There are several.
1. Cold-hearted matriarch-- Aunt Reed, based on the Queen herself. Being left as the head of the family, she exerts power arbitrarily, imperiously, like an empress (which is what the Queen got called as well).
2. Conformist-- the girls at the school. Quiet, weak-willed, simpleminded, good only for being raised up to lie under a husband and bear and raise conformist children.
3. Evil self-righteous tyrant-- the history teacher at Lowood. She uses her own idea of Christian virtue to rampage over others who are weaker (the students, especially Helen) or else unable to meet her standards.
4. Cute irrelevant alien-- the French teacher at Lowood. Include Adele as a junior version of this. These people are amusing fluff but serve really as meaningless baggage about whom no-one should think seriously.
5. Religious saint-- Helen Burns. She is truly blessed; but she is as warm, sexy and compassionate as the Virgin Mary-- rather one-sided and not able to grow or mature.
6. Self-assured, unassailable woman of intelligence, compassion and power-- Miss Temple (Charlotte tries the same type with Lucy Snow in 'Villette'). Miss Temple is, till she goes away, Jane's own role model-- and a pretty good one.
7. Cool, calculating, self-important tart with hidden (selfish) agenda-- Blanche (her name means 'White', as in 'Blank'). Apparently Rochester's French opera girl was one too. Why is he so attracted to scheming idiots? --but then, we see that he isn't, for he respects Jane precisely because she is NOT an idiot.
8. Dutiful sexless servant-- Mrs Fairfax the housekeeper. To a further extent, Mrs Poole, except that Mrs Poole knows her own troubles and drinks to forget them. Mrs Fairfax willingly deludes herself into believing that everything is as she would wish it to be, cool, calm, under control.
9. Deprived, depraved madwoman-- Bertha. This one is most-often focussed-upon and, I believe, unfairly. You would not know it from liberal-minded professors today; but not all women in this period were deprived and depraved. I blame that idiotic fanfic effort, 'Wide Sargasso Sea', by Jean Rhys (1965) for all of this. Before it, Jane Eyre was viewed as a noble heroine. Since 'WSS', she has been accused of being a co-conspirator with Rochester to deprive poor helpless Bertha of her rights as mistress of Thornfield. Personally (and professionally, as a scholar of 'JE') I am not buying it. My advice for anyone studying 'Jane Eyre' is to ignore all suggestions from 'Wide Sargasso Sea'.
10. Innocent girl/woman, possessed of both feminine vulnerability and moral fortitude, the best that all women of any era should be-- Jane. I devised a concept of the ideal woman as a 'triple threat': beautiful, virtuous (pure) and intelligent. Jane is not beautiful; but her author has her come into a fortune at the end of the book-- Victorians would have substituted either 'weight' (for they feared slender women would not survive illness or childbirth) or 'family fortune' for 'beauty' anyway; so by the end she is a 'triple threat' for the 1840s.
Pay close attention to the first and second scenes in the red-and-white (symbolic colours!) drawing room, when Rochester sort of interviews (interrogates) her and later critiques her artwork. Then reread the scene after the sham wedding when Jane finally comes down (to the same room) and Rochester begs to have her for a mistress. In these you see Charlotte's most important point about femininity: that men will admire and adore women most not for their physical charms (of which Jane has little) but for their intellectual and moral ones (of which neither Blanche nor Bertha have any).
'I could bend her with my finger and thumb: and what good would it do if I bent, if I uptore, if I crushed her?' --Rochester.
He finally realises could squeeze her neck in one hand and take her body if he chose, for he is the bigger, stronger, more physical one; but he can never have her will by force. And he knows he does not deserve her morally as well. And he thought he was 'all that', till now!
Thus Charlotte establishes a heretofore unique Victorian female role model-- the modest, meek, tower of virtue who, though *merely* female, controls the man's moods, his heart, his body as well. Here, in 1848-- perhaps finally, in human history-- we find that the female, not the male, is the figure of power in the relationship-- so long as she holds to what we now disparage as the Victorian model of prudery and prissiness, which is only logic, common sense, simple human decency and love.
Focus on why Rochester REALLY admires and loves her and you will have a good solid paper. :)
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I am an author, educator, editor and critic. Also, I read stuff :)