Quote 1
"What tale do you like best to hear?"
"Oh, I have not much choice! They generally run on the same theme —courtship; and promise to end in the same catastrophe—marriage."
"And do you like that monotonous theme?"
"Positively, I don’t care about it: it is nothing to me." (2.4.49-52)
You remember what’s going on here, right? Rochester, disguised as the old gypsy woman, is trying to get Jane to admit that she’s in love with him. (Go back and read the summary of Volume 2, Chapter 4 if you have no idea what we’re talking about.) The real question here is, do we believe Jane’s claim that marriage is "nothing" to her and that she doesn’t care about it? We already know that she’s in love with Rochester, but we also know that she thinks that relationship isn’t going anywhere.
Quote 2
"Come to my side, Jane, and let us explain and understand one another."
"I will never again come to your side: I am torn away now, and cannot return."
"But, Jane, I summon you as my wife: it is you only I intend to marry."
I was silent: I thought he mocked me.
"Come, Jane—come hither."
"Your bride stands between us."
He rose, and with a stride reached me.
"My bride is here," he said, again drawing me to him, "because my equal is here, and my likeness. Jane, will you marry me?" (2.8.80-87)
Fair warning: we could have picked almost any quote from Volume 2, Chapter 8 because it’s pretty much all like this. The irony is thick on the ground here—as Jane will learn at the end of Volume 2, Rochester’s bride does indeed stand between them, but it’s not Blanche Ingram! Notice that Rochester claims a woman could only qualify as his "bride" if she was also his "equal" and "likeness." He’s laying the groundwork for twisting this argument around later in the novel and claiming that a woman who isn’t his "likeness" can’t be his wife no matter what anyone (even the law) says.
Quote 3
"That is my wife," said he. "Such is the sole conjugal embrace I am ever to know—such are the endearments which are to solace my leisure hours! And this is what I wished to have" (laying his hand on my shoulder): "this young girl, who stands so grave and quiet at the mouth of hell, looking collectedly at the gambols of a demon. I wanted her just as a change after that fierce ragout. Wood and Briggs, look at the difference! Compare these clear eyes with the red balls yonder—this face with that mask—this form with that bulk; then judge me, priest of the Gospel and man of the law, and remember, with what judgement ye judge ye shall be judged!" (2.11.80)
Rochester has admitted that he was trying to commit bigamy, but the weird part is that we kind of sympathize with him. The contrast between Bertha, the wild and crazy vampire-ish woman, and plain little Jane, the "Quakerish governess," really makes us understand what Rochester is saying: Bertha’s really not playing the role of a wife in his life, so why shouldn’t he be allowed to marry Jane, especially because she’s so awesome? Then we stop for a minute and think, whoa, we’re not exactly on board with this, because it’s not really fair to Jane. But we do feel bad for the guy.
Quote 4
"Oh, don’t fall back on over-modesty! I have examined Adèle, and find you have taken great pains with her: she is not bright, she has no talents; yet in a short time she has made much improvement."
"Sir, you have given me my 'cadeau'; I am obliged to you: it is the meed teachers most covet; praise of their pupils' progress." (1.13.30-31)
This little moment where Rochester tells Jane she’s a good teacher is important, because Jane never tells us so herself. It’s one of the things she forgets to mention, or maybe leaves out—her modesty is getting in the way of telling her own story. It won’t be the last time that Jane can’t be trusted to depict herself accurately.
Quote 5
"You are my little friend, are you not?"
"I like to serve you, sir, and to obey you in all that is right." (2.5.138-139)
You can’t forget that, whatever else is going on between Jane and Rochester, they’re never really equals. One of their first big conversations is an argument about whether Jane is going to let Rochester order her around and why she should, and he only wins the argument because she helps him.
And remember: Jane likes to call Mr. Rochester her "master." Yeah, it’s a little weird, but Jane, like Kate at the end of The Taming of the Shrew, knows that you can actually be in charge by seeming like you’re not in charge. If you’re really good at that kind of thing.
Quote 6
"No wonder you have rather the look of another world. I marvelled where you had got that sort of face. When you came upon me in Hay Lane last night, I thought unaccountably of fairy tales, and had half a mind to demand whether you had bewitched my horse: I am not sure yet. Who are your parents?"
"I have none."
"Nor ever had, I suppose: do you remember them?"
"No."
"I thought not. And so you were waiting for your people when you sat on that stile?
"For whom, sir?"
"For the men in green: it was a proper moonlight evening for them. Did I break through one of your rings, that you spread that damned ice on the causeway?"
I shook my head. "The men in green all forsook England a hundred years ago," said I, speaking as seriously as he had done. "And not even in Hay Lane or the fields about it could you find a trace of them. I don’t think either summer or harvest, or winter moon, will ever shine on their revels more." (1.13.40-47)
At Jane’s second meeting with Rochester, he accuses her, playfully, of being a fairy or a sprite who enchanted his horse and caused the accident in which he sprained his ankle. Jane isn’t about to be outdone and banters with him readily and quick-wittedly, seeming to take fairy tales as seriously as he himself is pretending to do.
