Comparison between Jane Eyre and Fairytales

Fairytale imagery shows up with incredible recurrence in the nineteenth-century English authors such as Charlotte Bronte. Even where its utilization is not obvious, other themes are exposed in a manner similar to the fundamental theme of fairytale. Many scholars have proposed that fairytales may be translated similarly as real-life stories to uncover essential examples of the mind and its improvement. This paper will investigate the advancement of the fairytale theme in several books such as Cinderella, Beauty and the Beast, and Snow White. The investigation of the fairytale imagery is based on comparison of the instances of the theme in these books with that of Jane Eyre (Bronte).
The Fairytale Themes
Essentially, Jane Eyre is a book brimming with fairytale references. For instance, there is a running theme that Mr. Rochester suspects Jane to be from the fairy world and not the human world. Jane Eyre adopts this customary fairytale structure. In numerous fairytales, for example, Cinderella, Snow White, The Beauty and the Beast, there is a courageous woman who encounters introductory need, experiences a challenge or something to that affect, lastly, enhances her circumstance in life, commonly through marriage.
Essentially, there is an association of the Jane Eyre to the Beauty and the Beast. For instance, in Beauty and the Beast, Beauty’s initial need is because she does not have a mother and also the risk of the harm to both her and her dad. She then encounters a challenge when she is detained by the Beast and must in the long run figure out how to look past his startling appearance and crudeness so as to be keen when dealing with him. Thereafter, he changes into his unique structure as a good looking ruler and they are hitched and her circumstance is along these lines progressed. In Bronte’s novel, Jane is at first inadequate with regards to a loving group. At that point, she experiences a trial when living with Rochester and figuring out how to look past his crude nature and appearance, and afterward confronts another challenge when she learns of Bertha’s presence and Rochester’s act of double-dealing her. She, in the long run, moves beyond this and weds Rochester, which enhances her circumstance in life too. Accordingly, the novel takes after the essential fairytale structure where the champion faces a poor present circumstance, experiences a challenge, and, in the long run enhances, her situation through marriage (Bronte).
The story of Jane in this fairytale is an inspiration to many women. It demonstrates the tale of a courageous woman who overcomes many challenges. Essentially, the book illustrates the trademark theme of fairytales where it gives inspiration to readers. Fairytales present complex situations that are solved by weak characters to enhance the inspiration of the targeted readers. In that case, Jane Eyre is not different.
Jane Eyre portrays a strong woman in Jane considering the time setting of the book is in a century where women were not empowered. All in all, the book presents similarities to other fairies including Cinderella, Beauty and the Beast, and Snow White that portray the same theme. Having the favourable position to start with, yet she, like Jane, is likewise as far as everyone knows as ‘plain’. After the Beast changes, the Beauty accepts that he would no longer need to wed a poor, ‘plain’ young lady. Moreover, Jane and Rochester have a superb adoration for each other that exceeds all boundaries.
The fairytale’s theme of struggles after losing one’s parents is evident in Jane Eyre. This perspective is also clear in Snow White. Snow White lives with her step mother, a malicious ruler, who despises her on the grounds that she is lovely (Barthelme 7-12). The Queen is spoiled inside but is charming from the magnificence that she uses as a disguise. Jane lives with her close relative and is as well hated. Snow White is reconvened something horrifying that she flees; then falls and lies there wailing (Barthelme 32).
Jane additionally learns something unpleasant; the man she cherishes is hitched, and flees, then falls and lies there wailing. They both go to a house where they are misjudged, yet mercifully received. As Jane goes into the house, they start to tease her: “‘As white as mud or death,” as their reaction. Notably, Snow White is supported by the diminutive people. They both are likewise offered a toxic substances. Snow White gets a ‘strict toxin apple from a dreadful old woman’, that is consistent in fairy stories (Barthelme 36). Jane is offered a marriage without adoration in which she would be pushed to her total breaking point. Defeating the condemnation (the toxin apple) she drives them to their ruler.
Another fairytale component displayed in Jane Eyre is the idea of initial luck. At the point when the novel starts, Jane is stranded and living with her close relative and cousins (Bronte 10). She has lost her parents and her caring uncle at a youthful age (Bronte 10). Her auntie is brutal towards her, continually levelling unjustifiable assaults on her character and declining to regard her as an individual from the family (Bronte 5). Her cousin, John, physically assaults her while her other cousins are unconcerned with her problems (Bronte 8). Her beginning lack of a caring family is fundamentally the same to that of Cinderella. Cinderella has lost her mother and had been left to live with a merciless stepmother and stepsisters who regard her as an employee (Perrault 17). Jane’s aunt and cousins are fundamentally the same to Cinderella’s stepmother and stepsisters in the manner in which they treated her. They enjoyed showing out her mediocrity and did not think of her as a member of the family.
