A Critique of Devotion

The Analysis of A Critique
Molly Ackerman

Although this article does not directly address the use of devotion in Charlotte Bronte’s Jane Eyre, it does elaborate on a character with whom Jane is related and devoted to. Elizabeth Gregory connects the character, Rochester, to a Byronic hero, which Bronte was noted to have an incredible interest in during the time in which she wrote Jane Eyre. What is capturing about that fact is that her fascination with Byron, and the characterization of a hero of that sort, says something about attraction and devotion itself in Jane Eyre. A Byronic hero is a physically unattractive, often promiscuous, unorganized and uncontained character; it is a character that one should not sensibly be devoted to, and positively not be obsessed over. However, Bronte transferred her love of that sort of hero, to the character Jane Eyre, to exemplify her own feelings on devotion. I classified the devotion in Jane Eyre as conflicting, and, as stated in the article, a Byronic hero very much conflicts with the role of an ideal male “prince charming” or typical hero.
This article suggests two things: Rochester is the Byronic hero and Jane is the (Charlotte Bronte-like) character who is drawn, attracted to, and devoted to him. It is suggested that their attraction was inevitable, that with all of the twists and turns and deviations that Bronte inserted, the protagonist would have doubtlessly ended up with the Byronic hero in the end. Bronte even provided St. John, a completely contrasting and counterproductive character. However, her intentions with St. John were interesting; to most readers, including myself, he stood as a representation of obligation. He was resistant to passion. However, this article very discretely suggests that Bronte made him a significant character to emphasize the power of devotion to the Byronic character, and to prove that the most opposite, and perfect character could not permanently draw Jane in any other direction.
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Mr Rochester: Byronic Hero
Elizabeth Gregory

Influence of Byron
Byron first introduced this type of character in his epic poem Childe Harold’s Pilgrimage, published from 1812 – 1818, and continued to depict such individuals throughout his later work. We know that Bronte was much influenced by Byron’s poetry; indeed, Jane Eyre, published in 1847, even makes reference to one of his works, The Corsair.
Many readers of Jane Eyre over the years have been fascinated by Rochester, as he is not the type of love interest normally found in a romantic novel. He is rude, difficult, and far from handsome. However, Jane Eyre is no ordinary romance, and it seems in keeping with the novel’s gothic atmosphere that its hero should be decidedly Byronic.

Qualities of the Byronic Hero
So what exactly makes a hero Byronic? First of all, he is prone to moodiness. Rochester is often snappy or terse with Jane, but is also capable of shows of great affection and physical tenderness: “He kissed me repeatedly” (chapter 23). This passionate side to the Byronic hero’s nature means that he may have strayed sexually in the past, and slept with a number of women. This certainly seems true of Rochester: young Adele is “the daughter of a French opera-dancer, Céline Varens, towards whom he had once cherished what he called a ‘grande passion’” (chapter 15).

A Dark Secret
As well as these indiscretions, Rochester’s past also hides a much darker secret: the existence of a mad wife he married purely for her looks, and who now lives in the attic of Thornfield. The Byronic hero is usually widely travelled, and has often got into trouble whilst on one of these journeys: again, this reflects Rochester’s experience in Jamaica. Much as we may criticise Rochester for keeping such a secret, he does undeniably fall genuinely in love with Jane, demonstrating another Byronic trait: complete disregard for social rank. Rochester cares nothing of what people will think when he marries a former governess: “‘You—poor and obscure, and small and plain as you are—I entreat to accept me as a husband’” (chapter 23).

Physical Appearance
Rochester is certainly not possessed of traditional good looks: “with his broad and jetty eyebrows; his square forehead, made squarer by the horizontal sweep of his black hair. I recognised his decisive nose, more remarkable for character than beauty; his full nostrils, denoting, I thought, choler; his grim mouth, chin, and jaw—yes, all three were very grim, and no mistake. His shape, now divested of cloak, I perceived harmonised in squareness with his physiognomy” (chapter 13). Yet he has an immense charisma: people are drawn to him despite the fact that he is, by nature, something of a social outcast. He seems ill at ease when hosting the Ingram party, and for many readers the most memorable scenes of the novel are those where Rochester seems most comfortable: talking alone with Jane by the fireside. Whilst some may prefer the more civilised charms of Mr Darcy, for many Mr Rochester remains the ultimate hero, perhaps because of his difficult nature rather than despite it.