Lisa Denney
"Each picture told a story; mysterious
often to my undeveloped understanding
and imperfect feelings, yet ever profoundly interesting."
--Jane Eyre (9;
ch. 1)
There is something extraordinary and spiritual about Jane Eyre's artwork. In her story, Jane's solitary pastime sometimes operates as an outlet of past or present pain, and often offers her a chance to deal with unpleasant memories and emotions. Jane's art transcends her isolation by bringing her into contact with others who see it; it serves as a bridge over the chasm between her desire to be alone and her need for companionship, which is demonstrated by key scenes in the novel that include a viewing of her art. This struggle between isolation (hidden self) and companionship (public self) upholds the restlessness of the novel, for Jane's art is her own, marking her as her own woman. Her art offers "one means, among many, of charting her growth to maturity" (Millgate 315). The epigraph above is from Jane's comments on Bewick's History of British Birds, Jane's first artistic influence at the beginning of the novel, and is spoken by a young girl whose self is also "undeveloped" and "imperfect." There are five scenes in the novel that define the importance of art to Jane's growth: her three watercolors viewed by Rochester at Thornfield, the miniature of Blanche Ingram that precedes their meeting, her unconscious pencil sketch of Rochester during her return to Gateshead, Rosamund Oliver's request for a portrait at Morton, and St. John's viewing of her work, which leads to the discovery of her identity near the end of the novel. These scenes occur throughout the novel, giving her art a prominence in the story, and there are also several references to her unique artistic ability.
When Jane confronts her jealousy of Blanche Ingram, the focus of Rochester's affections when Jane first arrives at Thornfield, she immediately decides to draw a portrait of her based on Mrs. Fairfax's verbal description (169; ch. 16). She claims that "it is madness in all women to let a secret love kindle within them," and resolves to reject imagination and resign herself to reason; at that point, she decides that she could never be the object of Mr. Rochester's affections (168-9; ch. 16). Jane treats herself as her own pupil, and criticizes herself for abandoning "sense and resolution" and vows to have them for the moment, after which she falls asleep easily (170; ch. 16). This scene is curiously like the first time Jane resolves to produce art while a young girl at Lowood, except the focus of that former moment was strictly on the imagination where Jane was content to imagine "the spectacle of my ideal drawings," after which she also fell contentedly asleep (78; ch. 9). She is not allowing herself to have dreams of a better life with Rochester, much like St. John cannot bring himself to vision marriage and happiness with Rosamund Oliver. Jane envisioning a portrait of herself and Rochester would have been more ideal, but reason steps in and she shrinks away only to think of her position as "'Governess, disconnected, poor, and plain'" (169-70; ch. 16). This is reinforced by her description of Blanche Ingram as an "'accomplished lady of rank,'" which is a status Jane cannot achieve (169-70; ch. 16). Given the "conflicting messages" that a governess traditionally lived with, namely that "she was and was not a member of the family, was and was not a servant," it is no wonder that Jane seeks solace in an isolated world (Gilbert and Gubar 338).
Still, Jane's heart wins out over reason. When she returns to Gateshead to witness her Aunt Reed's final days, she finds herself in the company of her cousins Eliza and Georgina--two disagreeable women (244; ch. 21). Their presence, along with her unforgiving aunt, gives her no comfort. Her art is her comfort and offers "occupation and amusement" during her stay, where she allows herself to follow the "ever shifting kaleidoscope of imagination" (244; ch. 21). Her imagination is in power once more, and from that power she later produces a sketch of Mr. Rochester, and declares: "There, I had a friend's face under my gaze: and what did it signify that those young ladies turned their backs on me?" (244-5; ch. 21). Rather than an act of reason to counter feelings of jealousy and resentment, here Jane executes an automatic drawing, unplanned, unforeseen, and unconscious, which leaves her "absorbed and content" (245; ch. 21). The imaginative mind is the source of content for Jane, not reason. Not surprisingly, her drawing attracts the attention of the "young ladies," for her art often attracts the attention of those around her (245; ch. 21). Georgiana and Eliza both "seemed surprised at [Jane's] skill," which is a common reaction to her work (245; ch. 21). Her talent is noticed not only by the Reed ladies but also by Bessie, who comments that one of Jane's landscapes "is as fine a picture as any Miss Reed's drawing-master could paint, let alone the young ladies themselves" (96; ch. 10). This statement sets Jane apart from her cousins, who are wholly uninterested in bettering themselves (246-7; ch. 21).
