Fractured Psyche and Corroded Self: The Sadomasochistic Dynamics in Jane Eyre
DOI:
https://doi.org/10.61841/agqyyf20Keywords:
psychoanalysis, cruelty, pleasure, corruptionAbstract
- The present analysis is a psychological study of Bronte’s Jane Eyre. Itidentifies the underlying causes to the emotional instability, lack of empathy, and proneness to psychological and physical harm, as found in the characters of Jane Eyre and Edward Rochester.The imbalanced pattern of behavior results from deeper, psychological issues in both characters. The study uses psychoanalysis as its core theory to argue that the recurrent deviance in behavior, and the alarming propensity to aggressive behavior in both characters is indicative of sadistic/masochistic formulation of personalities.The sadistic and masochistic impulses are the basis for the imbalanced state of mind and the perversion of pleasure in the characters.The characters direct their aggression inwards and/or outwards with unhealthy consequences as they either hurt others or their own selves in the process. The said pattern of behavior serves as an avenue for pleasure, and self-gratification. The study finds that pain, then, becomes a desired state of mind,and it relates thisdesire to cause harm with an over-active death instinct, whichresults in psychological, emotional and physical deterioration of both characters. The study further traces the roots of the destructive behavior to the early childhood experiences of both characters. Due to the disturbed childhood under the care of strict parental figures, Jane and Rochester develop an unhealthy propensity to violence. Specifically, the study argues that unresolved issues during the anal and Oedipal stages of development during childhoodbuild their destructive capacity of both characters, and result in the twisted sadistic/masochistic dynamics which are manifested later in life.
Downloads
References
1. Allott, M. (2010).The Brontes: the critical heritage. New York: Routledge.
2. Anderson, K., & Lawrence, H. R. (2015). ‘No net ensnares me’: Bird imagery and the dynamics of dominance and submission in Charlotte Brontë’s Jane Eyre. Brontë Studies, 40(3), 240–251. doi:10.1179/1474893215z.000000000152
3. Bloom, H. (2007a).Bloom’s modern critical interpretations: Wuthering Heights. New York, NY: Infobase Publishing.
4. Bloom, H. (2007b).Charlotte Bronte’s Jane Eyre. New Delhi: Viva Books Private Ltd.
5. Bronte, C. (2016). Jane Eyre: an authoritative text, contexts, criticism. New York: W.W. Norton and Company.
6. Cecil, D. (1948). Early Victorian novelists: essays in revaluation. Harmondsworth: Penguin.
7. Eagleton, T. (2005).Myths of power: A Marxist study of the Brontes. Basingstoke: Palgrave Macmillan.
8. Freud, S. (1959). Collected papers, Volume 2. (J. Riviere, Trans.). New York: Basic Books, Inc.
9. Freud, S. (1989). The Freud reader. (P. Gay, Ed.). New York: Norton.
10. Gilbert, S. M., &Gubar, S. (2000). The madwoman in the attic: The woman writer and the nineteenth- century literary imagination. New Haven and London: Yale University Press.
11. Jacobs, M. (2003).Sigmund Freud (2nd ed.). London: SAGE Publications.
12. Showalter, E. (1977). A literature of their own: British women novelists from Bronte to Lessing. Princeton: Princeton University Press.
13. Spivak, G. C. (1985). Three Women’s Texts and a critique of imperialism. Critical Inquiry, 12(1), 243–
261. doi:10.1086/448328
14. Stone, C. (2011). The sheets are on fire: An exploration of sexuality in Jane Eyre. The Menlo Roundtable, 9(2011), 1–5. Retrieved from http://roundtable.menloschool.org/
15. Sulivan, P. (1978). Fairy tale elements in Jane Eyre. The Journal of Popular Culture, 12(1), 61–74. doi: 10.1111/j.0022-3840.1978.00061.x
16. Tyson, L. (2006). Critical theory today: a user-friendly guide (2nd ed.). New York: Routledge.
Downloads
Published
Issue
Section
License

This work is licensed under a Creative Commons Attribution 4.0 International License.
You are free to:
- Share — copy and redistribute the material in any medium or format for any purpose, even commercially.
- Adapt — remix, transform, and build upon the material for any purpose, even commercially.
- The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
- Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
Notices:
You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation .
No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.
