Metaphorical Insights into Human Psychology in Jane Eyre
Ulugova Shokhida Shokhrukhovna, Uktamova Malika Khasanovna
and Abdullayeva Parvina
Samarkand State Institute of Foreign Languages, Samarkand, Uzbekistan
Keywords: Stability, Progressive, Regressive, Metaphor, Attitude, Statement, Direction Life, Journey.
Abstract: The article delves into the analysis of metaphors that characterize the psychological states of individuals. The
primary focus is on structures that reflect the spiritual experiences of the main characters in the work, namely
Jane Eyre, Rochester, and Lord Soules. It is acknowledged that each of these characters possesses unique
traits, and this, incidentally, plays a pivotal role in shaping the ideological theme of the novel.
1 INTRODUCTION
It is widely recognized that the physical and
mental state of poets and writers significantly
influences their creative activity—a point noted by
numerous literary critics (see: Freeman 1995, 2000,
2007). Similarly, the speaker's personal attitude and
interest in reality also play a role in shaping the
process of metaphor formation.
Left as a very young orphan, Jane lives in constant
struggle, growing into a young woman fiercely
defending her identity. This educated girl works as a
governess in Thornfield, embracing a lively life while
remaining polite and moral. Rochester, seemingly
cold and ironic due to the scars of his first marriage,
exudes warmth and charm. Lord John, on the other
hand, develops an affection for Jane, serving as her
religious patroness and godmother. He is
characterized by persistence, stubbornness, extreme
emotionality, cold-bloodedness, and wisdom, always
ready to support the less fortunate.
2 MAIN PART
Jane's attitude toward life is largely reflected in the
structures formed on the basis of the conceptual
metaphor "LIFE is a JOURNEY," and these
structures undergo structural changes throughout the
novel. Jane's journey in this conceptual metaphor
continually expands the qualities she attributes to the
concept of "journey," and its form changes:
"It is a very strange sensation for inexperienced
youth to feel itself quite alone in the world, adrift
from every connection, uncertain whether the port it
is bound for can be reached, and prevented by many
impediments from returning to what it has left."
(Chapter 11, 86).
Jane is leaving for Thornfield to work as a
governess. During the eight years she spent in
Lowood, she was completely cut off from the world:
“…had had no communication by letter or message
with the outer world” (p. 77). Now she is gripped by
a passion for free breathing, but at the same time, she
is far from being able to fully imagine the future. This
distrust of the future is reflected in the conceptual
metaphor "LIFE is a JOURNEY." More precisely,
"cut adrift" refers to travel, the way to the sea, to
elements such as "go with the flow," "port," "quit."
While traveling by sea, the direction and purpose
erode from the mind of a traveler who has fallen into
a stream and is floating freely (in the direction where
the water flows). In harmony, the illusion of freedom
and emancipation alternates with the fear of being
lost. With the loss of direct contact with the outside
world, the confidence that they will reach their
destination weakens. Therefore, due to the fact that
the journey has already begun, it is almost impossible
to go back.
Here, the semantic resource—the concept of
"JOURNEY"—expands to the concept of "LIFE" in
Jane's mind. In Jane's eyes, life is a journey, and this
journey takes place alone, in insecure conditions.
However, it is impossible to retreat, as the decision
was made to leave Lowood and meet with another
world, with other people.
It is clear that the conceptual metaphor given here
fully demonstrates Jane's vision of life. Youth and
inexperience encourage imagining life as lonely and
purposeless. The same semantic content finds
expression in another metaphor: “Alas, this
138
Shokhrukhovna, U., Khasanovna, U. and Parvina, A.
Metaphorical Insights into Human Psychology in Jane Eyre.
DOI: 10.5220/0012680200003882
Paper published under CC license (CC BY-NC-ND 4.0)
In Proceedings of the 2nd Pamir Transboundary Conference for Sustainable Societies (PAMIR-2 2023), pages 138-142
ISBN: 978-989-758-723-8
Proceedings Copyright © 2024 by SCITEPRESS Science and Technology Publications, Lda.
isolation—this banishment from my kind! Not only
the anchor of hope, but the footing of fortitude was
gone” (p. 321).
