atic structure of the novel, as Jane must necessarily come to realise that while total reason without passion, as embodied in the water imagery described above, is undesirable, unregulated passion must be avoided as well. Bront uses the water imagery at this stage in the novel to show us the probability that Jane will succumb to the temptations of romantic love by listening only to her passions, in believing that she can marry Rochester as an equal. A character which puts such emphasis on the passions is likely to fall prey to this sort of trap. Another central character whose character is well-developed by the use of water and fire imagery is Rochester. Rochester is represented by much fire imagery. When he first returns to Thornfield, it is stated that "a warm glow suffused both it and the lower steps of the oak staircase" and there was "a genial fire in the grate". There is change in atmosphere in Thornfield - as Jane notes, "a fire was lit in the appartment upstairs" Immediately upon his return, the fire imagery and more significantly, this sense of fire and heat comes through. Rochester's words in his first meeting with Jane, "Come to the fire", could actually be seen as an invitation to indulge her passions and emotions. Bront is careful to use such fire imagery and representation as this is a central point in the thematic pattern of the novel. To Jane, Rochester represents the temptation of passion over reason. Significant thematically, Rochester offers Jane the temptation of finding romantic love and releasing the passions within her : "You are cold, because you are alone; no contact strikes the fire from you that is in you". These words, spoken to Jane while he was disguised as a gypsy lady, were spoken with the specific intention of drawing Jane out and making her admit to her feelings for him. Again, the rich image of a burning, passionate fire within Jane is used. While fire and water imagery is used by Bront in the developm...