A lady who is more balanced, Jane believes, is Rosamund Oliver. Jane meets Rosamund while living and teaching at Morton and she also shows an interest in Jane’s drawings and paintings. Though Jane sees her in a more favorable light than her cousins, Jane explains that Rosamund is "not profoundly interesting or thoroughly impressive," (388; ch. 32). It is her beauty, not her intellect, that attracts Jane and causes her to feel "a thrill of artist-delight at the idea" of painting her portrait (388; ch. 32). This portrait presents a stark contrast to the portrait Jane painted of Blanche Ingram. A contrast is observable in the way Jane approaches the two different portraits. While Rosamund's fulfills her own request, Blanche is unaware of her portrait. Blanche's portrait is executed as a remedy for Jane's emotions, and Rosamund's is created by Jane's own desire to paint it, for she has no animosity toward her. Another difference is that Rosamund is able to see Jane's artwork, which leads her to make the request for a portrait in the first place. Rosamund ironically declares to her father that Jane "'is clever enough to be a governess in a high family,'" which is a thoughtless, though true enough, comment on Jane's position in society (389; ch. 32). This comment is noticeably shrugged off by Jane, who says, "I would rather be where I am than in any high family in the land" (389; ch. 32). This statement reveals a sense of self that is confident and maturing. She no longer needs the position at Thornfield, for she has changed since leaving there. This change is reflected in her attitude toward her art, which is no longer an act of desperation but a comforting pastime.
The last viewing of her drawings in her presence proves to be another major change in Jane's life. For St. John, Jane's drawings are a deterrent to loneliness for her, and a better distraction than being lost "in thought" (390; ch. 32). When his gaze is diverted toward her drawings, he is surprised to find the portrait of Rosamund. His surprise is manifested in how he "sprang erect again with a start" when he sees the work (390; ch. 32). St. John is quite taken by how striking a likeness the portrait is to Rosamund. His interest eventually leads to the discovery that Jane has inadvertently written her real name on a piece of paper used to cover the portrait (396; ch. 32). This discovery leads to Jane's inheritance, and the realization that St. John, Mary and Diana are her first cousins. Through her name, her art reveals herself, and her dream of a family.
The sexual allusion in St. John's statement is appropriate and relevant, since Jane's art has an aura of sexuality in its content and its context. The jealousy which leads Jane to produce Blanche's portrait is indicative of a sexual attraction for Rochester. Her watercolors are steeped in sexuality in their subject and interpretation. St. John Rivers is engaged in sexual denial toward Rosamund, hence his reaction is described in phallic terms. Jane's art is associated with fantasy, and that fantasy includes an expression of her sexuality. However, this expression is consigned to paper as long as physical sex is not a part of her life.
Once Jane is restored to the arms of Rochester, her art is no longer prominent. It no longer has usefulness, for Jane has achieved her life long goal of family, marriage, and independent wealth. Rochester's blindness for the first two years of their marriage makes it impossible for him to view her works as he once did, so Jane shifts to painting pictures in his mind through her voice (475; ch. 38). The most significant of these mental pictures are the ones Jane creates of St. John provoking Rochester's jealousy prior to their renewed engagement, which is reminiscent of her own jealous feelings toward Blanche. Jane is aware that Rochester is jealous, and plays along with his suffering for the jealousy "gave him respite from the gnawing fang of melancholy" (465; ch. 37). There is sexual tension apparent, since Jane is sitting on Rochester's lap while answering his questions about her absence. Rochester wonders why Jane remains on his knee, when:
The picture you have just drawn is suggestive of a rather too overwhelming contrast. Your words have delineated very prettily a graceful Apollo: he is present to your imagination. (465; ch. 37)
However, Jane never desired St. John, and he "sees nothing attractive in" Jane (468; ch. 37). Her imagination caused her to draw the one to whom she is attracted, and to whom she has a psychic connection, which is evidenced in the voices heard over the miles. Her imagination is again a source of contentment and is key to her artistic expression. It is her imagination that allows her the freedom to envision a better life for herself--a vision that began at Lowood and is pursued to the end of the novel at Ferndean. Jane's increased confidence and maturity manifest themselves in her ease in dealing with Rochester's jealousy. She also exhibits maturity in that her art is no longer a prominent outlet for her once she arrives at Ferndean. She eventually chooses marriage, even though Rochester is maimed, and her independent personal fortune indicates that she makes this decision of her own free will--a will that was, in part, nurtured by her art.
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