfield Hall. How do these revelations sit with you, the reader? Did Brontï¿½ do a good job of tying up loose ends? Chapter 37 Notice that Brontï¿½ makes a direct jump from the inn at Millcote to Rochester's house at Ferndean. Why does she do this? What effect might she wish to achieve? Jane has her own ideas of how to shake Rochester from his gloom.

What are they? "To make a love story work you gotta have heart. More important: The audience must believe it's real." This quote by Pat H. Broeske in his article "Save Yourself From Trouble" from the January 1995 issue of Writer's Digest was his thesis for why some Hollywood love stories work and some don't. Does Jane Eyre work as a love story? Do Jane and Rochester have "heart"? Are we glad to see them back together? What makes their relationship ring true for the reader? Chapter 38 Brontï¿½ ends the novel on a religious note. In fact, she has been building the religious closure since Rochester's admission of prayer in chapter 37. What effect does this have on you as a reader? What effect would it have had on Brontï¿½'s audience? If St. John Rivers was such a frigid (and in some ways unpleasant character), why would Brontï¿½ chose to end the novel with a reference to him? Note the parallel structure: The novel begins with the antics of John Reed and closes with the antics of St. John Rivers.

Jane Eyre's Husband - The Life of Edward Rochester: Tara Bradley: 9781463670191: Amazon.com: Books Jane Eyre's Husband - The Life of Edward Rochester Customers Who Bought This Item Also Bought Page 1 of 1 Start over Page 1 of 1 This shopping feature will continue to load items. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Customers Who Viewed This Item Also Viewed Page 1 of 1 Start over Page 1 of 1 This shopping feature will continue to load items. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Page 1 of 1 Start over Sponsored Products are advertisements for products sold by merchants on Amazon.com. When you click on a Sponsored Product ad, you will be taken to an Amazon detail page where you can learn more about the product and purchase it. To learn more about Amazon Sponsored Products, click here . Kidnapping. Deception. Arranged Marriage. An intriguing twist on Jane Austen's timeless classic? You decide. Kindle Edition P. O.

Dixon Did Darcy admire her for her impertinence? This what-if story satisfies Elizabeth's question and more. Much more. To Make Her His Wife: Pride and Prejudice Variations Collection P. O. Dixon You'll fall in love with Mr. Darcy again and again and again with three romantic escapes in one captivating Pride and Prejudice Variations boxed set. Ad feedback Special Offers and Product Promotions Don't have a Kindle? Get your Kindle here , or download a FREE Kindle Reading App . Product Details Publisher: CreateSpace Independent Publishing Platform (August 14, 2011) Language: English Shipping Weight: 2.1 pounds ( View shipping rates and policies ) Average Customer Review: By Mrs. on March 27, 2011 Format: Kindle Edition|Verified Purchase Jane Eyre's Husband describes the events of Jane Eyre from Rochester's point of view. Every unanswered question from the original is answered here: Grace Poole's background, Celine's origins and childhood, Rochester's boyhood, his various mistresses, marriage to Bertha, Jane and Edward's marriage and children are some of the topics covered.

What really makes this book great is it's faithfulness to the original work. All the characterizations are consistent with Charlotte Bronte's original characters. The author does a superb job creating backgrounds and futures for the characters, as well as filling in the parts of lives left untold in the original. The book is true to the 19th century time-frame in which the story takes place, yet written in an easy 21st-century style. Neither does the author shy away from Jane and Rochester's spirituality, so important for all of Jane's life, and important to Rochester especially after he is wounded and almost dies in the fire at Thornfield. This is central in the original, and is an aspect of Jane Eyre some tend to ignore. The inclusion of their spiritual lives adds depth and meaning to this story, as it does to the original. I'm a Jane Eyre purist and I couldn't put this book down. Highly recommended. By Almostliterate on November 9, 2011 Format: Paperback|Verified Purchase (Mild spoiler alert) This book is definitely a cut above your average piece of fan fiction.

