The violence of men against women is implicit in many of Jane's transactions with both Rivers and Rochester.
Not only does Jane reject Brocklehurst, St John Rivers and John Reed, she also craves submission to her "master", the Byronic Mr Rochester. Related to this, Jane Eyre has a raw, occasionally erotic, immediacy. Jane, who cannot remember her parents, and as an orphan has no secure place in the world, is in search of her "self" as a young, downtrodden woman. Jane Eyre portrays the urgent quest of its narrator for an identity. But the adventure offered by the author is an interior one. This is a convention derived from Defoe's Robinson Crusoe (No 2 in this series). First, the novel is cast, from the title page, as "an autobiography". There are three principal elements to Brontë's magic. She herself reports that she was "carried away by an undreamed-of and hitherto unimagined whirlwind". Thackeray's daughter says that the novel (which was dedicated to her father) "set all London talking, reading, speculating". A year later it was done, much of it composed in a white heat.
She began to write her second novel ( The Professor had just been rejected) in August 1846.
The magic of Jane Eyre begins with Charlotte Brontë herself. Even today, many readers will never forget the moment they first entered the strange, bleak world of this remarkable book. Add to this a prose style of unvarnished simplicity and you have the Victorian novel that cast a spell over its generation. For this, she can be claimed as the forerunner of the novel of interior consciousness. We, the author, and Jane Eyre become one. In an extraordinary breakthrough for the English novel, borrowing the intimacy of the 18th-century epistolary tradition, Charlotte Brontë had found a way to mesmerise the reader through an intensely private communion with her audience.
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