The Implications of Marriage in Jane Eyre and Wuthering Heights

To you I am neither man nor woman. I come before you as an author only. It is the sole
standard by which you have a right to judge me the sole ground on which I accept your
judgment.
- Charlotte Bronte, to a critic
During the ictorian era, it !as generally accepted that a !oman"s place !as in
the home and she !as usually regarded as ha#ing little, if any, academic potential$ Thus,
!hen Charlotte Bronte spo%e to her critic, she demanded that he &udge her !or% solely on
its merit and not on the fact that a !oman authored it$ Mary Wollstonecraft lea#es no
dou't a'out the limited opportunities a#aila'le to !omen during this time$ (he states that
!omen ac)uired, *a smattering of accomplishments+ mean!hile strength of 'ody and
mind are sacrificed to li'ertine notions of 'eauty, to the desire of esta'lishing themsel#es,
--the only !ay !omen can rise in the !orld, --'y marriage, -./01$ While a married
!oman might 'e a'le to claim a certain *success,, it !as a success completely dependent
upon the fortunes of the man to !hom she found herself attached$ The su'ser#ience that
Wollstonecraft found so unaccepta'le !as no less satisfactory to Emily and Charlotte
Bronte, !ho !ere also opposed, though less pu'licly, to this su'ser#ient #ie! of !omen$
E#en if it !as not unthin%a'le for a !oman to rise to a position of po!er, societal rules
changed !hen matrimony entered the e)uation$ 2lthough it !as commonly 'elie#ed that
in a marriage the man should 'e strong and authoritati#e and the !oman should 'e mee%
and su'missi#e, the Bronte"s refute this 'elief$ Instead, Wuthering Heights and Jane
Eyre sho! that marriages should not and need not 'e male dominated$ Through the
cle#er re#ersal of gender roles, Emily and Charlotte redefine the institution of marriage$
2lthough, in a romantic or marital relationship, it is commonplace for the male to
'e portrayed as forceful, Emily Bronte gi#es endo!s the delicate and graceful Catherine
Earnsha! !ith this characteristic$ Catherine is descri'ed as a lo#ely girl !ith, *long light
hair curled slightly on the temple, eyes 3that4 !ere large and serious 3and a4 figure almost
too graceful, -E$ Bronte$ 5.1$ Heathcliff is *a dirty, ragged, 'lac%-haired child, -671
!hose origins are un%no!n$ 2lthough these physical suggestions suggest stereotypical
male and female characters, Catherine is something of a tom'oy$ 8elly Dean descri'es
her as a *!ild, hatless little sa#age, -0/1$ When Catherine"s father lea#es for a &ourney,
he as%s each of his children !hat they !ould li%e as a present$ With the only stipulation
'eing that it must 'e something Mr$ Earnsha! can carry si9ty miles on foot, *Miss Cathy
: she !as hardly si9 years old;chose a !hip, -6<1$ This seems a rather unusual re)uest
for a young girl, 'ut the !hip !ill e#entually come to sym'oli=e her influence o#er
Heathcliff and *her yearning for po!er, ->il'ert, 6?01$ @nfortunately, it is this same
yearning for po!er that !ill cause Catherine to discard Heathcliff for a man !ith higher
social standing$
2ge does not alter Catherine"s disposition and she 'ecomes a *high-spirited and
independent !oman, -6071$ These dominating characteristics are )uite uncommon in a
!oman during a time !hen *gentleness, docility, and a spaniel-li%e affection are;
recommended as the cardinal #irtues of the se9, -Wollstonecraft, ..?1$ Con#ersely,
Heathcliff, although masculine in e#ery physical aspect, demonstrates se#eral feminine
)ualities such as sul%ing, touchiness, and the e9hi'ition of intense emotions$ Apposites
attract, though, and Catherine and Heathcliff spend their childhood romping together on
the moors in happiness and freedom$ They are so attached that the !orst punishment
Catherine e#er endures is 'eing separated from him$
2s an adult, Catherine must choose 'et!een her de'asing, 'ut deep, lo#e for
Heathcliff and her ad#antageous, 'ut shallo!, lo#e for Edgar Binton$ In choosing
'et!een them, Catherine is also ma%ing the unconscious choice to remain *a !ild,
!ic%ed slip, -E$ Bronte, C61 or to *'e entirely su'&ected to the superior faculties of men,
-Wollstonecraft, ../1$ Marriage to Heathcliff !ill allo! Catherine to remain strong-
!illed and independent !hile marriage to Edgar !ill force her to 'ecome domesticated$