Upon arrival at Thornfield, Jane is greeted by
Mrs. Fairfax, a house servant, and her pupil Adele, a
French girl. She describes her work as "I was now at
last in safe haven" (p. 90). It is also a phrase based on
the conceptual metaphor "LIFE is a JOURNEY."
However, a blameless and easy life does not always
satisfy Jane:
"To spend the long winter evening with her, and
her only, was to quell wholly the faint excitement
wakened by my walk—to slip again over my faculties
the viewless fetters of a uniform and too still
existence; of an existence whose very privileges of
security and ease I was becoming incapable of
appreciating. What good it would have done me at
that time to have been tossed in the storms of an
uncertain struggling life, and to have been taught by
rough and bitter experience to long for the calm
amidst which I now repined!" (Chapter 12, 108).
The conceptual metaphor mentioned above is
activated again, and the journey once more consists
of sailing on the sea. The frame of the metaphor is
expanded by adding nodes like "small boat,"
“tossed,” “storm.” Tired of the easy life, the silence
in Thornfield, Jane imagines this life as a man
standing on his feet. Therefore, in combination, she
does not forget that such calmness should be
appreciated. Being in a temporary environment, in the
conditions of a sea voyage, a small boatman (Jane
imagines herself to be just like that) is not so pleased
to meet a storm and look for a way to navigate
through it.
Let's move on to the analysis of the following
passage:
"Yesterday I trusted well in Providence, and
believed that events were working together for your
good and mine: it was a fine day, if you recollect—
the calmness of the air and sky forbade apprehensions
respecting your safety or comfort on your journey. I
walked a little while on the pavement after tea,
thinking of you; and I beheld you in imagination so
near me, I scarcely missed your actual presence. I
thought of the life that lay before me—your life, sir—
an existence more expansive and stirring than my
own: as much more so as the depths of the sea to
which the brook runs are than the shallows of its own
strait channel." (Chapter 25, 267).
The month of hunting is over, and on one of the
fast days, Jane is going to marry Rochester. In
Rochester's absence, who has gone to find out the
news from small farms, Jane is worried and excited
about the expected changes in her life. Walking
through the park, she thinks about Rochester. Jane,
who compares her life to Rochester's, makes life look
like a river. At the same time, the directions of the
metaphorical mind take those manifestations that are
under them:
Depth of sea to which the brook runs the depth
of Rochester's life;
Shallows of strait channel the shallowness of
Jane's life;
Expansive and stirring rich life experience,
exciting life experience.
In the conceptual framework of the metaphor,
Rochester's life is compared to the sea, through which
little fuel passes, while Jane's life is compared to
shallow water in the channel bed. This quality is a
metaphorical contradiction, which, on the one hand,
shows Jane's respect and passion for Rochester, and
on the other hand, signals her humility. A metaphor
of the same appearance, of course, informs the
inevitability of achieving the goal of marriage.
But it's not always easy to capture the dream.
After finding out that Rochester has another wife and
that this mad wife is locked in a house on the third
floor, Jane leaves Thornfield. But Jane, wandering
around the neighboring district of Whitcross, does not
despair, despite hunger and exhaustion. On the
contrary, she believes in Allah and expects
encouragement from him. Compare:
"Life, however, was yet in my possession, with all
its requirements, and pains, and responsibilities. The
burden must be carried; the want provided for; the
suffering endured; the responsibility fulfilled. I set
out." (Chapter 28, 311).
Rochester's metaphorical contemplative activity
is associated with a bitter, traumatic life experience.
In his youth, Bertha took care of Mason and married
him, which made Rochester dissatisfied with his life.
As a result, he got used to being ironic and cold to
others, despising the injustice of life and fate. Such a
life, without words, does not satisfy anyone.
Psychologists define "life trauma" as a means of
alienation from the beauty and life-giving landscapes
of the world (Janoff-Bulman 1992: 6). Mental trauma
affects a person's mood, activity, and worldview,
which manifests itself. An example of this is the
content of the metaphors that define Rochester's
attitude to life:
“I started, or rather (for like other defaulters, I like
to lay half the blame on ill fortune and adverse
circumstances) was thrust onto a wrong tack at the
age of one-and-twenty, and have never recovered the
right course since...” (Chapter 14, 126).