There are likewise supernatural components in the novel Jane Eyre. Enchantment and the supernatural beings are basic topics found in most fairytales. For the most part, this comes as non-human characters, for example, pixies, dwarves, or witches and in addition as mysterious acts performed by characters in the stories. In that perspective, Jane Eyre has supernatural components. In spite of the fact that there are no genuine supernatural or extraordinary events which occur in the novel, there are occasions which indicate the supernatural beings. For example, while Rochester is keeping his crazy wife, Bertha, secured in Thornfield, Jane encounters numerous things which, until they are further clarified, give off an impression of being supernatural. For instance, she hears a peculiar, piercing chuckling, unexplained flames in the middle of the night within vicinity of her room as she sleeps (Bronte). These are all later clarified by the presence of Bertha in the house. However, they include a creepy tone and lead the reader to supernatural conclusions (Bronte).
Jane Eyre is different to customary fairytales in its manner of portraying women empowerment in them. The character of Jane conflicts with the original fairytale character of courageous woman. Most customary fairytales incorporate a courageous woman who is portrayed as reasonable or excellent. Jane, then again, is not depicted as delightful by any stretch of the imagination; she is plain and waifish (Bronte 77).
Jane, likewise, shows characteristics which differ from those of a prototype fairytale courageous woman. While most fairytale champions are mellow, caring, and sweet, Jane is inclined to episodes of disobedience and enthusiasm. She does not submit effortlessly to the shameful acts of what she confronts. She understands that her circumstance in life is out of line and she makes this known. When her cousin, John, hits her with a book, she calls him an “insidious kid” and afterward assaults him (Bronte 9). When she abandons her close relative’s home for school, she gives a discourse to her aunt, advising her that she is not thankful to her for taking her in, that she is “terrible; hard-hearted” and she treated her with “hopeless pitilessness” (Bronte 30).
In most fairytales, the champion submits to their position without battling back or whining. Such a case is evident in the Beauty and the Beast. The Beauty uninhibitedly submits herself to the brute to be slaughtered or detained, expressing “I will surrender myself, and be just excessively upbeat, making it impossible to demonstrate my affection to the best of fathers” (Beaumont 24). Jane also declines to submit to what she sees to be unfair treatment. Jane is a response to the severe perspective of ladies amid the Victorian time in which the novel was composed. Ladies were relied upon to be easygoing and resigned to their fates.
Conclusion
Taking everything menitioned above into account, Charlotte Bronte’s novel, Jane Eyre, incorporates numerous qualities of a conventional fairytale. It takes after the traditional structure and contains numerous fairytale components. For example, their beginnings do not have the Beauty and the Beast, it emerges as they progress. Jane Eyre is one of a kind in its exposure of feminist themes. The courageous woman rejects the customary feminist norms of magnificence and accommodation which are shown by large portions of the champions of conventional fairy tale’s parts. This is a response to the severe gauges of feminism which overwhelmed the Victorian period in which it was composed. Generally speaking, the novel can be viewed as a women’s empowerment fairytale
The tale of Jane does not end with the usual ‘happily ever after’, but rather with a more compelling and authentic, but fulfilling end. The harmed saint is restored by his genuine romance; they are hitched and start a genuine family. Jane figures out how to recover her personal development. She serves as an inspiration to the youth who may have passed through challenging incidences in their childhood, but end-up recovering their positive development. She intends to save Rochester’s not-real love kid from an awful school and awful childhood to serve as a positive power in her life. After all, fairytales are about restoration of lost connections. At its heart, Jane Eyre is an account of restoration, which makes it a fairytale of the first order.

Works Cited
Beaumont, Mme Le Prince de. “Beauty and the Beast.” Classics of Children’s Literature. Ed.
Griffith and Charles H. Frey. New Jersey: Pearson Prentice Hall, 2005. 22-29.
Bronte, Charlotte. Jane Eyre. New York: Norton & Company, 2001. Print.
Barthelme, Donald. Snow White. Print.
Perrault, Charles. “Cinderella.” Classics of Children’s Literature. Ed.
Griffith and Charles H. Frey. New Jersey: Pearson Prentice Hall, 2005. 17-20.