@nli%e Heathcliff !ho !as raised as little 'etter than a field hand, Edgar has not 'een
'rought up in a tumultuous and #iolent en#ironment$ He e9pects that once he marries
Catherine, she !ill settle do!n to the life of a respecta'le house!ife, a concept that is
utterly foreign to her$ If she chooses to marry Edgar, she !ill also ha#e to re&ect her
*strong articulation of an indi#idual self, -Denner, .C.1 in e9change for a life of
su'ser#ience$
Bronte"s representation of Catherine to this point can only ser#e to illustrate that
her marriage to Edgar !ill 'e a #iolation of her true nature$ This nature consists of the
life of freedom and independence that she e9perienced as a child, )ualities that are almost
completely un%no!n to !omen of this time period$ Her greatest desire is to !ander
unconcernedly through the moors !ith her 'elo#ed Heathcliff$ Ho!e#er, Catherine
chooses to marry Edgar 'ecause it !ould *degrade 3her4 to marry Heathcliff, -E$ Bronte,
?61$ This is not simply 'ecause her 'rother, Hindley, has 'rought him so lo!, 'ut also
'ecause Heathcliff has no money$ Edgar has plenty of money, though, and Catherine
considers his !ealth as one of the main reasons for marrying him$ (he candidly confides
to 8elly that, *he !ill 'e rich, and I shall li%e to 'e the greatest !oman of the
neigh'orhood, and I shall 'e proud of ha#ing such a hus'and, -?/1$ 2lthough she claims
that she lo#es Edgar, she admits that *my lo#e for Binton is li%e the foliage in the !oods$
Time !ill change it, I"m !ell a!are, as the !inter changes the trees$ My lo#e for
Heathcliff resem'les the eternal roc%s 'eneath, -?01$ Despite this admission, Catherine
decides that marriage to Edgar !ill 'e more to her 'enefit$ (he has fallen into the trap
detested 'y Mary Wollstonecraft, !ho once made the claim that, *Eiches and hereditary
honors ha#e made cyphers of !omen, -./71$ In this instance, Catherine is certainly an
e9ample of this statement$ Instead of e9ercising her right to marry !home#er she
pleases, she chooses to conform to the 'elief that !omen should marry in order to
increase their station and not 'ecause of affection$ Her concern that she !ill 'e a poor
!oman unless she marries Edgar, and Edgar"s money, con#inces her to deny her lo#e for
Heathcliff$
Catherine"s choice to marry Edgar, and thus gi#e up her independence 'y
'eha#ing li%e a *lady,, leads to her ultimate demise for *she herself is an unfeminine
instance of transcendently #ital spirit -- for she is ne#er docile, ne#er su'missi#e, ne#er
ladyli%e, ->il'ert, 6?51$ In her decision to marry Edgar, Catherine is %no!ingly going
against her personality and desire$ This is the pi#otal point in the no#el for Catherine--
the point at !hich she discards her independence and attempts to con#ince herself that
she !as meant for domesticity$ More critics than &ust >il'ert and >u'ar ha#e commented
on Catherine"s choice$ 2nother critic suggests that Emily Bronte is *trying to
demonstrate !hat happens !hen you 'etray your heart for the superficial considerations
of interest and position, -(te#enson, </1$ 2lthough (te#enson !rites this !ith e#ident
disdain, marrying for interest and position !as the rule rather than the e9ception for
!omen during the ictorian era$ By resol#ing to 'eha#e as most ictorian !omen !ere
e9pected to act, Catherine *sacrifices herself and her lo#er to the pitiful am'ition of
'ecoming the !ife of a gentleman of station, -2tlas, C1$ Here, Bronte suggests that the
unfortunate outcomes of the ma&or characters can 'e traced to Catherine"s denial of her
o!n nature$ Heathcliff degenerates to nothing more than a, *fierce, pitiless, !olfish man,
-E$ Bronte, </1, and Catherine flutters restlessly a'out her ne! home li%e a caged 'ird$
When Catherine decides to forsa%e Heathcliff for Edgar, the only reason her
controlling, *unfeminine, nature is so easily repressed is 'ecause of Heathcliff"s a'sence$
It )uic%ly resurfaces !ith Heathcliff"s return$ (te#enson e#en notes that, *it is no
accident that Catherine actually marries Edgar !hile Heathcliff is a!ay, or that, upon his
return, she percei#es herself to 'e the !ife of a stranger+ an e9ile, and outcast, -FF1$ Her
true nature reappears !ith the return of Heathcliff, 'ut it is impossi'le for her to 'rea%
free of her fetters$ Catherine"s choice to marry Edgar illustrates, *!hat 'eing a !oman