These lines are an example of a conversation
between Rochester and Jane. In response to Jane's
sarcasm, Rochester admits that there are no
deviations from reality in his behavior. In his
response, Rochester, commenting on his life
experience, claims that the path of life is not his
choice but dictated by God (bad luck). As you know,
Metaphorical Insights into Human Psychology in Jane Eyre
139
it is better that the life path leads to some good result,
and it consists of a triad of source-direction-goal. To
achieve the goal, you need to choose the right
direction. So, the metaphor that Rochester uses
sounds like this: "life is a journey forced onto a wrong
way."
Rochester is easily ranked among tragic
characters, and his first marriage is the cause of the
tragedy. Although it is difficult to get detailed
information about his previous life from the work,
from his conversation with Jane, one can understand
how depressed his outlook on life is. This attitude and
worldview are manifested in the following
metaphorical expressions:
a) Rochester's memories of his shameful
relationship with the French dancer Celine:
"I had not, it seems, the originality to chalk out a
new road to shame and destruction but trod the old
track with stupid exactness not to deviate an inch
from the beaten center." (p. 132).
In these lines, he portrays his life as a journey that
follows the same path again. This story had already
led him to Bertha Mason. The consequence is nothing
but shame and dissatisfaction;
b) Rochester's confession, ending with Jane's
departure:
"Divine justice pursued its course; disasters came
thick on me: I was forced to pass through the valley
of the shadow of death. His chastisements are mighty,
and one smote me which has humbled me forever."
(p. 430).
In this case, life without Jane faces a catastrophe
that is coming in search of her. This, in turn, is an
allusion to the punishment incurred for his actions.
The fact that the conceptual metaphor "LIFE is a
JOURNEY" underlies all of the above metaphors
does not arouse suspicion. It is also known that a
journey, as we said earlier, has a start, middle, and
end points. Different directions are sometimes right,
while the rest are wrong.
In another passage of the novel's text, Rochester's
attitude toward life takes on a special look:
“You think all existence lapses in as quiet a flow
as that in which your youth has hitherto slid away.
Floating on with closed eyes and muffled ears, you
neither see the rocks bristling not far off in the bed of
the flood nor hear the breakers boil at their base. But
I tell you—and you may mark my words—you will
come some day to a craggy pass in the channel, where
the whole of life’s stream will be broken up into whirl
and tumult, foam and noise: either you will be dashed
to atoms on crag points or lifted up and borne on by
some master-wave into a calmer current—as I am
now.” (Chapter 15, 133).
Talking to Jane, Rochester wants to share his rich
life experience with her. As a man burned by a bitter
fate, he wants to warn Jane about many things. The
metaphor "LIFE is a JOURNEY" is developing,
warning the interlocutor that life is no longer the
same. According to its pattern, the river of life flows
unevenly, quietly: “rocks bristling not far off in the
bed”; “breakers boil at the base”; “craggy pass in the
channel.”
3 RESULTS AND DISCUSSIONS
Researchers argue that the metaphorical shift is not
complete; instead, the transition from the source to
the intended content will be partial. Consequently,
one or another part of the reported information may
be omitted (Lakoff, Johnson 2003). Despite this, a
person can act in their own way, reflect, without being
under the pressure of metaphors or other linguistic
phenomena. In contrast, Rochester has become the
"prey" of a metaphor that gives his life full partial
coverage. For this reason, the significance of the path
to the river, reflected in the metaphors he uses,
emphasizes the dangers and obstacles on the path of
life. All this indicates Rochester's depressed mood
and a hopeless outlook.
Consider another example:
“To live, for me, Jane, is to stand on a crater-crust
which may crack and spew fire any day.” (Chapter 20,
205).
In this oratorical structure, the metaphorical
attitude to life is unique, with the source being the
crater-crust. This source is influenced by the fact that
Bertha had set fire to his room the night before.
Consequently, the content of the metaphor is related
to the fire that occurred the day before, and the word
"crater" itself has an associative connection with
concepts like glowing rock, fire, and smoke. This
metaphor evokes images of hell and alludes to the
fire-breathing monster in folklore. According to
Rochester, his wife is akin to such creatures, and
being in the presence of such a volcano is always
dangerous for her husband.