The author did a fine job of creating the character of Rochester while staying in the context of Jane Eyre (JE going forward). She even includes quotes from JE to introduce many of the chapters in order to keep the story continuity going. She develops the character well, giving reasons for both his character flaws and his more honorable character traits. Why is Edward Rochester arrogant, haughty, cynical and bitter and yet at the same time loving and compassionate? Ms. Bradley takes us through his childhood and young adulthood and gives a well-fleshed-out story for the man who would become Jane's Eyre's husband. Rochester's backstory is richly detailed. We learn of his childhood, his schooling, his marriage and his mistresses. The book develops not just his character, but his sexuality as well. Yes, he had mistresses, but also wanted to keep sex as something sacred and loving. His sexuality is one of the aspects of the character Bradley has developed the most. This may offend some as the story is heavily peppered with sex scenes. However, I'm not offended by such scenes and I must say they are HOT. Ms.

Bradley could have a career in erotica if she chose because that book sent me to a cold shower on more than one occasion! The reader breathlessly waits the consummation of his relationship with Jane. Bradley manages to convert a Victorian man of average looks (even described as "ugly" in JE) into a bodice-ripper hero without doing an injustice to the character of Rochester. The book does have its flaws. For one thing, it could have used more copy editing. There are grammatical mistakes all over it (Ms. Bradely needs to learn that you say, "angry with" and not "angry at" for example). In order to move the story forward once he meets Jane (and therefore we all know the story so there is less need for elaboration) the story becomes more about observation than about the interactions with Jane and Edward. I missed some of the witty banter between them. Although I might be contradicting myself by saying this, Bradley sexes up the early interactions between Jane and Edward a bit too much. Edward seems to permanently have sex on the brain once he meets Jane and he seems obsesively fixated on Jane's breasts!

One would imagine in JE that Jane would probably limit her physicality with Edward in their courtship phase. I never imagined anything more than some hugging and some pecks would have passed between them. Yet their engagement chapter ends in what seems like a full-on makeout session. Her evenings spent alone with Rochester (where in JE she keeps herself physically and emotionally distant from him) she greets him with a passionate kiss - tongues and all - before primly retreating to the other end of the room. It just didn't ring true with me. The book loses momentum a bit after they are married. Perspectives shift more from Rochester to Jane and also to other family members. Bradley squashes a lot information about the lives of the children and grandchilden (and Adele and minor characters...) into the few remaining chapters and I found myself not really keeping up and losing interest. Also, the sex scenes started out hot, but after a while I just grew tired of hearing about what a wonderful sex life Jane and Edward had. Bradley seemed to insert a sex scene, or at least some description of how their sex life was going, in every chapter whether it was relevant or not.

Although I was skeptical of the criticisms here that Rochester is a bit too weepy (he openly cried in front of Jane in JE twice), I do have to agree after reading the book that he seemed to be crying far more than any man of his era would ever have done. This is definitely worth a read for Jane Eyre fans. It is faithful to the character and the book. It just needs some restraint. By litlover on February 27, 2011 Format: Kindle Edition|Verified Purchase In Jane Eyre, there are periods of Edward Rochester's life to which Charlotte Bronte devotes only a few sentences: his childhood and youth, his disastrous marriage, his period of sorrow after Jane flees Thornfield. And we have only the most fleeting of glimpses of Jane and Edward's married life. In Jane Eyre's Husband - The Life of Edward Rochester, Tara Bradley gives us beautifully written complement to Bronte's beloved book. She offers the reader an imaginative and plausible journey into the heart and mind of the man who loved Jane--and was loved by her--so much. There are several striking features of this book.

First, it is faithful to early 19th century customs; and the dialogue retains the flavor of speech of the period while adapting language as necessary to make it accessible to modern readers. That is a difficult task, and Bradley has done it well. Second, Bradley's meticulous research makes portions of the book that deal with illness, injury and mental health detailed and fascinating. Third, the treatment of sexuality in the book, while frank, is also extremely sensitive. Jane Eyre leaves us in no doubt that both Jane and Rochester were passionate and sensual people. Jane Eyre's Husband acknowledges and celebrates that passion without being either coy or prurient. And finally, Bradley's imagining of Jane and Edward's marriage and family life is filled with humor and grace. Any author who insists that happy marriage is too dull to make interesting literature need look no further than this book. Like many others, I have waded through "highly recommended" paraliterature efforts that were execrable too many times to count. Jane Eyre's Husband is not only good enough to redeem the genre, but quite simply stand on its own as a work of literature.