means, and 3the4 tragedy of 'eing caught 'et!een socially incompati'le structures,
-(toneman, .0F1$ The docility, su'missi#eness and lady-li%e )ualities she has donned li%e
a cloa% for Edgar"s sa%e are consumed 'y her true and unyielding passion for Heathcliff$
Catherine, *chooses !hom she !ill lo#e, and !hen, and ho!, -(te#enson, F61$ The lo#e
she claimed to ha#e for Edgar is )uic%ly e9tinguished 'y her undying lo#e for Heathcliff$
@nfortunately, Catherine cannot act on her true lo#e for Heathcliff, and her choice to
*dream her life a!ay in the lap of pleasure;rather than assert 3her4 claim to pursue
reasona'le pleasures, -Wollstonecraft, ..C1 is )uic%ly regretted$ E#entually, her internal
struggle 'ecomes too much for her constitution, !hich is already !ea%ened 'y
pregnancy$ This inner conflict comes to a clima9 after a confrontation 'et!een Edgar
and Heathcliff$ Catherine, e9hausted trying to defend one from the other, confines herself
to the room !here she !ill e#entually die, 'ut not 'efore she 'erates Edgar for ha#ing
ice-!ater for 'lood !hile her 'lood 'oils$ This is a comment on Catherine"s passionate
nature #ersus Edgar"s impassi#e nature$ This e9presses their t!o conflicting dispositions
and the essence of !hat Catherine !ill ponder during her confinement$
Trapped 'y the hindrances of a hierarchical marriage that represses her passion
and desire for control, the room to !hich she retires 'ecomes 'oth her physical and
mental prison$ Here, !hile !orrying herself into a fit of sic%ness, she repents of her
rec%less marriage to Edgar and !ishes she *!ere a girl again, half sa#age, and hardy, and
free, -E$ Bronte, 7F1$ This !ish sym'oli=es her desire to 'e high-spirited and strong
!illed once more, rather than forcing herself to 'e the prim and proper !ife of Edgar
Binton$ If she could return to her girlhood, she could return to Heathcliff and their
carefree ram'les on the moor$ *I"m sure I should 'e myself,, she asserts, * !ere I once
among the heather on those hills, -7F1$ Catherine has finally disco#ered that she lost
herself !hen she repressed her nature and married Edgar$ When she claims that she !ill
'e herself, she does not merely mean that she !ill regain her health and #itality$ The hills
signify her freedom, the freedom that she had !ith Heathcliff and the freedom that she
lost !hen she married Edgar$
Heathcliff, crushed 'y the state in !hich he finds his 'elo#ed Catherine, seconds
her desire for freedom !hen he claims that he !ants *the true Catherine, free as the
moors, to 'e happy a!ay from the restraints of Thrushcross >range, -Winnifrith, 5F1$
Heathcliff o'ser#es that her marriage to Edgar is !hat has caused Catherine"s illness$
The restraints of the >range ha#e suppressed her unyielding nature$ If she could return to
those moors and hills, she !ould 'e her true self$ (he !ould 'e Heathcliff"s Catherine
Earnsha!, not Edgar"s Catherine Binton$ (he relates that she is ir%ed 'y her *shattered
prison 3and4 !earying to escape into that glorious !orld, -E$ Bronte, .601$ The
*shattered prison, is her 'oth her 'ody and her lo#eless marriage to Edgar and the
*glorious !orld, signifies 'oth death and her pre#ious &oyful e9istence !ith Heathcliff$
Gor Catherine, *trapped in the distorting mirrors of patriarchy, the &ourney into death is
the only !ay out, ->il'ert, 6<01$ Emily Bronte is attempting to ma%e a statement a'out
the plight of !omen$ The con#entions and e9pectations of society !ere their prisons, &ust
as Catherine"s freedom-stifling marriage is her prison$ nli!e Catherine, !ho !illingly
enters into a lo#eless and hierarchical marriage, !omen of Bronte"s time !ere not left
!ith a choice$
Dossi'ly of 'ecause its repression, Catherine"s deeply passionate nature 'ecomes
stronger to!ards the end of her life$ (he entreats 8elly to open the !indo! so that she
can feel the !ind tra#elling up from her old home, the home !here she %ne! so much
satisfaction and independence !ith her true lo#e$ (he reaches out into the night,
searching for her freedom, her Heathcliff, her life, 'ut the entrance of her hus'and th!arts
it$ Edgar is horrified 'y his darling"s haggard appearance and hastens to comfort her, 'ut
her only reply to his soothing is to say, *I don"t !ant you, Edgar+ I"m past !anting you,
-E$ Bronte, 771$ 2ll she !ants no! is !hat she once had as a girl at Wuthering Heights$