Rochester continues to describe his life of
suffering:
“Well then, Jane, call to aid your fancy:—suppose
you were no longer a girl well reared and disciplined,
but a wild boy indulged from childhood upwards;
imagine yourself in a remote foreign land; conceive
that you there commit a capital error, no matter of
what nature or from what motives, but one whose
consequences must follow you through life and taint
all your existence. Mind, I don’t say a crime; I am not
speaking of shedding of blood or any other guilty act,
which might make the perpetrator amenable to the
law: my word is error. The results of what you have
done become in time to you utterly insupportable; you
take measures to obtain relief: unusual measures, but
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neither unlawful nor culpable. Still, you are
miserable; for hope has quitted you on the very
confines of life: your sun at noon darkens in an
eclipse, which you feel will not leave it till the time
of setting...” (Chapter 20, 206).
In this passage, Rochester shares his suffering
with Jane, recounting the hardships of his youth.
Here, a conceptual metaphor is fitting: LIFE IS A
DAY. The metaphor conveys the stages of life
equated to the phases of a day. The sun represents a
source of a bright sense of self, noon symbolizes the
peak of life, sunset signifies death, and darkness
refers to an injury preventing one from feeling like
oneself. Rochester's depressed attitude toward life is
explained by the metaphor, indicating that the injury
from his youth haunts him for the rest of his life,
distancing the bright pages of life from him.
Saint John's thoughts about life are connected
with his religious position. Choosing Jane as his wife
during his missionary journey, John Rivers, an
ambitious and dignified man, abandoned her and left
for India, where he spent the rest of his life. His
attitude towards life is different from that of Jane and
Rochester. Compare:
“It is hard work to control the workings of
inclination and turn the bent of nature; but that it may
be done, I know from experience. God has given us,
in a measure, the power to make our own fate; and
when our energies seem to demand sustenance they
cannot get—when our will strains after a path we may
not follow—we need neither starve from inanition nor
stand still in despair: we have but to seek another
nourishment for the mind, as strong as the forbidden
food it longed to taste—and perhaps purer; and to hew
out for the adventurous foot a road as direct and broad
as the one Fortune has blocked up against us, if
rougher than it.” (Chapter 31, 347).
Lord Rivers, unlike Rochester, believes in God
and that any test can be overcome with divine help.
His metaphorical expression, "LIFE - is a JOURNEY
with objects," suggests that obstacles are inevitable,
and everyone must face them, including those falling
into involuntary slaughter, destined to leave. Lord
Rivers emphasizes the importance of not despairing
but seeking the right path, believing that the journey,
though difficult, leads smoothly to the destination.
In another narrative structure, he states that "life
is a long way to go”:
“I am the servant of an infallible Master. I am not
going out under human guidance, subject to the
defective laws and erring control of my feeble fellow-
worms: my king, my lawgiver, my captain, is the All-
perfect. It seems strange to me that all round me do
not burn to enlist under the same banner,—to join in
the same enterprise.” “All have not your powers, and
it would be folly for the feeble to wish to march with
the strong.” (Chapter 34, 386).
Lord Rivers expresses pride in going on a
missionary trip to India as an "infallible Master",
"not... human guidance, defective laws and erring
control... feeble fellow-worms." His metaphor
compares the future missionary life to a massive
activity sponsored by the Creator, using high-style
units like "banner", "join", "march". The metaphor is
an attempt to encourage Jane to leave with him.
Cognitive scientists assert that an extraordinary
metaphor has an inner power that shapes and reflects
our experience, rapidly impacting the listener's
consciousness. The metaphor used by John Rivers has
the same content, conveying the idea that a
purposeful, strong person who acts according to plan
can walk the path of life and achieve their dreams:
“It is just what I want. And there are obstacles in
the way: they must be hewn down.” (Chapter 34,
392).
This narrative structure also states that "life is a
long way to go”. In total, there are 36 metaphors
reflecting the characters' attitudes towards life in the
novel, with different meaningful connotations.
Table 1: Metaphors that reflect the attitude towards life in
the speech of the heroes of the novel.
