I still think this book is about the portrait of an artist that can't really do her art. Having said that, this time I thoroughly enjoyed this book. I can see why it gets its rave reviews. Rochester is both her mentor and also her kin. He is a fully realized character and like her, totally trapped by love. It is interesting that when we first meet him, we see him trapped. Though he is very proud and even a bit mean, he is just as trapped as she is, even more. And Jane is hardly a typical victorian heroine, she will accept men only as equals. She won't be any ones kept woman, even Rochester's. Even Rivers, who loves her a little unreligiously. I loved the line she uses about his "experimental kisses." But, he tries to put her in a victorian box and she won't go there, won't be anything but his equal. I loved the kink that he was a family member, even called her sister on occassion. All of the Bronte sister's novels have whiffs of incest and this one is no exception. After all Tenant of Wildfell Hall is about Anne's brother, and Wuthering Heights has the great line, "Nelly, I am Heathcliff". This book even features scenes about bad brother Branwell who makes it into all of the sister's books. I completly enjoyed every page of this book and wish I had finished it when I tried reading it earlier. This is a great book.
What I also found interesting is that these characters are on the margins of society. Love and romance, practically a religon in Victorian England have left these characters dry. Helen Burns, the unlikely spirit of feminity in the novel, never experiences it. Rochester is finally trapped by it. Rivers, though he wants it, isn't really capable of it. Jane finally gets it, but can only accept it on her terms. It's view of morality is interesting too. This takes place in a atmosphere where morality isn't relative, no one would see anything wrong in Jane being with Rochester. Why not, his wife is clearly mad and homocidal. But this isn't Helen Burn's morality, it is beyond ones feelings and attitudes. That is why Jane has to remove herself.
Also interesting is how the characters relate to each other. They all do seem to be part of Jane. Helen Burns is Jane's higher self, Rochester and his mad wife are both extremes each a slave to the body. Rochester doesn't think beyond his own desires. He must have Jane and can't see why she won't be with him. The mad wife is nothing but her desires, desire for food and violence. The trap of being a unconvential person is despair and despair is often the first step towards a kind of pride that exhalts one's own desires above all else. It is a trap already ensaring Rochester and Jane must avoid his example. Yet, Rivers whom she does admire more is also a trap. Though outwardly religious, he is lustfull too. His kisses are called interstingly by Jane "Experimental". He is also seen in terms of incest, they call each other family, he calls her a sister. It seems at first with him, Jane can reach the Helen Burns model of feminity, her life for a greater purpose. But Jane sees the sensualist in Rivers and insists on being a co minister. If only Anne Hutchinson had seen that! Anyway, it is something Rivers can never abide. He too is an extreme, a denial of the body. Though he is a sesualist, he won't name it as such, in fact runs away from it. She sees that clearly. In this way, he is just as trapped as Rochester is. Her rigourous honesty is the honesty of Helen Burns who sees past her own suffering as to what a stronger person that suffering will make. Jane too sees beyound what is in front of her, and this is what makes her such an interesting and intelligent heroine. She is a later cousin of Elizabeth Bennet, insisting upon herself and her rights because of what she sees around her. That's what makes this novel worth reading despite it's length and apparent lack of humor.