(he !ants to 'e free to e9perience the passions of life in her old, enthusiastic !ay$ (he
does not !ish to 'e su'dued 'y the con#entions of society and her marriage$ Her,
*female nature has risen, it seems, in a storm of protest, ->il'ert, 6?61$ @nfortunately,
this is only the final peal of thunder in a fleeting rainstorm$ (he, and her protests, !ill die
as she 'ears the child of a man she finally reali=es she does not lo#e$ Through
Catherine"s misfortunes and her, *self-imprisonment in the role of Mrs$ Binton, the lady
of Thrushcross >range, -6F<1, Bronte is trying to e9press the necessity for !omen to
re&ect male dominated marriages$ 8ote that >il'ert specifies *self-imprisonment$, 8o
one forces Catherine into her marriage !ith Edgar$ E#en reali=ing that her lo#e for Edgar
is shallo! and that her lo#e for Heathcliff is eternal, she chooses to marry money and
station o#er lo#e$ Though it is unli%ely that e#ery male-dominated marriage ended li%e
Catherine"s, ictorian !omen !ere li%ely to feel imprisoned !hen they restricted their
highest am'itions to marriage
Catherine"s choice to deny her essential nature affects not only herself, 'ut also
Heathcliff$ (he has unfortunately accepted the offer of higher social station in a male
dominated marriage and her, *fall into ladyhood has 'een accompanied 'y Heathcliff"s
reduction to an e)ui#alent position of female po!erlessness, ->il'ert, 6FF1$ 2lone,
alienated, and separated from *his soul,, Heathcliff degenerates into an emotional time
'om', prone to !ild out'ursts and lamentations$ These characteristics are in direct
opposition to his appearance, &ust as Cathy"s girlish figure and !omanly 'eauty conceal
her masculine traits$ An Heathcliff"s return to Wuthering Heights, 8elly descri'es him as
a *tall, athletic, !ell-formed man;his upright carriage suggested the idea of his ha#ing
'een in the army, -E$ Bronte, F51$ Ho!e#er, despite these openly male attri'utes, !e
!ould 'e *misled 3if !e 'elie#ed4 that the rougher, dar%er Heathcliff incarnates
masculinity, ->il'ert, 6</1$ 8ot!ithstanding this out!ard rugged appearance of
masculinity, Heathcliff e#inces an emotionality that !ould put most !omen to shame$
Through his reaction to Catherine"s marriage and death !e see that, *Catherine has a
po!er o#er;Heathcliff that no one else en&oys, -(te#enson, ?01$
Heathcliff"s unsta'le emotional state is directly related to the e#ents of
Catherine"s repressi#e marriage and e#entual demise$ When he hears of her death, he
'emoans his lonely state, saying, *'e !ith me al!ays-ta%e any form-dri#e me madH Anly
do not lea#e me in this a'yss, !here I cannot find you;I cannot li#e !ithout my lifeH I
cannot li#e !ithout my soul, -E$ Bronte, .671$ This *'eing of stormy passions,
-Britannia, C/?1, as another re#ie!er defines Heathcliff, demonstrates an irrationality that
!ould ha#e em'arrassed e#en the most unreasona'le of !omen$ He also goes on to dash
*his head against the %notted trun%+ and lifting up his eyes, ho!led, not li%e a man, -E$
Bronte, .671$ ictorian men sho!ed anger, certainly, and possi'ly e#en cried, 'ut such an
e9plosion as Heathcliff"s !ould ha#e 'een regarded as !ea% and unmanly$ In this
moment of e9cessi#e 'erea#ement, Heathcliff sho!s his limitless selfishness$ He does
not ta%e comfort in hearing that Catherine died peacefully, nor can he find solace in the
fact that Catherine has gone to a 'etter place, or e#en that she has escaped !hat
Heathcliff !ould pro'a'ly consider the tyranny of Edgar"s household$ Instead, he can
thin% only of himself and the loneliness that he no! faces$ He melodramatically claims
that it is impossi'le to li#e !ithout Catherine 'ecause she is his essence, his 'eing;his
soul$
Heathcliff"s female )ualities do not end !ith this episode$ He also encompasses
an e#en less desira'le trait that is also presuma'ly uni)ue to !omen$ Because Heathcliff
has al!ays 'een su'ordinate, !hether to Hindley or Edgar, he feels he must 'e de#ious
and manipulati#e in order to accomplish anything$ His inferiority *gi#es 'irth to
cunning+ the natural opponent of strength, -Wollstonecraft, ./01$ We see e#idence of this
as soon as he returns to Wuthering Heights$ His desire to !rea% #engeance upon Edgar is
immediately apparent$ Ho!e#er, instead of trying to ta%e control of the Thrushcross