By Laura Liles on February 26, 2011 Format: Kindle Edition|Verified Purchase I am thrilled to see this book available for the Kindle. There is a lot of drivel written in the genre of supplements to classic fiction. (P&P and Vampires, Little Women and Werewolves, ACK!) Jane Eyre is fortunate in that it has already had two excellent additions to the original novel, Wide Sargasso Sea and The Eyre Affair. Jane Eyre's Husband may now be added to that list. It adds depth and a modern sensibility to the original, and adds more detail to scenes that, due to the constraints in place at the time of the original publication, could only be implied. We know Jane and Edward were a passionate couple, yet Victorian mainstream fiction could only hint at the depth and tenderness of their love story. This is a wonderful addition to any Bronte afficiando's library. Teaching "Jane Eyre" [ Victorian Web Home —> Authors —> Charlotte Brontë —> Works ] N. B.

This article originally appeared in the British Columbia English Teachers' Association (BCTELA) quarterly journal Update in the September/October, 1985, issue (pp. 5-6); it is based on a paper that Professor Rosengarten gave at the BCETA conference the previous spring. Since the novel Jane Eyre had recently been added to the academic English 12 curriculum in the province, teachers were eagerly looking for both resources and approaches. Though biographical approaches are not fashionable these days, a good way to begin discussion of Jane Eyre is to provide students with some facts about the author, to show that the sources of the narrator's experiences and strong personality lie in Charlotte Brontë's personal history.

Points worth emphasizing in relation to Jane Eyre include the early death of Charlotte's mother, leaving the family in the care of a somewhat remote father and a crotchety aunt (all Charlotte's novels have parentless heroines); her experiences at the Clergy Daughters' school at Cowan Bridge [Yorkshire], thinly veiled in the novel as Lowood Institution; her attempts to make a living as a governess in wealthy families; and her suppressed (and possibly unconscious) passion for Constantine Heger, her tempestuous and irascible teacher in Brussels. Students would also be interested to learn about the imaginary worlds created by the Brontës as children; Charlotte, Branwell, Emily, and Anne collaborated for many years on the production of chronicles of romance and adventure for their own amusement. Charlotte's favourite character in the stories was Arthur Wellesley, Duke of Zamorna, a romantic hero compounded of her reading in Gothic novels and the poetry of Byron. Zamorna is a clear forerunner of Edward Fairfax Rochester.

For teaching purposes, Jane Eyre conveniently breaks down into five sections: Gateshead, Lowood, Thornfield, Moor House, and Ferndean, each section representing a new phase in Jane's experience and development. It's worth spending some time on the first two sections: a) they establish the protagonist's character very clearly (intense, imaginative, passionate, rebellious, independentï¿½yet yearning for warmth and affection, seeking acceptance and an out let for her feelings); b) these early chapters prepare us for the struggles that Jane will undergo later, the conflicts between spirit and flesh, duty and desire, denial and fulfilment; c) they also establish the theme of the outsider, the free spirit struggling for recognition and self- respect in the face of rejection by a class-ridden and money-oriented society. The Gateshead chapters can be used to introduce the concept of narrative point-of-view. Of special interest is the author's ability to re-create the child's vision of the world; ask students to pick out passages they think successfully convey the child's perception, and have them explain their choices.

The Lowood section can be dealt with in part as a realistic, if somewhat heightened, account of life in many charitable or religious schools in the first part of the 19th century (cf. Dickens' description of Dotheboys Hall in Nicholas Nickleby). Students would probably enjoy Mrs. Gaskell's scathing account of Lowood's real-life original, the Clergy Daughters' school run by a fiercely evangelical clergyman similar in some respects to Mr. Brocklehurst. This section is important also for its introduction of the theme of Christian love and forgiveness; the contrast between Mr. Brocklehurst's hypocritical zeal and Helen Burns' spiritual strength and humility is an important lesson for Jane, bearing fruit in her subsequent forgiveness of Mrs. Reed. The Thornfield episode, with its elements of suspense, sexual conflict, and occasional violence, has obvious appeal for most adolescent readers. It is dominated by Rochester; students might be asked to define those features of his character and conduct that make him the Romantic Hero par excellence. Milton's Satan and Byron's Lara are probably his most illustrious antecedents, and offer useful parallels.

