Charlotte Brontë tackled the oppressive structures of her day under the guise of writing a Bildungsroman: Jane Eyre. From her childhood to her time as a wife and a mother, Jane's perception of her life's purpose adapts as she navigates the economic structures that constrict her. The titular character of Charlotte Brontë's Jane Eyre represents the worker's struggle to escape oppression in a hierarchical economic system, demonstrated through her motivations and the hierarchy of supporting characters Brontë develops, particularly in Thornfield Hall.

Jane's life at Gateshead Hall was characterized by an intense hatred for her benefactress, Mrs. Reed, who neglected and abused her. Jane perceives her as the embodiment of all the evil in the world. Jane describes her arguments with Reed, who she describes as a “conqueror,” like clashes in a war: “It was the hardest battle I had fought, and the first victory I had gained” (Brontë 46). Though a child's imagination is to blame for Jane's conception of a grand struggle, the major reason why she acts out is because of her lack of socioeconomic power. She is told by the maid that she is “less than a servant, for [she does] nothing for [her] keep” (Brontë 17). Even as a child, she is already fighting for a higher position on the economic ladder, but she is not yet aware of it because she believes her purpose is to fight Reed. During her time at Lowood Institution, Jane graduates to the level of servant. She makes notable improvements psychologically; after being accused of deceitfulness, Miss Temple allows her to defend herself (Brontë 85). On the other hand, Jane is abused by her new master, Mr. Brocklehurst. Though we initially believe Brocklehurst is a generous philanthropist helping orphan girls, we learn his true intentions are to teach poor girls their place: “to mortify in these girls the lusts of the flesh; to teach them to clothe themselves with shame-facedness and sobriety—not with braided hair and costly apparel” (Brontë 77). He represents the worst of the upper class, living in luxury while subjecting Lowood's children to horrific conditions. However, Jane still views Brocklehurst as an extension of Reed's wrath; after being punished, Jane narrates: “an impulse of fury against Reed, Brocklehurst, and Co. bounded in my pulses at the conviction” (Brontë 70).

When Jane moves to Thornfield Hall, three power dynamics are established. The first is between Jane and her pupil, Adèle. Adèle is in many ways the perfect servant, described by Jane as “sufficiently docile” (Brontë 123) and by Mr. Rochester, the master of Thornfield, as “unsophisticated” (Brontë 145). As her teaching continued, Jane reports that Adèle “soon forgot her little freaks, and became obedient and teachable” (Brontë 129). As only a governess, Jane is not in complete control of Adèle, but the relationship demonstrates Jane's capitulation to the hierarchical structure. Obedience and discipline are the most important characteristics in a servant, according to Jane, who limits Adèle's unruly aspects. Jane views the limitations she imposes upon Adèle positively, yet they mirror the limitations imposed upon herself, which she views as attacks on her very spirit.

The second power dynamic is between Jane and her equal, Mrs. Fairfax. Fairfax is a diligent housekeeper, keeping every room in order regardless of the frequency of use (Brontë 124). Like Jane, Fairfax is under the rule of Mr. Rochester. But unlike Jane, who is eager to climb the economic ladder, Fairfax is content with her status as neither master nor servant, and doesn't see the need to ruminate on it. For example, she admits she has become so accustomed to Rochester's proclivities that she can't even name them (Brontë 152). Regarding her relationship with Rochester, Fairfax says, “my employer is always civil, and I expect nothing more” (Brontë 119). She represents the stagnant middle class, comfortable in her unawareness, a characteristic of which Jane takes notice: “[the good lady has] no notion of sketching a character, or observing and describing salient points, either in persons or things” (Brontë 125). Though Fairfax and Jane should theoretically share solidarity as near equals, Fairfax is often a resistant character who is passionate about her subservience. When Jane and Rochester initially get engaged, Fairfax could not accept the news, telling her that she thought Jane was “modest and sensible” (Brontë 309). But Jane views both Adèle and Fairfax's positions as inadequate, noting: “I valued what was good in Mrs. Fairfax, and what was good in Adèle; but I believed in the existence of other and more vivid kinds of goodness, and what I believed in I wished to behold” (Brontë 130).

The third power dynamic is the most significant: Jane with her employer, Mr. Rochester. Rochester cannot be described as a pure villain in the same way as Reed or Brocklehurst. Interestingly, Rochester does not view Jane's obedience to him as the result of an employer-employee relationship, but rather as a result of their personal qualities. He postulates that his directness and great demands are justified due to his age and “varied experience” (Brontë 160). Jane disagrees, arguing that it is how one uses experiences that determines one's rightful social standing and Rochester admits he has made poor use of his experience (Brontë 162). Rochester also displays a desire to accommodate the feelings of his subordinates, unlike the authoritative Reed. At the same time, Rochester insists that all his commands be obeyed, and he searches for evidence to justify this assertion. As the topic of the conversation shifts to submission for a cost, Jane argues no workers would submit to insolence, to which Rochester responds, “Humbug! Most things free-born will submit to anything for a salary” (Brontë 161). Jane is arguing that a slave fundamentally differs from an employee, but Rochester sees no such distinction. To a slave, the whip enforces compliance; to an employee, Rochester argues, income enforces. This conversation marks a shift in Jane's thinking, where she identifies her purpose not as personal battles, but as economic ones.

While Jane aims to climb the economic ladder, she also takes pride in her modesty and plainness. This apparent paradox reaches its climax when Jane stays firm in her plans to leave Thornfield following Rochester's announcement of his marriage to the wealthy Miss Ingram. She remarks:

Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong!—I have as much soul as you—and full as much heart! And if God had gifted me with some beauty and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you. I am not talking to you now through the medium of custom, conventionalities, nor even of mortal flesh: it is my spirit that addresses your spirit; just as if both had passed through the grave, and we stood at God's feet, equal—as we are! (Brontë 296)

For the first time, Jane declares modesty and “spirit” as compatible. Her modesty is a display of her character; Jane aims to acquire wealth not for wealth's sake, but for freedom. Her frustration with the class structure and its limitations on her romantic aspirations also leads her to assert that she is equal to the highest class in terms of potency of character, or even a more radical suggestion: the spirits of both master and servant are equal. Though articulated through a hypothetical, Jane states her mission clearly: to bring herself the wealth needed to create a balanced relationship with Rochester.

Like most women of her era, Jane views marriage with Rochester to a certain extent as an economic transaction. However, she differs in that she doesn't aim to achieve stability through subservience to and reliance on her husband, she instead aims to achieve freedom from master-servant constraints through an egalitarian relationship. So it appears significant that Rochester insists she call him by his first name, Edward; it reflects communication as peers. After the disaster of their initial wedding and Jane's departure and return to Thornfield, Rochester has been lowered in his power through his blindness and loss of hand, and Jane's status has been elevated. Jane is able to proclaim, “I am independent, sir, as well as rich: I am my own mistress” (Brontë 503). They are finally in positions to make a truly mutual agreement, a marriage, which concludes Jane's journey from “less than a servant” to above hierarchy altogether.

Though Jane Eyre certainly faces physical oppression and cruelty throughout the novel (notably at Lowood), her true struggle was against the economic limitations of desires that imprisoned her spirit. In this way, Jane represents the standard worker, who may be resentful of the system that entraps them and limits their aspirations, but whose only option is to work within it until freedom can be reached. Jane is successful, escaping from the uncertain fate of the worker.