>range 'y force, he de#ises a manipulati#e plan that !ill ensure his e#entual re#enge$
This t!isted attempt at retri'ution in#ol#es yet another male-dominated and disastrous
marriage$
When Catherine is relating Isa'ella"s unfortunate infatuation !ith Heathcliff, the
latter in)uires, *(he"s her 'rother"s heir, is she not, -E$ Bronte, <C1$ 2lthough Catherine
as%s Heathcliff not to thin% of it, saying that her yet un'orn sons !ill alle#iate that
inheritance, 8elly remem'ers that Heathcliff *recalled it often in the course of the
e#ening+ I sa! him smile to himself, -<C1$ Because Edgar has ta%en the only person
Heathcliff truly lo#es, Heathcliff is de#ising a plan to ro' him of his sister and his land$
There is little dou't of his plan !hen *Heathcliff comes 'ac%, and in re#enge !oos
Isa'ella, -E!'an%, .C01$ Isa'ella, naI#e in her innocence, runs a!ay !ith Heathcliff,
disregarding Edgar"s ad#ice$
When Heathcliff marries to Isa'ella, it is not out of lo#e, 'ut out of the de#ious
desire to control Thrushcross >range should Catherine not produce a male heir$ He
marries Isa'ella only *!ith the intention of depri#ing his spouse of her inheritance,
-Gorum, 6/1$ This openly hierarchical marriage is a nota'le failure$ It is also much more
apparent than the disintegrating marriage of Catherine and Edgar$ (oon after the
elopement, Isa'ella sends a letter to 8elly recounting the a'ominations she has !itnessed
since coming to Wuthering Heights$ (he !rites that she is moc%ed and mistreated 'y all
the inha'itants of the house$ (he also relates that !hen she made the mista%e of referring
to *our room,, Heathcliff !as mortally offended and, *s!ore it !as not, nor e#er should
'e mine, -E$ Bronte, ..C1$ Heathcliff later relates to 8elly that, 3Isa'ella4 is tired of
trying to please me , uncommonly early, -..?1$ Here, !e can see the idea that a !ife"s
sole purpose !as to loo% attracti#e and please her hus'and$ E#entually, Isa'ella reali=es
her *self-destructi#e infatuation !ith Heathcliff, -Be#y, .C1 and escapes from Wuthering
Heights to ta%e up residence in Bondon$ (he 'ares Binton Heathcliff, a sic%ly child, and
finally dies of tu'erculosis$ Binton is sent to his father and disco#ered to ha#e fe!, if any,
redeeming )ualities$ Ance again, !e see the poor effects of a male-dominated marriage$
These *unnatural marriages 'et!een Catherine and Edgar and 'et!een Heathcliff and
Isa'ella pro#o%e disorder+ order is 3only4 reesta'lished as Heathcliff and the first
Catherine are united at last, after death, -E!'an%, 7?1$ Had Catherine initially married
Heathcliff, and opted for an e)ual marriage !ith less money, this disorder could ha#e
'een a#oided$$
Ho!e#er, Catherine is not married to Heathcliff and cannot control him$ E#en
though Heathcliff e9erts his po!er o#er Isa'ella, he is still, *Jfemale" : on the le#el !here
younger sons and 'astards and de#ils unite !ith !omen in re'elling, ->il'ert, 6701
against eldest sons, legitimate children, and males in the struggle to maintain a li#elihood
once e#erything has 'een inherited 'y the rightful heir$ 2iding in Heathcliff"s sinister
plan of re#enge is the fact that Catherine does not produce a male heir 'efore her
untimely death$ Instead, the 'irth of Catherine II precedes the death of her mother and
Heathcliff"s re#enge is complete$ He *ta%es the place of one legitimate heir after another,
supplanting;Edgar at the >range, ->il'ert, 67?1$ It is important to note that Heathcliff
does not ta%e control of Thrushcross >range through a sho! of strength or 'ecause of his
intimidating physical attri'utes$ Eather, Heathcliff accomplishes his #indicti#e scheme
'y employing his de#ious and cunning nature$ Ee#ie!ers of Wuthering Heights did not
li%e this a'out Heathcliff"s character$ They 'elie#ed that, *characters should 'e
ci#ili=ed;and if intended to 'e the hero, should 'e suita'ly moral and !ell-'eha#ed,
-Thompson, C0C1$ Ance again, Catherine must ta%e the 'lame for Heathcliff"s 'eha#ior$
Because insists on denying her nature and her lo#e for Heathcliff, Heathcliff must resort
to drastic measures$ Marriage to Catherine !ould not ha#e made Heathcliff moral, 'ut it
!ould ha#e gone far in ma%ing him *!ell-'eha#ed$, Catherine"s !illful *male, nature
and Heathcliff"s emotional *female, nature !ould ha#e complimented each other nicely$
In fact, !e *see the lo#e of the first Catherine and Heathcliff as the great positi#e
