Rochester might return her love, and then recognizes that however Rochester may feel toward her, they are of the same nature and that Rochester has little in common with his social acquaintances. Toward Blanche Ingram, Jane first feels inferiority, accepting as likely that Rochester would prefer beauty, but she shortly realizes the barrenness of Blanche's heart, the emptiness of her mind, and the unnaturalness of her "spontaneity." In short, Jane sees that Blanche is not "genuine," and she accepts the loss of Rochester with sorrow for his sake rather than with self-pity. The material in this paragraph, and the often-quoted arguments Jane offers in refusing to become Rochester's mistress, indicate that Brontë exhibits in the characterization of her heroine a battle between passion and common sense, between conscience and unformulated desire. Jane is a character of conflicting motivations, all of which she herself recognizes and enunciates. Logically, then--to return to specific features of structure--the novel's reconcilement-by-marriage should provide either a balance of the conflicting elements or a judgment upon their dichotomy, or both. The marriage of Jane and Rochester furnishes both: passion and reason complement each other in their final relationship, and Jane's reliance upon conscience is justified not only by her final happiness but by Rochester's coming to believe that she had been correct to refuse his unsanctioned love.
             The movement toward this reconcilement is structurally amplified by a kind of "doubling" technique. Jane's simultaneous but contradictory propensities for passion and reason are paralleled, on a different level of personality, by a belief in equality of persons and compulsion either to submit to or to rebel against individuals.
             Throughout her history, Jane has declared her "equalness." She has presumed, as a child, to criticize her protectress, Mrs. Reed; she asserts, with Rochester's acquiescence...