Although Jane’s unearthly fairy qualities are mostly a joke here, there is definitely something strange and uncanny about her quiet demeanor, plain dress, and strong personality. Rochester has met his match—and she is a little bit eerie.
Quote 7
"Nature meant me to be, on the whole, a good man, Miss Eyre: one of the better end; and you see I am not so. […] Then take my word for it,—I am not a villain: you are not to suppose that—not to attribute to me any such bad eminence; but, owing, I verily believe, rather to circumstances than to my natural bent, I am a trite common-place sinner, hackneyed in all the poor petty dissipations with which the rich and worthless try to put on life." (1.14.61)
Before Jane even really knows Rochester, he’s claiming he’s really not that bad a guy. We think the gentleman doth protest too much.
Quote 8
"Dread remorse when you are tempted to err, Miss Eyre: remorse is the poison of life."
"Repentance is said to be its cure, sir."
"It is not its cure. Reformation may be its cure; and I could reform—I have strength yet for that—if—but where is the use of thinking of it, hampered, burdened, cursed as I am? Besides, since happiness is irrevocably denied me, I have a right to get pleasure out of life: and I will get it, cost what it may." (1.14.63-65)
The difference between "repentance" and "reform" is important here. Jane thinks it’s enough to repent —to feel bad for what you’ve done. Rochester thinks that’s not enough and that you actually need to reform—to actively change your ways. We’ll be watching through the rest of the novel to figure out which of them the text supports.
Quote 9
"You seem to doubt me; I don’t doubt myself: I know what my aim is, what my motives are; and at this moment I pass a law, unalterable as that of the Medes and Persians, that both are right."
"They cannot be, sir, if they require a new statute to legalize them."
"They are, Miss Eyre, though they absolutely require a new statute: unheard-of combinations of circumstances demand unheard-of rules."
"That sounds a dangerous maxim, sir; because one can see at once that it is liable to abuse." (1.14.83-86)
The rules say Rochester is doing something wrong, so he’s out to change the rules. We don’t know what the thing is that he wants to get away with, but we’re suspicious already.
Quote 10
"I see genuine contentment in your gait and mien, your eye and face, when you are helping me and pleasing me—working for me, and with me, in, as you characteristically say, 'all that is right:' for if I bid you do what you thought wrong, there would be no light-footed running, no neat-handed alacrity, no lively glance and animated complexion. My friend would then turn to me, quiet and pale, and would say, 'No, sir; that is impossible: I cannot do it, because it is wrong;' and would become immutable as a fixed star. Well, you too have power over me, and may injure me: yet I dare not show you where I am vulnerable, lest, faithful and friendly as you are, you should transfix me at once." (2.5.140)
Later in the novel, Rochester’s going to do his best to convince Jane to do something that she thinks is wrong, but notice that at this much earlier stage he already knows she’s not the kind of person who can be convinced of something she disagrees with. Also, this passage suggests that, even though Jane kind of gets a kick out of being Rochester’s servant, she won’t obey just any order.
Quote 11
"[S]uppose you were no longer a girl well reared and disciplined, but a wild boy indulged from childhood upwards; imagine yourself in a remote foreign land; conceive that you there commit a capital error, no matter of what nature or from what motives, but one whose consequences must follow you through life and taint all your existence. Mind, I don’t say a crime; I am not speaking of shedding of blood or any other guilty act, which might make the perpetrator amenable to the law: my word is error. The results of what you have done become in time to you utterly insupportable; you take measures to obtain relief: unusual measures, but neither unlawful nor culpable. Still you are miserable; for hope has quitted you on the very confines of life: your sun at noon darkens in an eclipse, which you feel will not leave it till the time of setting. Bitter and base associations have become the sole food of your memory: you wander here and there, seeking rest in exile: happiness in pleasure—I mean in heartless, sensual pleasure—such as dulls intellect and blights feeling. Heart-weary and soul-withered, you come home after years of voluntary banishment: you make a new acquaintance—how or where no matter: you find in this stranger much of the good and bright qualities which you have sought for twenty years, and never before encountered; and they are all fresh, healthy, without soil and without taint. Such society revives, regenerates: you feel better days come back—higher wishes, purer feelings; you desire to recommence your life, and to spend what remains to you of days in a way more worthy of an immortal being. To attain this end, are you justified in overleaping an obstacle of custom—a mere conventional impediment which neither your conscience sanctifies nor your judgment approves?" (2.5.148)
No matter how long and sad the story is, we can tell that Rochester’s trying to trick us into saying "yes," and so can Jane. When we find out that what he’s calling a "mere conventional impediment" is the law against bigamy, well, the trick’s just a lot more obvious then. Still, his story does inspire a lot of sympathy.
Quote 12
"Now for the hitch in Jane’s character," he said at last, speaking more calmly than from his look I had expected him to speak. "The reel of silk has run smoothly enough so far; but I always knew there would come a knot and a puzzle: here it is. Now for vexation, and exasperation, and endless trouble! By God! I long to exert a fraction of Samson’s strength, and break the entanglement like tow!" (3.1.38)
Rochester sure gets compared to Samson a lot—you’ll really have to check out that reference in the "Allusions" section. And, as usual, Rochester is shuffling around names and labels for things in order to try to change our attitudes toward them—that "hitch in Jane’s character" is actually her morality.