statement of the no#el, -E!'an%, .6F1$ It is unfortunate the Catherine chooses money
o#er lo#e$
Charlotte Bronte"s creation, Jane Eyre, is a character distinctly different from
Catherine Earnsha!, 'ut in some !ays stri%ingly similar$ @nli%e Catherine, Jane does
not immediately ha#e the choice of marrying into money$ Instead, after Jane tells her
2unt Eeed that, *I !ill ne#er call you aunt again as long as I li#e, -C$ Bronte, C/1, the
orphaned Jane is sent to an all girls" school$ There, she must learn ho! to earn her !ay in
the !orld$ Jane"s *re'ellion against her oppressors mar%s the 'eginnings of her
indi#idualism, her desire for self-possession and e9pression, -Denner, .CC1$ These
)ualities !ill e#entually help her to ma%e the correct decisions concerning her marriage$
2fter eight years at Bo!ood, Jane is installed at Thornfield as the go#erness of
2dele arens, a !ard to Mr$ Ed!ard Gairfa9 Eochester$ 2fter many months in the
company and confidence of Mr$ Eochester, it occurs to the discerning Jane that he might
'e falling in lo#e !ith her$ The stereotypical !oman !ould ha#e seen the monetary
'enefits of the match and, 'elie#ing in her o!n feminine po!ers, 'egin to encourage her
suitor$ Jane, on the other hand, uses rationality and sense !hen contemplating the matter$
2lthough she ac%no!ledges feelings to!ards Mr$ Eochester, she 'elie#es it !ould 'e
ridiculous to pursue them$ (he orders herself to sit in front of a mirror, and s%etch a
picture of herself *!ithout softening one defect+ omit no harsh line, smooth a!ay no
displeasing irregularity, 3and4 !rite under it, JDortrait of a >o#erness, disconnected, poor,
and plain", -C$ Bronte, .5/1$ @nli%e Catherine, Jane is not attracti#e and she reali=es
this$ (he is also a!are that she is undo!ered and, thus, not a li%ely o'&ect of desire, e#en
for a !ealthy man$ E#erything that Jane thin%s a'out herself is, *calculated to sho! that
she is not the romantic heroine for !hom the marriage ending is a foregone conclusion
-Bell, 6?C1$ Where Catherine uses her false logic to con#ince herself to marry a man she
does not truly lo#e, Jane uses her logic to dissuade herself from presuming that Mr$
Eochester could care for her$
When it 'ecomes apparent that Mr$ Eochester does !ish to marry her, Jane
e#entually agrees$ Their only o'stacle, and it is a formida'le one, is that Mr$ Eochester is
already marriedH Despite the e9istence of his mad Creole !ife, Bertha, Eochester does
not !ish to lose Jane and suggests that they li#e together in a house he has in the south of
Grance$ He argues, *Kou shall 'e Mrs$ EochesterL'oth #irtually and nominally I shall
%eep only to you so long as you and I li#e$ 8e#er fear that I !ish to lure you into errorL
to ma%e you my mistress, -C$ Bronte, 6<71$ Discriminating Jane sees through this plan
and %no!s she must ma%e a choice #ery similar to Catherine"s$ Bi%e Catherine, she
chooses the option that hurts her most$ @nli%e Catherine, this decision is the correct one$
Jane chooses to 'e a *moral 'eing, -Wollstonecraft, ../1 and sensi'ly e9plains to Mr$
Eochester that *if I li#ed !ith you as you desire--I should then 'e your mistressM to say
other!ise is sophisticalLis false, -C$ Bronte, 6<71$ This statement from Jane may come
as a shoc% to the reader 'ecause, *Jane Eyre, so feminine in her mee% su'mission to the
lo#er she calls *Master,, ne#ertheless lea#es him !hen he as%s her to compromise her
moral principles, -Warhol, ./1$ Ho!e#er, it is o'#ious from this )uote that Jane is
*forthright to the point of 'luntness, su'mitting herself mentally to no one, not e#en !hen
she finally does impro'a'ly !in a man"s lo#e, -Bell, 6?C1$
In the end, this is the right choice for 'oth Jane and Mr$ Eochester$ 2lthough,
*Jane"s su'se)uent departure forces Eochester to recogni=e his insufficiency, -Nendric%,
6001, as the 'oo% closes, Jane and Mr$ Eochester ha#e 'een married after the demise of
the latter"s !ife$ Jane 'ecomes her hus'and"s 'est friend and confidante, pro#ing that a
!oman !ho *e9ercises her mind !ill;'ecome the friend, and not the hum'le dependent
of her hus'and, -Wollstonecraft, ..C1$ By heeding her head instead of her heart, Jane
re#eals that !omen are not purely emotional 'eings$ Catherine also follo!ed her reason
'ut her reasoning !as !rong$ Gurther e9ploration of her dilemma !ould ha#e sho!n that