The section is important also in developing the theme of spiritual equality regardless of social rank; not a new theme (cf. Chaucer's treatment of "gentilesse" in "The Wife of Bath's Tale"), but asserted with unusual force here, leading some readers to see Jane (and her creator) in feminist terms. Jane's aggressively independent nature certainly seemed unwomanly (and unChristian) to some of her contemporaries, if one goes by early reviews. This part of the novel also brings to a climax the theme of moral conflict: Jane's struggle between passion and principle, the flesh and the spirit. Some attention should be paid to poor Bertha, who embodies the irrational abandonment of self to appetite, and whose fiery passions eventually find literal expression.

(For a more sympathetic view of Bertha, see Jean Rhys' novel Wide Sargasso Sea, which relates the story of her meeting with Rochester in the West Indies.) The Thornfield chapters are useful, too, for discussions of setting as dramatic accompaniment to, reflection of, or comment upon the action; e.g., Thornfield Hall as an expression of its master's personality; or the violent storm that erupts at the time of Rochester's proposal to Jane, seemingly as a reflection of divine disapproval. The sexual temptations offered by Rochester are contrasted in the Moor House section by the cold spirituality of St. John Rivers (a helpful assignment here is a comparison-contrast essay). In the interests of serving God, he represses his own human feelings (note the Rosamund Oliver business), and wants Jane to do the same. He represents the extremes of denial, self-sacrifice, dedication to the spirit; in rejecting him, Jane chooses the path of lifeï¿½a life in which passion and principle are reconciled, through her happy marriage with Rochester. The final scenes at Ferndean show the achievement of this reconciliation; Rochester, now maimed (divine retribution?

See Matthew 5:29, 30), repents his former life, and Jane can find fulfilment in loving service to a master who now depends on her. Despite its episodic nature, Jane Eyre does have thematic and structural unity, created in various ways: through the continuous development of Jane's character and the revelation of her inner struggles; through recurring themes, some of which have been outlined above; through repeated motifs, symbols, and images (the workings of the supernatural, portentous dreams, patterns of light and dark, oppositions of warmth and cold, etc.); through parallels and contrasts in character (e. g., the Reeds at Gateshead/the Rivers family at Moor House; Rochester/St. John Rivers; Helen Burns/St. John Rivers; Blanche Ingram/Jane herself); and through patterns in plot structure (e. g., the workings of Providence at several crucial stages in Jane's life; the parallel temptations facing Jane at Thornfield and Moor House; Jane's search for happiness as a kind of spiritual journey in which she must overcome a series of trials and obstacles like Christian in The Pilgrim's Progress). Students might also be encouraged to look at fairy-tale analogues of the novel's plot: e.

g., the stories of Cinderella, Bluebeard, or the Ugly Duckling. There are several film versions of Jane Eyre [and a several more have been made since the writing of this article in 1985]. My own favourite is the 1943 production with Orson Welles as Rochester, Joan Fontaine as Jane, and Elizabeth Taylor as an improbably healthy and pretty Helen Burns. Sadly, the screenplay (co-authored by Aldous Huxley) cuts out the whole of the Moor House section, but it preserves the Gothic mood of the novel better than other [pre-1985] versions. A comparison of film and novel would certainly provoke some lively discussion. [Ed.

Note: Though not readily accessible, John Brougham's 1856b adaptation of the novel, printed as Number 400 in the Dicks' Standard Plays series, would be interesting as the subject of a readers' theatre.] Bibliographical note: The earliest account of the Brontë family, and in many ways still the best, despite its errors and omissions, is Elizabeth Gaskell 's The Life Charlotte Brontë, commissioned by Charlotte's father soon after her death; the Penguin edition edited by Alan Shelston has an excellent introduction. A useful supplement to the Life is Margaret's Lane's The Brontë Story. The best modern biography is Winifred Gerin's Charlotte Brontë: The Evolution of Genius. For the early reviews, see The Brontës: The Critical Heritage, ed. Miriam Allott. Good discussions of the novel include R. B. Martin's The Accents of Persuasion: Charlotte Brontë's Novels; Kathleen Tillotson's Novels of the Eighteen-Forties; David Lodge's chapter on "Fire and Eyre: Charlotte Brontë's War of Earthly Elements," in his Language of Fiction. [Ed.

