We discussed the Christian element to the story at some length. It is very strong, but always in conflict with the erotic, as though it represented a deep paradoxical pull for Charlotte herself. Holy Helen brings the comfort of human embraces, but is taken away to God. Later, St John's muscular Christianity, his struggle to adhere to the tenets of his faith while repressing all warmer, physical impulses, are a harsher reflection of the dichotomy in Jane's own character, her dutiful religious beliefs, deeply entrenched since childhood, set against her natural sexual feelings.

Where did these religious beliefs originate? Hardly in the household of her aunt Reed. But they are strong enough to exercise a real temptation when St John invites her to accompany him to improve the heathen hordes. She is on the point of accepting, inexorably drawn towards an outcome that she positively dreads,

almost as though it is beyond her control, when she is saved by an out-of-body experience, hearing Rochester's voice coming to her from hundreds of miles away. It is a clear indication of the pagan, or non-Christian, overcoming the orthodox. Rochester for his part has to be punished:

for his treatment of Jane, as much as for his actual bigamy, frowned upon by society even more than by God, however understandable in the circumstances. He was morally wrong in trying to coerce Jane into entering an illegal state, absolutely against the teachings of the church. His punishment was terrible, but a ray of light (literally) entered his life at the end, and, having repented and been cast down in to the depths, allowed his happy ending.

In the light of this thinking about Christian punishment Brocklehurst and his family are interesting. Frustrated in his desires both for control and for an ascetic life, he forces his hapless orphans into a situation of absolute,

cowering obedience, being unable to exercise the same control over his worldly, vain wife and daughters. He is not physically punished, but his ideals are thwarted along with the raison d'être of the school: Helen Burns' martyr death has its effect and the situation at the school has to soften, the pupils no longer dangerously deprived.

We noticed that although there are descriptions of landscape or the disposition of the furniture in a room, people's reactions and expressions are not often directly described, but are implied through dialogue,

or by dwelling on physical attributes as noticed by Jane (Rochester's dark eye, the perfect symmetry of St John's face). We hear so much of Jane's innermost anguish, questioning, self-doubt, convictions, that we become totally absorbed in her: it is odd to look up at the end to find ourselves not in a large, ruined mansion in Yorkshire.

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