Quote 13
He chuckled; he rubbed his hands. "Oh, it is rich to see and hear her?" he exclaimed. "Is she original? Is she piquant? I would not exchange this one little English girl for the Grand Turk’s whole seraglio, gazelle-eyes, houri forms, and all!"
The Eastern allusion bit me again. "I’ll not stand you an inch in the stead of a seraglio," I said; "so don’t consider me an equivalent for one. If you have a fancy for anything in that line, away with you, sir, to the bazaars of Stamboul without delay, and lay out in extensive slave-purchases some of that spare cash you seem at a loss to spend satisfactorily here."
"And what will you do, Janet, while I am bargaining for so many tons of flesh and such an assortment of black eyes?"
"I’ll be preparing myself to go out as a missionary to preach liberty to them that are enslaved—your harem inmates amongst the rest. I’ll get admitted there, and I’ll stir up mutiny; and you, three-tailed bashaw as you are, sir, shall in a trice find yourself fettered amongst our hands: nor will I, for one, consent to cut your bonds till you have signed a charter, the most liberal that despot ever yet conferred." (2.9.129-132)
It’s lucky that Rochester thinks Jane is just as good as a whole seraglio (like a harem), because apparently he’s a "serial monogamist"; we know he’s had at least four sexual partners—Bertha, Céline, Giacinta, and Clara—and probably others, too, and that he was aiming at bigamy this time.
So, even though he relies on oriental stereotypes to talk about his own horniness, Rochester the English gentleman is the real consumer of "tons of flesh." Notice Jane’s suggestion that she could be an insurrectionary missionary—maybe there’s some foreshadowing there? Eh? Eh?
Quote 14
"These were vile discoveries; but except for the treachery of concealment, I should have made them no subject of reproach to my wife, even when I found her nature wholly alien to mine, her tastes obnoxious to me, her cast of mind common, low, narrow, and singularly incapable of being led to anything higher, expanded to anything larger—when I found that I could not pass a single evening, nor even a single hour of the day with her in comfort; that kindly conversation could not be sustained between us, because whatever topic I started, immediately received from her a turn at once coarse and trite, perverse and imbecile—when I perceived that I should never have a quiet or settled household, because no servant would bear the continued outbreaks of her violent and unreasonable temper, or the vexations of her absurd, contradictory, exacting orders—even then I restrained myself: I eschewed upbraiding, I curtailed remonstrance; I tried to devour my repentance and disgust in secret; I repressed the deep antipathy I felt." (3.1.68)
At several points Rochester seems to admit, subtly, that the real reason his marriage to Bertha failed is "irreconcilable differences": they just didn’t get along. If you took this passage and substituted the word "niece" for "wife," it could easily express Mrs. Reed’s attitude toward Jane when she was a child. At Gateshead, Jane was the "heterogeneous thing," the one thing that’s not like the others; in Bertha and Rochester’s marriage, Bertha is in the same sort of othered position.
Quote 15
"One night I had been awakened by her yells—(since the medical men had pronounced her mad, she had, of course, been shut up)—it was a fiery West Indian night; one of the description that frequently precede the hurricanes of those climates. Being unable to sleep in bed, I got up and opened the window. The air was like sulphur-steams —I could find no refreshment anywhere. Mosquitoes came buzzing in and hummed sullenly round the room; the sea, which I could hear from thence, rumbled dull like an earthquake—black clouds were casting up over it; the moon was setting in the waves, broad and red, like a hot cannon-ball—she threw her last bloody glance over a world quivering with the ferment of tempest. I was physically influenced by the atmosphere and scene, and my ears were filled with the curses the maniac still shrieked out; wherein she momentarily mingled my name with such a tone of demon-hate, with such language!—no professed harlot ever had a fouler vocabulary than she: though two rooms off, I heard every word—the thin partitions of the West India house opposing but slight obstruction to her wolfish cries." (3.1.75)
Aww, poor Rochester. He goes to Jamaica to get in on the whole colonial-exploitation thing, marries a woman to get rich, and he doesn’t like her and she has mental problems. Now he has to deal with hot weather and mosquitoes and that pesky Bertha screaming and screaming at night because he’s imprisoned her in their house. These British colonies sure are a hellish experience... for the overlords using them to get rich quick.
Quote 16
"This parlour is not his sphere," I reflected: "the Himalayan ridge or Caffre bush, even the plague-cursed Guinea Coast swamp would suit him better. Well may he eschew the calm of domestic life; it is not his element: there his faculties stagnate—they cannot develop or appear to advantage. It is in scenes of strife and danger—where courage is proved, and energy exercised, and fortitude tasked—that he will speak and move, the leader and superior. A merry child would have the advantage of him on this hearth. He is right to choose a missionary’s career—I see it now." (3.8.31)
Rochester used a British colonial outpost (Jamaica) as a get-rich-quick scheme. St. John, on the other hand, is planning to use a British colonial outpost (India) as a sort of adventure playground. Ah, the many different kinds of exploitation!