Note: Almost a bible to Feminist critics of the work of Charlotte Brontë, George Eliot, and Jane Austen is Sandra M. Gilbert and Susan Gubar's The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (1979).] The best paperback edition of Jane Eyre is edited by Margaret Smith, published in the World's Classics series by Oxford University Press; its introduction and notes are first-rate. A comprehensive survey of Charlotte Brontë's life and writings may be found in the Dictionary of Literary Biography, vol. 21 (Victorian Novels before 1885): 25-54 [Ed. Note: This well-illustrated article was written by Professor Rosengarten himself.]. The theme of Social Class and Social Rules in Jane Eyre from LitCharts | The creators of SparkNotes Page Number and Citation: 13 Cite this Quote Explanation and Analysis: Jane has sought refuge from her aunt and cousins in a book, when her cousin John Reed barges in and insults her.

Jane was orphaned several years earlier, and now it's only a few months since her uncle - the only member of the Reed family who was kind to her - also died, and the rest of the family feels free to share their scorn and disdain for Jane. Here John belittles Jane's presumption in taking a book to read from among the family collection, for she could not be further from being a member of the family. Though John's words are cruel, his actions are those of a child, and he seems to be buoyed and his opinions confirmed by those of his mother. Indeed, he repeats his mother's words in calling Jane a "dependent," and in assuming that this is such a negative term. The family's official line underlines several widespread beliefs at this time: that social classes were to be kept separate for a reason, for instance, and that those who are poor or vulnerable are justifiably so, and should remain in that position. A+ Page Number and Citation: 102 Cite this Quote Explanation and Analysis: Jane has graduated first in her class at school, and has decided to stay on in order to become a teacher herself. Soon, though, Miss Temple leaves for a distant land.

For a long time, Jane has felt somewhat restless, trapped in an oppressive school because she is without family, poor, and female, and thus opportunities to support herself are scarce. Until now, Jane has not rebelled against these strictures: instead, she has chosen to work within them, carving out a place for herself that is tolerable mainly because of her adoration of Miss Temple. With her mentor gone, though, suddenly Jane sees no reason to continue at the school. However, even in the midst of "gasping" for freedom, Jane is both realistic and humble enough to recognize that she cannot yearn for an entirely different lifestyle. She does pray to God, but little by little adapts her prayer so as to fit her circumstances. As she does so, nonetheless, she recognizes that because of her social position, and because of her current circumstances, there are few things she could do that would actually give her greater liberty.

Finally, she accepts that she may continue to feel oppressed wherever she may goes - but she insists that even that would be preferable to staying in the same place, where she knows all too well the exact outlines of her "servitude." Page Number and Citation: 157 Cite this Quote Explanation and Analysis: Over the course of the first long conversation between Jane and Rochester, Jane's feelings towards the man quickly become complicated. On the one hand, she does feel a real connection to him, and admires the fact that he is largely willing to chat with her as an equal. Here, though, Jane uses the opportunity that Rochester has given to her to stress that, for her, equality is not just something that can be parceled out here and there, as a sign of good will. If Rochester really wants to treat Jane as an equal, he will have to hear what she has to say on the subject of anything that comes up - including, here, gender relations themselves. Jane dismisses typical assumptions made about the reasons why men should be considered superior to women.

Of course Rochester has seen more of the world than she has, Jane says - she would never, as a woman, be permitted to travel around the world by herself, and even if she could, her financial circumstances would prevent her. Independence, for Jane, is thus not necessarily only a personal character attribute: it is also a function of luck and circumstance, and it has little bearing on true moral equality. Page Number and Citation: 203 Cite this Quote Explanation and Analysis: Jane has been relegated to a corner of the room at the party, where she can observe all that is going on between Rochester and his guests. Jane feels alienated from the wealthy, privileged women at the event. But as she observes Rochester with them, she realizes that she does in fact feel a profound kinship with Rochester, so profound that she believes he belongs with her far more than with people of his own class and social strata. Jane's affinity with Rochester is not one of rational, detached judgment, in which similarities and differences, appropriate distinctions and parallels, might be carefully considered. Instead it is something she feels emotionally.

