“Reader, I have married him,” Jane proclaims in the first line of Brontë's famous conclusion to her masterpiece, Jane Eyre (552). The reader, in turn, responds to this powerful sentence by preparing for what will surely be a satisfying ending: the fairy tale climax of a Cinderella novel. Fortunately, Bronte does not disappoint in this regard, as Jane and, therefore, her readers are swept up in a cloud of marital bliss and unprecedented happiness. “I know what it is to live entirely for and with what I love most on earth,” Jane says of her beloved Rochester (554). The emotion and passion are there from the first pages of the conclusion. Love, it seems, is everywhere, and sweet fulfillment is bestowed upon Jane and her loyal readers. Indeed, only one thing can distract the reader from this last note of happiness; a single person can possibly distract the reader's attention from the ever-present feeling of joy. Indeed, only St. John himself can spoil the final pages. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay In the final two pages of the novel, Jane and Rochester's story is interrupted by the appearance of the icy St. John. This sudden disruption leaves readers surprised, disappointed, and perhaps even a little annoyed. Why did Brontë end her passionate love affair with the appearance of Saint John and a revelation from the Bible? Likewise, if conclusions exist to help readers in their interpretation of the rest of the novel, why does Brontë conclude by saying of St. John: “Amen, come thus, Lord Jesus!” » ? These questions loom over the reader like a dark cloud determined to ruin a sunny day. A satisfactory reading of the classic novel can only be achieved after understanding the role of the last two pages of the novel as a whole. Upon closing the book, the reader's mind immediately begins to spin around the notion of religion in the text, and what the final lines may or may not say about the importance of spirituality. Indeed, the reinforcement of religion in the novel's ending could be Brontë's way of indicating that religion is a main theme and should not be neglected. If this is true, we must ask whether the ending describes religion in a positive or negative way. On the other hand, perhaps the resounding message is the notion of destiny, which has much more to do with the fulfillment of individual destiny than with religion as a whole. All possibilities must be examined before any conclusion can be reached. Before we move on to the ending, we need to briefly look at how religion is presented throughout the novel. Bronte weaves religion throughout the text, infusing spirituality into the characters of Helen Burns, Mr. Brocklehurst, and, of course, St. John Rivers. Each character represents a different aspect of religion, a different way for Jane to view the paradoxical (and often patriarchal) Christian faith of the time. Helen Burns is influential thanks to her extreme Christian views, which advocate tolerance and forgiveness at all costs. “The Bible commands us to repay good for evil,” Helen tells Jane (117). Although Jane rejects this form of Christianity as too passive, she nonetheless absorbs its lessons and takes from them what she pleases. The second glimpse of religion is offered to Jane in the form of Mr. Brocklehurst. As Jane considers some of Helen's views, she seems to wholeheartedly reject Brocklehurst's evangelical hypocrisy and self-righteous speeches. As leader of Lowood, he preaches the value ofsacrifice and deprivation while enjoying a rich lifestyle: “my mission is to mortify in these girls the lusts of the flesh” (127). Although this view of Christianity is outwardly rejected by Jane, she quietly accepts the simple way of life at Lowood. These two first impressions of religion resurface again and again and remain in the reader's mind throughout the novel. While Helen and Mr. Brocklehurst influence Jane as a child, St. John Rivers is the dominant Christian role model in her adult life. Rather than being passive like Helen's beliefs or hypocritical like Mr. Brocklehurst's views, St. John's religion is rejected by Jane on the grounds that it is too detached from the passions of life. Often compared to ice cream, St. John devotes himself to Christianity at the expense of all worldly pleasures, including his one true love: "You must be a missionary's wife," St. John tells Jane. “You will be mine: I claim you not for my pleasure, but for the service of my Sovereign” (501). Saint-Jean rejects pleasure and values ​​Jane “as a soldier would a good weapon” (504). Jane is forced to choose between divine love and human love, a division that seems both arbitrary and unnecessary. Recognizing that she cannot deny the passion within her, Jane proclaims: "If I join St. John, I abandon half of myself: if I go to India, I am going to an early death" (503 ). Jane rejects St. John's notion of complete religious devotion, preferring to follow her own heart and spirituality. With these three different versions of Christianity permeating the text, the final two pages on the life of St. John stand out as more than just a summary of what has happened so far. Indeed, Brontë seems to want to read the conclusion of the novel as a final commentary on religion. “Firm, faithful and devoted; full of energy, zeal and