ladyhood o#er lo#e !as the incorrect choice$
In Jane"s relationship !ith her cousin, (t$ John Ei#ers, she must ma%e another
nuptial decision$ (he must decide 'et!een companionship and marriage, or loneliness$
When it 'ecomes apparent to Jane that (t$ John has ta%en an unusual interest in her, she is
rather unner#ed$ Her misgi#ings come to fruition during a !al% !ith (t$ John$ He as%s
her to &oin him on a missionary trip to India, claiming that she is *formed for la'or, not
lo#e$ 2 missionary"s !ife you must : shall 'e$ Kou shall 'e mineM I claim you : not for
my pleasure, 'ut for my (o#ereign"s ser#ice, -C$ Bronte, C<01$ Ance again, Jane is
*go#erned 'y desires that are a'solutely uni)ue;that defy social con#ention, -Denner,
.C61$ 8ot particularly pleased at the idea of 'eing claimed, Jane, *turns do!n the
marriage proposal of (t$ John Ei#ers, one that she %no!s !ill re)uire her to sacrifice to
him all po!er to control her o!n life, -Denner, .C<1$ (he cannot comprehend the notion
of relin)uishing all po!er to a man, especially a man !ho !ants her, not for pleasure 'ut
for duty$
This strange offer of marriage upsets Jane, 'ut, e#en in her astonishment, she
%no!s she cannot marry (t$ John$ (he offers to go !ith him as 'rother and sister,
%no!ing in!ardly that to 'e his !ife !ould mean %eeping *the fire of 3her4 nature
continually lo!, -C$ Bronte, C<71$ Jane %no!s it is useless to repress her nature and that
marrying (t$ John !ould mean a slo! death$ (he e9plains as much to him and his reply
is that her !ords are *#iolent, unfeminine, and untrue, -C701$ It is unfeminine that she, a
plain !omen !ithout a do!ry, should scorn marriage and her reasons are also
unfeminine$ Jane is *go#erned 'y desires that are a'solutely uni)ue 3and4 that defy social
con#ention, -Denner, .C61$ 2ccording to the principles of the Eomantic era, a !oman,
especially one as plain as Jane, should accept any 'eneficial offer of marriage that comes
her !ay$ The presence of lo#e is irrele#ant$ Ho!e#er, it is impossi'le for Jane to enter
into a lo#eless marriage$ When (t$ John a#ers that she must gi#e >od her undi#ided
allegiance, Jane sarcastically replies, *AhH I !ill gi#e my heart to >od$ Kou do not !ant
it, -C$ Bronte, C<<1$ This reply stems from Jane"s disgust at (t$ John"s offer of a marriage
of con#enience$ To Jane, *(t$ John"s lo#eless proposal is shoc%ing$ (pinsterhood is
prefera'le, e#en if unreali=a'le in the #ocation he offers her, that of a foreign missionary,
-Bell, 6?01$ Ance again, although it hurts Jane to refuse the man !ho has ta%en care of
her, she must re&ect an offer of marriage$
2lthough not deceitful or designing li%e Heathcliff, Jane Eyre"s Mr$ Eochester
'ears a close physical resem'lance to him$ (imilar to the dar% Heathcliff, Mr$ Eochester
has *'road and &etty eye'ro!s, 3a4 s)uare forehead, made s)uarer 'y the hori=ontal s!eep
of his 'lac% hair;grim mouth, chin, and &a!;and a good figure;'road-chested and
thin-flan%ed, -C$ Bronte, ...1$ These t!o men are also compara'le in regard to their
emotional dispositions$ When Jane refuses to li#e in Grance !ith Mr$ Eochester and
prepares to lea#e him, he e9claims, *Withdra!, then;'ut remem'er, you lea#e me here
in anguish;Ah, JaneH My hope :my lo#eLmy life, -C/C1$ Echoing Heathcliff"s claim
that Catherine is his soul, Eochester displays an e9aggerated and o#eremotional reaction
that only !omen are supposedly guilty of e9hi'iting$ Jane"s su'se)uent departure,
*forces Eochester to recogni=e his insufficiency;he is left !ith only his failure to
'ecome a mature male su'&ect !ithin the frame!or% of the dominant narrati#es,
-Nendric%, 6001$ Ho!e#er, Mr$ Eochester"s emotions are neither as #iolent nor as grating
on the ner#es as Heathcliff"s$ Eather, they ma%e him the often-sought *sensiti#e man,
that many !omen !ish for$ In fact, e#en 'efore this e#ent, !e see the Eochester depends
on Jane$ Jane *rescues, him on a num'er of occasions, from their first meeting !hen
Eochester falls from his horse, to the time !hen he finds out that his 'rother-in-la! is
a'out to #isit Thornton Hall$ Moreo#er, *it is she !ho rescues him !hen his 'ed has
'een set afire 'y the lunatic Bertha$ E#en in the time of their courtship !hen he is his full
self, she ma%es it clear that though she calls him *master,, she !ill not 'e a helpless