At the same time, Jane herself is careful to study and identify this blossoming feeling of love for Rochester; she doesn't get carried away by her feelings but rather respects their reality as she tries to figure out what it is that she feels, and what must be the result. Page Number and Citation: 216 Cite this Quote Explanation and Analysis: As a member of the servants, Jane is considered largely invisible by many of the guests to Thornfield, including Blanche Ingram, which gives her the opportunity to observe the woman and Rochester from a distance. Jane isn't certain why Rochester is going to marry Blanche. The reasons she imagines are vague and uncertain: this is too distant a reality for Jane for her be able to understand the motivations driving the upper classes. What she does know, however - and what surely is the one known factor that she can take solace in, now that she herself is in love with Rochester - is that he does not truly love Blanche, nor will he ever. Here Jane resigns herself to losing Rochester based on the social norms of upper-class marriage, but she does not resign herself to failing to win his heart.

Page Number and Citation: 338 Cite this Quote Explanation and Analysis: Finally, for the first time, Jane lays eyes on the source of all the strange happenings and mysterious sounds that have seemed to haunt Thornfield. But this first sight fails to substantially clarify the situation, or help Jane understand who this person is - even though she knows intellectually that it must be Bertha Mason, Rochester's legal wife. Bertha is described not in human but in animal terms. Indeed, it is the inability to describe her as a woman that locates the source of her insanity. Jane may have pressed at the borders of what is permitted and is not among women, especially of a particular social class, but she now witnesses someone who has thrown all those strictures out entirely. As Bertha fails to act as a proper woman, as a proper wife to her husband, the book has no way left to describe her other than by considering her non-human, making an analogy to the animal world. Page Number and Citation: 432 Cite this Quote Explanation and Analysis: As Jane and St. John speak of the latter's love for Rosamond, St. John grows surprised that Jane would presume to speak to him so frankly of such private matters.

St. John is not used to women speaking to him in such a manner: indeed, propriety and social custom make it nearly certain that very few women will broach such private topics with a man, even one with whom they are close. While Jane has acted somewhat ashamed of her propensity for frankness and openness before, here she wholeheartedly embraces this attitude, and in addition claims that there is little she can do about it: it is just part of her nature. Jane even claims a positive ethical status for such openness, arguing that convention can often mask what is real and true, while speaking frankly honors each person much more. Jane Eyre Research Papers Examine Emily Bronte's Novel Published first in the United Kingdom First person narrative on the main character, Jane Eyre Jane Eyre research papers note that in great literature, it is the rare character that isn’t more than what they seem. Such is the case of Charlotte Bronte’s, Bertha Mason in Jane Eyre. Created as the sexually exotic, mentally insane wife of Edward Fairfax Rochester, she is the doppelganger that hovers over Jane Eyre throughout the novel.

To Jane, who in the beginning had designs upon Rochester, the discovery of his quite living skeleton-in-the-closet (or crazy-wife-in-the-attic) is heartbreaking. In the novel, Bertha represents not only the literal insanity of the character, but the suppressed raw sexuality that Jane and Edward cannot bring themselves to express. Brontë depicts sexuality as an evil , an inhuman urge to be repressed else civility may be lost. However, it is Bertha’s very sensuality, and her insanity, which draw Jane and Edward together, and eventually, to God . Certainly, Bertha is mad. In fact, as Edward explains to Jane, “Bertha Mason is mad; and she came of a mad family; -- idiots and maniacs through three generations!”. But, as each member of her family is considered mad for a different reason, it is apparent that Bertha’s madness comes from her sensuality. Bertha represents three primal elements in the story. She is exotic and otherworldly, which is how Bronte expresses sexuality in the novel. She is a warning to Jane of what might become of her if she were to stay with Rochester.