Metaphors of attitude
to life
( total number 36)
Jane
Eyre
(14)
Edward
Rochester
(12)
St. John
Rivers
(10 )
Journey "road,
journey" (without
p
urpose and control)
8 2 0
Journey "road,
j
ourne
y
"
(
dan
g
erous
)
0 2 0
Journey “йўл, сафар”
(forward or
b
ackward)
2 0 1
Journey "road,
journey" (in the right
or wrong direction)
0 3 0
Journey "road,
journey" (in the face
of difficulties
)
0 1 4
Journey "road,
journey" (aimless)
0 0 5
Journey "road,
j
ourne
y
"
(
fi
g
ht
)
1 1 0
Journey "road,
j
ourne
y
"
(p
ersecution
)
1 2 0
Life is a book 1 0 0
Life is a river 1 0 0
Life is a day 0 1 0
Metaphorical Insights into Human Psychology in Jane Eyre
141
The table reveals that the most frequent metaphor
regarding Jane's attitude toward life in her speech is
the concept "life is a journey without a goal and
without control" (8 instances). However, most of
these metaphors are articulated in the initial part of
the novel, specifically depicting the pathetic image of
Jane in an orphanage. The metaphors conveying
Rochester's perspective on life fall into three
categories: (a) "life is an aimless journey," (b) "life is
a journey in the wrong direction," and (c) "life is
exile." On the contrary, Lord John describes his life
using metaphors of "aimless travel" and "life is a path
to difficulties."
Jane's metaphors about life exhibit a more
detailed exploration compared to the metaphors used
by other characters. These metaphors figuratively
embody various aspects and stages of life. Firstly, this
suggests that the narrator (Jane) intends to convey her
spiritual experiences about life in a more thorough
manner than the other characters. Secondly, it implies
that the speaker is an optimist, possessing an
optimistic psyche. The diversity of metaphors used
after puberty indicates Jane's increased life
experience. Now, she approves of being "tossed in the
storms of an uncertain struggling life" (Chapter 12,
108), feeling as "a wanderer on the face of the earth"
(Chapter 21, 216), and expressing doubt about having
taken a step that degraded her social existence
(Chapter 31, 344).
Rochester's chosen life metaphors are also rooted
in his experience, reflecting the speaker's depressed
state and his perception of planning life as a
dangerous journey. Rochester describes life as a
continuous cycle where "no sooner have you got
settled in a pleasant resting-place, than a voice calls
out to you to rise and move on, for the hour of repose
is expired" (Chapter 23, 237). Such metaphors are a
manifestation of bitter life experience.
St. John Rivers' speech, while less rich in
metaphors, predominantly revolves around an
exposition of aimless life stages and the difficulties
that may be encountered. Although the metaphors
used by John also convey the conceptual meaning of
"life is an aimless journey," the speaker is cognizant
of existing obstacles and has not lost hope of
overcoming them.
Experts assert that narrative statements can be
categorized into three types: stability,
progressiveness, and regressiveness (Gergen 1998).
In a stable presentation, events are interconnected in
a way that maintains an unchanged goal or result,
reflecting an optimistic outlook on life. Conversely, a
regressive statement signifies a diminishing impact of
shocks in the speech. Such statements aim to
captivate the listener's attention, prioritizing the goal
of eliciting compassion.
4 CONCLUSION
Following the distribution of the narrative types
mentioned above, we categorize Jane's style of speech
as progressive, while Rochester's style leans towards
the regressive type. St. John's speech, on the other
hand, exhibits a stable appearance. In essence, Jane's
speech exudes a sense of confidence in life, a desire
to share successes with others, and thereby gain
respect. Rochester, in contrast, harbors only the desire
to evoke compassion in Jane, reflecting a depressed
psyche in his attitude toward life. Finally, Lord John's
speech echoes his commitment to religious
responsibility.
Consequently, through the analysis of the
metaphors employed in the speech of the main
characters of the novel, it becomes evident that these
phrases not only reflect their attitudes toward life but
also contribute to the formation of similar
metaphorical constructs. Specifically, the expanding
content of metaphorical phrases used by Jane is a
product of the development of her cognitive abilities,
rooted in the growth of her life experience.
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