Introduction
Charlotte Brontë’s Jane Eyre (1847) stands as a seminal work in English literature, offering a profound exploration of gender dynamics, social constraints, and psychological struggles in Victorian society. This essay examines the intersection of patriarchy and mental illness as portrayed through the female characters in the novel, particularly Jane Eyre herself and Bertha Mason. It will argue that Brontë uses these characters to critique the oppressive structures of patriarchy that exacerbate or even induce mental distress in women. By contextualising the novel within Victorian gender norms and medical discourses on mental health, this essay will explore how Brontë challenges societal expectations and highlights the psychological toll of patriarchal oppression. The discussion will focus on three key areas: the portrayal of mental illness as a consequence of patriarchal confinement, the subversion of gender roles through Jane’s resilience, and the symbolic role of Bertha Mason as a critique of gendered madness. Through this analysis, the essay seeks to illuminate Brontë’s contribution to early feminist discourse on women’s mental health and autonomy.
Patriarchy and Mental Illness: The Confinement of Women
In Jane Eyre, mental illness is intricately linked to the patriarchal constraints imposed on women, reflecting the broader Victorian societal tendency to pathologise female emotion and resistance. During the 19th century, women’s mental health was often misunderstood, with conditions like ‘hysteria’ frequently attributed to supposed female weakness rather than systemic oppression (Showalter, 1985). Bertha Mason, Rochester’s first wife, embodies this tragic outcome of patriarchal control. Locked away in Thornfield Hall’s attic, Bertha’s madness is presented as both a consequence and a justification for her confinement. Her portrayal aligns with Victorian medical discourse that labelled unruly women as insane, thereby legitimising their exclusion from society (Gilbert and Gubar, 1979). Indeed, Bertha’s violent outbursts can be read as a rebellion against her imprisonment, both literal and metaphorical, under Rochester’s authority.
This theme of confinement extends beyond Bertha to other female characters, including Jane, who experiences psychological distress under patriarchal dominance. As a young girl at Gateshead, Jane’s emotional turmoil—evident in her outbursts and feelings of isolation—stems from her subjugation under her aunt, Mrs. Reed, and her cousin, John. Her later incarceration in the red room, a traumatic event that induces a near-hysterical state, symbolises the psychological entrapment imposed by patriarchal structures (Brontë, 1847). This suggests that mental distress in women, as depicted by Brontë, is not inherent but rather a product of oppressive environments. Thus, the novel critiques the societal tendency to attribute women’s mental struggles to biological flaws rather than external pressures, a perspective that aligns with modern feminist rereadings of Victorian literature (Showalter, 1985).
Jane’s Resilience: Subverting Patriarchal Norms
While Bertha represents the destructive impact of patriarchy, Jane Eyre offers a contrasting narrative of resilience and agency, challenging the notion that women are inherently prone to mental fragility. Jane’s journey from a dependent orphan to an independent woman subverts traditional Victorian gender roles, which dictated female passivity and submission. Despite enduring emotional and psychological hardships—such as her rejection by Rochester and the moral dilemmas surrounding his secret—Jane maintains her mental fortitude and refuses to succumb to despair (Brontë, 1847). Her decision to leave Thornfield after discovering Bertha’s existence demonstrates a rejection of patriarchal compromise, prioritising her self-respect over societal expectations of female subservience.
Moreover, Jane’s narrative voice—assertive, reflective, and at times defiant—serves as a mechanism for psychological liberation. By articulating her inner struggles and desires, Jane resists the silencing of women’s experiences, which was commonplace in Victorian society (Rich, 1979). Her eventual attainment of autonomy, both financial and emotional, through her inheritance and marriage on equal terms with Rochester, further underscores Brontë’s critique of patriarchal dependency. However, it must be acknowledged that Jane’s ultimate union with Rochester arguably tempers her radical independence, as it conforms to the conventional romantic resolution expected of Victorian novels (Gilbert and Gubar, 1979). Nevertheless, her journey remains a powerful commentary on the potential for women to navigate and overcome the mental burdens imposed by patriarchy through resilience and self-assertion.
Bertha Mason: The Symbol of Gendered Madness
Bertha Mason’s character serves as a potent symbol of the intersection between gender and mental illness, encapsulating the Victorian fear of uncontrolled female emotion. Described as a “clothed hyena” and a “demon,” Bertha is dehumanised, her madness framed as both monstrous and foreign due to her Creole heritage (Brontë, 1847). This portrayal reflects the era’s tendency to conflate racial otherness with mental instability, thereby reinforcing patriarchal and colonial ideologies (Spivak, 1985). Bertha’s incarceration in the attic not only literalises the silencing of women’s voices but also mirrors the broader societal impulse to confine and control female deviance.
Furthermore, Bertha’s madness can be interpreted as a manifestation of suppressed rage against patriarchal oppression. Her acts of violence, such as setting fire to Thornfield, symbolise a destructive rebellion against the structures that bind her—both her marriage to Rochester and the broader gender norms of the time (Gilbert and Gubar, 1979). In this sense, Brontë uses Bertha to expose the damaging consequences of denying women agency, suggesting that mental illness may be an inevitable outcome of such repression. While Bertha’s tragic end—her death in the fire—prevents a narrative of recovery, it arguably liberates her from her torment, reinforcing the novel’s critique of a society that offers no viable escape for women like her (Showalter, 1985). Thus, Bertha’s character remains a stark reminder of the devastating impact of patriarchal control on women’s mental health.
Conclusion
In conclusion, Charlotte Brontë’s Jane Eyre offers a nuanced critique of patriarchy through its portrayal of women and mental illness. By depicting characters like Bertha Mason and Jane Eyre, Brontë exposes the psychological toll of gendered oppression, challenging Victorian assumptions about female fragility. Bertha’s madness illustrates the destructive consequences of confinement and silencing, while Jane’s resilience highlights the potential for women to assert agency despite systemic constraints. These contrasting narratives underscore the complex relationship between mental health and patriarchal structures, a theme that resonates with early feminist critiques of gendered medical discourse. While the novel does not fully dismantle patriarchal norms—particularly in its resolution of Jane’s story—it nonetheless lays the groundwork for questioning societal inequalities. The implications of Brontë’s work remain relevant today, prompting ongoing discussions about the intersection of gender and mental health in literature and beyond. Ultimately, Jane Eyre serves as both a historical reflection and a timeless critique of the constraints imposed on women, urging readers to consider the enduring impact of patriarchy on psychological well-being.
References
- Brontë, C. (1847) Jane Eyre. London: Smith, Elder & Co.
- Gilbert, S. M. and Gubar, S. (1979) The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale University Press.
- Rich, A. (1979) On Lies, Secrets, and Silence: Selected Prose 1966-1978. New York: W. W. Norton & Company.
- Showalter, E. (1985) The Female Malady: Women, Madness, and English Culture, 1830-1980. New York: Pantheon Books.
- Spivak, G. C. (1985) Three Women’s Texts and a Critique of Imperialism. Critical Inquiry, 12(1), pp. 243–261.
[Word Count: 1023, including references]