Bertha is also the wild, all-powerful spirit of an angry woman. The setting of the opening scene of the novel is the drawing-room of the family the orphan Jane Eyre is staying with, the Reeds. The description of the drawing room and Jane's relationship with this setting establish Jane's situation throughout most of the novel. The setting is one of a typical family gathered together in the comfort of their home with Jane as a marginal character. Although Jane is related to the Reeds, her place in relation to the family is more like a governess. Jane actually holds the position of a governess in later settings in the novel. Jane's position is contrasted with the picture of a happy family in the comfort of their home. Mrs. Reed had "dispensed" Jane from joining the group. The reason Mrs. Reed has excluded Jane from "privileges intended only for contented, happy, little children" is because of something she had been told by Bessie, the children's nurse, about Jane's supposedly unpleasant disposition. Mrs. Reed does not even know just what the problem Bessie complained of was. Nonetheless, Mrs.

Reed thinks poorly of Jane until she might change her mind depending on what the nurse says when she gets the chance to talk with her about the matter. Rather than be saddened or angry by how she is being treated, Jane instead makes the best of it. Because Jane takes this prejudicial treatment in stride, the reader presumes that Jane must be used to it. Jane goes by herself into a small breakfast-room adjoining the drawing-room where the family is gathered. "I slipped in there," Jane says after she has been unfairly admonished by Mrs. Reed. This simple act described by Bronte in the opening setting reveals much about Jane, her place in the settings throughout the novel, and her relationship to other characters . Jane does not cut herself off from the other characters despite how rudely she is treated. Nor does she argue with Mrs. Reed. Instead she simply goes into an adjoining room. Furthermore, in this small breakfast-room, Jane finds something positive to do. She picks out one of the books she finds there, one that is "stored with pictures." Jane makes herself comfortable even in the restricted space she has found for herself.

"I mounted into the windowseat: gathered up my feet, I sat cross-legged, like a Turk." She pulls a "red moreen curtain" of the windowseat "nearly close" so that she "was shrined in double retirement." By shrining herself in "double retirement," Jane removes herself another step from the family in the next room. But she still does not cut herself entirely off from it. In thinking of herself "like a Turk," Jane implies that she has some feeling about herself as an outsider, a somewhat exotic outsider. To the Victorian English audience "Jane Eyre" was written for, Turks were seen as foreigners from the Middle East about whom little was know. In describing Jane as a Turk, Bronte connotes that she was seen as somewhat strange and foreign by the Reeds and other characters in the novel, and also that she felt that she was distant from the other characters and different from them. Related Research Paper Topics Symbolism in Jane Eyre - While books are written with specific intentions, often times there are more to the words on the page. Wuthering Heights - The novel, Wuthering Heights was written by Emily Bronte in 1845.

Following the success of her sister’s novel, Wuthering Heights was finally published in late 1847. Symbolism in Wuthering Heights - In Wuthering Heights, a 19th century love story, the story's locations serve as symbols for the story's themes of passion and repression. Female Protagonists - Female Protagonists research papers overview female leading characters in works of fiction such as The Hunger Games. Symbolism in Birdsong - Throughout the novel, Birdsong, by Sebastian Faulks, there are numerous symbols, something that is characteristic of his overall writing style. Roles of Women in The Yellow Wallpaper and A Sorrowful Woman - Roles of Women in The Yellow Wallpaper and A Sorrowful Woman Research Papers examine the state of mind that the two main characters are in during the story. Symbolism Rebecca - Daphne du Maurier's gothic novel Rebecca uses names as symbols of strength and weakness. Sexuality and “The Other” - Sexuality and “The Other” research papers explain how sex has been used as a mechanism or vehicle to create “the other” many times throughout history. Significance of Sexuality - This sociology research paper discussed the significance of sexuality.

Overview of Human Sexuality - Research paper on the overview of human sexuality. Sexual development, gender identity, and sexual orientation including homosexuality. Women's Sexuality and Body - Women's Sexuality and Body research papers examine how women's sexuality has been a great interest through the ages. Social Construction of Sexuality - Social Construction of Sexuality research papers examine the influence culture and society has on what defines sexuality. Sexuality and Desire in Gothic Novels - Sexuality and Desire in Gothic Novels Research Papers examine the gothic novel in literature and how sexuality and desire is used within the gothic theme. Victorian Literature research papers discuss the literature created during the 19th Century Victorian Era. How to Write a Research Paper on Jane Eyre This page is designed to show you how to write a research project on the topic you see to the left. Use our sample or order a custom written research paper from Paper Masters. Custom Research Papers - Custom written research papers on any topic you need starting at $23.95 per page. Custom Research Paper Services - Learn about all of Paper Masters' custom research paper and writing services. Your Research Paper Worries will end in Less Than 5 Minutes! Order a custom research paper on ANY topic.

