"Reader, I have married him," Jane proclaims in the first line of Bronte's famous conclusion to his masterpiece, Jane Eyre (552). The reader, in turn, responds to this powerful line by preparing for what is sure to be a satisfying ending: the fairy-tale climax of a Cinderella-style novel. Thankfully, Bronte does not disappoint in this regard, as both Jane and, by extension, her readers are swept up in a cloud of marital bliss and unparalleled happiness. “I know what it is to live entirely for and with what I love most on earth,” Jane declares of her dear Rochester (554). Emotion and passion abound in the first pages of the conclusion. Love, it seems, is everywhere, and both Jane and her loyal readers receive sweet fulfillment. Indeed, only one thing can distract the reader from this final note of happiness; only one person can shift the reader's attention away from the pervasive sense of joy. In fact, only St. John himself can ruin the last two pages. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay In the last two pages of the novel, Jane and Rochester's story is interrupted by the appearance of the icy St. John. This sudden interruption leaves readers surprised, disappointed, and perhaps even a little annoyed. Why did Bronte end her passionate love affair with the appearance of St. John and a revelation from the Bible? Likewise, if conclusions exist to aid readers in their interpretation of the rest of the novel, why does Bronte conclude by saying of St. John, “Amen, come, Lord Jesus!”? These questions loom over the reader like a black cloud intent on ruining a sunny day. A satisfying reading of the classic novel can only be achieved after addressing the role of the last two pages in the novel as a whole. After closing the book, the reader's mind immediately begins to revolve around the notion of religion in the text, and what the concluding lines may or may not say about the importance of spirituality. In fact, the reinforcement of religion in the novel's ending may be Bronte's way of indicating that religion is a major theme and should not be overlooked. If this is true, we must consider whether the ending portrays religion positively or negatively. On the other hand, perhaps the notion of destiny is the most resounding message, which has much more to do with the fulfillment of individual destiny than with religion as a whole. All possibilities must be examined before any kind of conclusion can be reached. Before we skip to the end, we need to briefly examine the ways in which religion is presented in the novel. Bronte weaves religion throughout the text, infusing spirituality into the characters of Helen Burns, Mr. Brocklehurst, and, of course, St. John Rivers. Each character represents a different aspect of religion, a different way for Jane to see the paradoxical (and often patriarchal) Christian faith of the time. Helen Burns is influential due to her extreme Christian views, which espouse tolerance and forgiveness at all costs. “The Bible commands us to return good for evil,” Helen states to Jane (117). Even though Jane rejects this form of Christianity as overly passive, she still absorbs its lessons and takes what she enjoys from it. The second glimpse of religion is offered to Jane in the form of Mr. Brocklehurst. Although Jane considers some of Helen's opinions, she seems to wholeheartedly reject Brocklehurst's evangelical hypocrisy and sanctimonious speeches. As head of Lowood, he preaches the value of sacrifice and deprivation while enjoying a rich lifestyle: "my mission is to mortify in thesegirls the lusts of the flesh" (127). Although this view of Christianity is outwardly rejected by Jane, she calmly accepts the simple way of life in Lowood. These two first impressions of the religion resurface time after time and remain in the reader's mind for throughout the novel. While Helen and Mr. Brocklehurst influence Jane as a child, St. John Rivers is the dominant Christian role model in her adult life, the type of St. John's religion is rejected by Jane on the grounds that he is too detached from the passions of life. Often compared to ice, St. John is devoted to Christianity at the expense of all worldly pleasures, including his one true love: "You must be. a missionary's wife," St. John states to Jane. "Thou shalt be mine: I claim thee not for my own pleasure, but for the service of my Sovereign" (501). St. John refuses the pleasure and rewards Jane "like a soldier it would be a good weapon" (504). Jane is forced to choose between divine love and human love, a division that seems arbitrary and unnecessary. Recognizing that she cannot deny the passion within her, Jane proclaims, "If I join St. John, I abandon half of myself: if I do so in India, I will go to an early death" (503). Jane rejects St. John's notion of complete religious devotion, opting instead to follow her heart and spirituality. With these three different versions of Christianity permeating the text, the final two pages on the life of St. John stand out as more than just a summary of what has happened so far. In fact, Bronte seems to want to read the conclusion of the novel as a final comment on religion. "Firm, faithful, and devoted; full of energy, zeal, and truth, he works for his race," Joan of St. John states, "opens their painful road to improvement" (555). He then praises him as "chosen" and "good and