parasite, -Bell, 6?01$
We see more e#idence of Eochester"s emotional and dependent nature !hen Jane
returns to him after her long a'sence$ Jane consents to marry him as soon as possi'le and
Mr$ Eochester admits, *I ha#e your little pearl nec%lace at this moment fastened round
my 'ron=e scrag under my cra#at$ I ha#e !orn it since the day I lost my only treasure, as
a memento of her, -C$ Bronte, 06F1$ This sentimental confession sho!s us that it is not
only !omen !ho should display *suscepti'ility of heart 3and4 delicacy of sentiment,
-Wollstonecraft, ./C1$
There is also other e#idence that leads the reader to the conclusion that the roles
of Jane Eyre and Mr$ Eochester are re#ersed$ Because Eochester has lost a hand and his
eyesight in the house fire that %illed the despised Bertha and left him a free man, Jane
must ta%e care of him and ser#es, *'oth for his prop and guide, -C$ Bronte, 0671$ Here,
!e can see that although, *Eochester has certainly retained some patriarchal po!er;he
is at the same time dependent 3and accepts4 a suspension of his o!n po!er, and a
suspension of the decision of !ho e9actly is to 'e the master in their marriage,
-Nendric%, 60?1$ 2lthough Eochester relin)uishes some of his po!er to Jane, he does not
'ecome her inferior, 'ut rather her e)ual$ It is suggested that, *they are right for each
other 'ecause each reali=es the ficti#e nature of the dominant ideologies of gender and
class, -60C1$ Jane pro#es that she is, *one of the rare nineteenth century heroines !ho
matures 'eyond the attractions of Byronism to attain a lo#e at once e)ual and complete,
-Denner, .CF1$ The physically masculine and irrationally feminine Mr$ Eochester, and the
delicately feminine yet emotionally masculine Jane Eyre, are perfectly complimentary$
(adly, the same cannot 'e said of Catherine and Heathcliff$ 2s children playing
unconcernedly on the moors, their personalities are a perfect fit, meshing together li%e the
pieces of a pu==le$ Catherine is strong-!illed and independent !hile Heathcliff is
emotional and su'ser#ient to his cherished *soul$, Ho!e#er, !hen Catherine chooses
Edgar Binton o#er Heathcliff, the pu==le pieces of her relationship !ith Heathcliff
'ecome !arped and are no longer cohesi#e$ Catherine 'ecomes completely feminine as
the !ife of Edgar$ (he is modified into a gentle and elegant *lady of the house,, !hose
&o' it is to loo% attracti#e and please her hus'and$ @nfortunately, this faOade of *elegance
is inferior to #irtue, -Wollstonecraft, ./C1$ If Catherine had truthfully demonstrated her
strong mind and independence and openly ac%no!ledged her lo#e for Heathcliff despite
his lac% of money and social ran%, 'oth characters !ould ha#e 'enefited$
In contrast to this unluc%y couple, Jane and Mr$ Eochester are the epitome of the
ideal marriage$ Their story implies that men and !omen should meet on e)ual ground
!ith the physically inferior !omen esta'lishing intelligence and rationality, !hile the
physically superior men display, rather than hide, their emotions and sensiti#ity$
By flipping the traits of men and !omen, Emily and Charlotte Bronte !ere trying
to enforce the idea that a !oman !as not merely a delicate creature !ho must 'e
protected and ad#ised 'y her hus'and$ These t!o !omen no#elists !ere also, *acti#ely
engaged in re!riting 3gender codes4, -Warhol, <5<1$ 2 !oman had a mind and strength
all her o!n and she should 'e allo!ed to utili=e it$ Both !omen are offered lo#eless
marriages$ Catherine follo!s the guidelines of society and accepts, e#en though she
cherishes a !arm affection for Heathcliff$ Jane, on the other hand, re&ects societal #alues
and refuses (t$ John Ei#ers and Mr$ Eochester$ Wuthering Heights remar%ed on the
in&ustice of the period !ith Catherine marrying for social standing instead of lo#e$ Jane
Eyre represented the ideal marriageLone founded on mutual affection instead of money
or am'ition$ Through the !riting and pu'lication of their no#els, *the Bronte sisters;
articulate female discontent !ith the confining sphere of domesticity in the nineteenth
century, -Denner, .C.1$ 2lthough Catherine"s marriage !ould ha#e 'een socially
accepta'le and Jane"s marriage !ould ha#e 'een fro!ned upon, the t!o no#els offer
uni)ue perspecti#es on !hat an ideal marriage entails$
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