Secure Online Ordering Jane Eyre - GWA 10th Grade Summer Reading GWA 10th Grade Summer Reading Watch the BBC movie version The following is a list of characters with whom you should be familiar: Rosamond Oliver Terms and definitions you need to know: Narrator- the one who tells the story. If the narrator is a character in the book, the term is first-person narration. (Example: Moby Dick is narrated by Ishmael, a crew member). If the narrator is not a character, the term is third-person narration. (Example: Sense and Sensibility). Sometimes, first-person narrative can vary. The author switches narrators to relate a personal experience, or occasionally breaks out of the narration to speak directly to the reader. Look for examples of both these variations in Jane Eyre. Third-person Narration- a manner of storytelling in which the narrator is not a character within the tale and is outside the plot. In a third-person narrative, all characters within the story are, therefore, referred to as he, she, or they; this does not prevent the narrator from using the fi rst person “I” or “we” in commenting on the events and their meaning.

Third-person narrative is the most common form of storytelling. Omniscient- a third-person narrative which allows the author to relate the thoughts and feelings of all the characters in a godlike manner. Example: Dickens’ A Christmas Carol. Limited omniscient- a third-person narrative which allows the author to tell the thoughts of only one character. Example: The Catcher in the Rye. Objective View- third-person narration in which the author is recording action from a neutral point of view. Example: Most nonfiction. Allusion- a reference to a person, place, poem, book, event, or movie outside of the story that the author expects the reader will recognize. Example: In The Glass Menagerie, Tom speaks of “Chamberlain’s umbrella,” a reference to the British Prime Minister Metaphor- A comparison of two things that are basically dissimilar in order to create a sharp picture. Example: The moon, a haunting lantern, shone through the clouds. Local Color- details and descriptions common to a certain place. Example: The Mississippi River, the people living around it, the way they talk, etc., in The Adventures of Huckleberry Finn. Simile- a comparison between two different things using either like or as.

Example: I am as hungry as a horse. Foil- a character whose qualities or actions usually serve to emphasize the actions or qualities of the main character, the protagonist, by providing a strong contrast. On occasion, the foil is used as a contrast to a character other than the main one. Foreshadowing- the use of hints or clues in a story to suggest what action is to come. Foreshadowing is used to create interest and build suspense. Personification- a figure of speech in which an object or animal is given human characteristics. Example: The pig laughed all the way to the barn. Symbol- an object, person, or place that has a meaning in itself and that also stands for something larger than itself, usually an idea or concept; some concrete thing which represents an abstraction.

Example: The sea could be symbolic for “the unknown;” since the sea is something which is physical and can be seen by the reader, but has elements which cannot be understood, it can be used symbolically to stand for the abstraction of “mystery,” “obscurity,” or “the unknown.” Romanticism- an 18th and 19th century literary movement that is frequently characterized by the following: a depiction of emotion and imagination a depiction of the beauties of nature settings that are in exotic or remote locations. Old castles or mansions frequently play a big role a hero or heroine who rebels against the social norms of his or her society. an intense interest in nature and its beauty and/or fierceness. an interest in the irrational realms of dreams, folk superstitions, legends, and ghosts. language and characters that are frequently marked by emotional intensity. Examples: Frankenstein, Wuthering Heights. A subgenra of romanticism is the Gothic novel or Gothic romance. These novels are characterized by the presence of superstitions, terror, and suspense. They are usually set in gloomy, old castles, houses, or monasteries.

Jane Eyre typifies the 19th century variety of Gothic novel and adds the element of the endangered heroine. The book includes the concept of a Byronic hero, which is defined as a self-tormented outcast, who is cynical and contemptuous of social norms and is also suffering from an unnamed or mysterious sin.

Question: Edward Fairfax Rochester is a character in which 19th century novel?
Answer: JANE EYRE