faithful servant": qualities that elevate him, his work and his immutable devotion to religion. In this sense, bringing back St. John at the end of the novel creates a sense of praise, a celebration of those who give everything they have to religion. Just as Jane admires Helen Burns, she seems to admire St. John's devout nature. Likewise, St. John appears to embody a "true" religious sense, particularly in comparison to Mr. Brocklehurst, since he actually lives his life as he says and suggests that others follow his example. Although Jane is happy in love, relegating St. John to the novel's conclusion seems to suggest that her divine love lies at a higher level, a level to which most people, including Jane, can only aspire. Indeed, as Jane and Rochester will one day face judgment, “no fear of death will darken” St. John's final hour, for “his mind will be clear; his heart will be undaunted; his hope will be sure; his heart steadfast." ” (556). If the reader chooses to leave the novel with these thoughts in mind, the ending can be read as portraying St. John as an ideal religious figure and Jane as simply too weak to follow him. A different reading of the ending can lead readers to a very different conclusion, in which religion doesn't fare so well. On the one hand, the ending portrays Jane and Rochester as a happy couple, complete with children and a home, while St. John lies alone in bed. of death. Both the alleged death of St. John and the actual death of Helen Burns are associated with suffering and isolation from the outside world "St. John is not married: he will never marry now," says Jane. "Hitherto he himself has sufficed for the toil; and the toil is nearing its end" (556). The dark tone of the last paragraphs has thepotential to leave readers with a negative, almost sacrificial view of religion. Jane, choosing her own spirituality and human love over the structure and sacrifice of devout Christianity, ends the novel happy and in love. The religious characters, in contrast, fare poorly throughout the novel, and the end can be seen as a simple extension of their sad fate. Helen, of course, dies of consumption in the depressing Lowood boarding school. Brocklehurst is "absolved of his duties by gentlemen of more extended and sympathetic rank," leaving the self-righteous evangelist without a high position. St. John presumably dies alone in a foreign country, far from the pleasures and realities of the human world. In this sense, the end can be seen as a critique of structured religion, favoring individuals like Jane who find a balance between this life and the next over those who, like St. John, give everything they have to God. can see both the positive and negative interpretations of religion offered by the ending, neither analysis is entirely satisfactory. The novel, after all, is the story of Jane Eyre and her search for spirituality and fulfillment, not a definitive judgment on religion. Viewing the ending as offering a concrete position on religion leaves readers unsatisfied, as Jane and Rochester's great love seems almost diminished by the appearance of the religious St. John and his biblical wisdom. Indeed, it could be argued that a truly satisfying interpretation of the novel can only be achieved when the role of fate, whether human or divine, is placed in it. above the importance of the novel's religious theme. “God has given us, in some measure, the power to decide our destiny,” St. John proclaims to Jane long before he tries to convince her to accept a life of servitude (457) . The phrase echoes throughout the novel, becoming a major theme in the text. Although Jane rejects the three dominant representations of religion, she never abandons her faith in God and spirituality. Jane's personal faith in both God and herself guides her actions, and it is this combined fate that ultimately brings her to where she is meant to be. Whenever Jane faces a moral or physical challenge, she looks to God for strength and guidance. For example, she turns to God for the strength to leave Rochester after discovering the shameful situation he has placed her in: "I did what human beings do instinctively when pushed to the extreme end, I looked for help in a man's highest power." : the writing 'God help me!' burst involuntarily from my lips" (394). Likewise, when Jane finds herself poor and hungry after leaving Rochester, she comments that she feels "the power and strength of God" (416). Jane uses her unique relationship with God to curb his overwhelming passions, rather than deny them altogether like St. John. Ultimately, he is able to find courage through his faith. Likewise, he sees that he will have to leave Rochester once he realizes that he has become a god for her, blurring the balance between the human and the divine “My future husband was becoming my whole world to me; and more than the world: almost my hope of heaven," Jane proclaims. "He stood between me and every religious thought, as an eclipse stands between man and the vast sun. I could not, in those days, see God for his creature: of whom I had made an idol" (361). This idea that Jane needs both the divine help of God and the powerful force of human love is integral to both her spirituality and her character in the his complex. Although Jane knows that he cannot deny his love for Rochester, he appreciates the fact that he cannot exist, 2002.