truth, he works for his race”, declares Jeanne de Saint-Jean, “he opens their painful path towards improvement” (555). She goes on to praise him as a “chosen one” and a “good and faithful servant”: qualities that elevate him, along with his work and undying dedication to religion. In this sense, bringing back Saint John at the end of the novel creates a feeling of praise, a celebration of those who give everything they have to religion. Just as Jane admires Helen Burns, she seems to admire St. John's pious nature. Likewise, St. John seems to embody a "true" sense of religion, especially in relation to Mr. Brocklehurst, since he lives his life as he says and suggests that others follow his example. While Jane is happy in love, relegating St. John to the novel's conclusion seems to suggest that her divine love is on a higher level, one at which most people—including Jane—can only struggle. Indeed, even though Jane and Rochester will one day face judgment, “no fear of death will darken” St. John's final hour, for “his spirit will be clear; his heart will be intrepid; his hope will be sure; his heart will be unshakeable. " (556). If the reader chooses to leave the novel with these thoughts in mind, the ending can be read as depicting St. John as an ideal religious figure, and Jane as simply too weak to follow him. A reading different ending may lead readers to a much different conclusion, in which religion does not fare as well. From one point of view, the ending depicts Jane and Rochester as a happy couple, with children and. a home, while St. John lies alone on his deathbed St. John's presumed death and the actual death of Helen Burns are associated with suffering and isolation from the outside world. John is not married: he will never marry now," saysJane. “He himself has hitherto sufficed for the work; and the work draws to an end” (556). The dark tone of the final paragraphs risks leaving readers with a negative, almost sacrificial view of religion. Jane, choosing her own spirituality and human love over the structure and sacrifice of devout Christianity, ends the novel happy and in love. The religious characters, on the other hand, fare poorly throughout the novel, and the ending can be seen as a mere extension of their sad fate. Helen, of course, dies of consumption at the depressing Lowood boarding school. Brocklehurst is "entrusted with his duties by gentlemen of rather broader and more sympathetic minds", leaving the hypocritical evangelist without a high position. Saint John presumably dies alone in a foreign land, far from the pleasures and realities of the human world In this sense, the ending can be seen as a critique of structured religion, favoring individuals like Jane who balance this life with the next over those who, like St. John, give it their all. they have to God. Although one can see both positive and negative interpretations of religion offered by the ending, neither analysis is entirely satisfactory. the story of Jane Eyre and her search for spirituality and fulfillment, not a definitive judgment on religion. Viewing the ending as offering a concrete position on religion leaves readers unsatisfied, as does the great love of religion. . Jane and Rochester seem almost diminished by the appearance of the religious Saint John and his biblical wisdom. Indeed, it could be argued that a truly satisfying interpretation of the novel can only be achieved when the role of fate – both human and divine – is placed. above the importance of the religious theme of the novel. “God has given us, to a certain extent, the power to decide our own destiny,” St. John proclaims to Jane long before attempting to persuade her to accept a life of servitude (457). . The phrase resonates throughout the novel, becoming a main theme of the text. Although Jane rejects all three dominant representations of religion, she never abandons her faith in God and spirituality. Jane's personal faith in God and herself guides her actions, and it is this combined destiny that ultimately leads her to where she is meant to be. Whenever Jane faces a moral or physical challenge, she turns to God for strength and guidance. For example, she turns to God for the strength to leave Rochester after discovering the shameful situation he put her in: “I did what human beings do instinctively when pushed to extremes. , I sought help from a power greater than man. : the words “God help me!” “springs involuntarily from my lips” (394). Similarly, when Jane finds herself poor and hungry after leaving Rochester, she comments that she feels "the power and strength of God" (416). Jane uses her unique relationship with God to curb her overwhelming passions, rather than denying them completely like St. John. Ultimately, she is able to muster courage through her faith. Likewise, she sees that she must leave Rochester once she realizes that he has become a god to her, blurring the balance between the human and the divine. “My future husband became my whole world to me; and more than the world: almost my hope of paradise,” Jane proclaims. “He stood between me and all religious thought, as an eclipse stands between man and the broad sun. I could not, at that time, see God for his creature: of whom I had made an idol” (361). This idea that Jane needs both., 2002.