A Character Comparison of the “Monsters” Within Mr. Rochester and Jay Gatsby

We are all monsters in one way or another. Arguably, all people have an inner evil that drives them. Whether it be greed, gluttony, or lust, it does not always outwardly define a person or their character. In the foreword of The Ashgate Research Companion to Monsters and the Monstrous, John Block Friedman says, “…monsters are all around us, in our dreams our children’s reading, in accounts of postcolonial capitalism and exploitation and films detailing the power relations between men and women, in our perceptions of disabled people in the streets; sometimes, even, they are us…” (Friedman, 27) In literature, for complex characters to be relatable, they are monsters… but this is what makes them human.

From the mysterious Mr. Rochester in Jane Eyre to the captivating, but morally bankrupt, Jay Gatsby—literature across the centuries has explored complex male characters who embody both monstrous and attractive qualities. These depictions reflect the intricate dynamics of male power and societal expectations, challenging readers to look beyond their superficial impressions and confront the intrinsic “monster” within men. Whether it is manifested through a magical physical deformity or the trappings of wealth and status, the portrayal of male characters as simultaneously attractive and repulsive forces offers an examination of gender roles and power structures in literature. Delving into the layered dynamics surrounding pivotal male figures in the works of Jane Eyre and The Great Gatsby, it is clear to see how literature has grappled with the multifaceted nature of masculinity and the hazardous terrains of male power across the centuries.

An early text that models Victorian themes of male power is Jane Eyre. The novel was written by Charlotte Brontë in the mid-19th century and offers a clear look into the male power dynamics in the 19th century. Jane Eyre is a notable, and important work of literature that describes this experience, being penned by a woman, and from the narrative perspective of a woman. Jane is observant, and experiences several instances of power dynamics, none more obvious than those surrounding Mr. Edward Rochester. The reader can see the employer-employee dynamics between Jane, a governess, and Mr. Rochester, her boss. Being Jane’s employer and the master of Thornfield Hall, Mr. Rochester embodies an incredibly complex interplay of power, secrecy, and vulnerability that mimics, but also challenges traditional perceptions of masculinity for the time. His dark secrets and eventual revelations are an onslaught of duality to his character—both as a figure of authority and a man trapped by his past mistakes and societal expectations; this duality reflects the broader theme of the “monster within,” where Mr. Rochester’s monstrous qualities are not just in his mysterious and sometimes harsh demeanor, but also in the societal and personal chains that bind him.

During Mr. Rochester’s initial introduction to Jane, he is quite literally thrown off his high horse. In both the literal and metaphorical senses, he is introduced with his guard down and injured. The reader is introduced to Rochester with arguably attractive qualities; he is vulnerable rather than brooding, something that isn’t typical for character introductions of powerful men. This pivotal moment in the novel of Jane Eyre not only serves as a literal fall from grace for Mr. Rochester but also symbolically introduces the vulnerabilities that lie beneath his imposing exterior. Rochester’s fall sets the stage for a relationship that outwardly defies the conventional power dynamics of the time. Jane’s role in providing aid to Rochester, despite her socially inferior position as a governess, initiates an interesting beginning to their relationship that somewhat hints at the potential for a more balanced power dynamic than Victorian norms would typically allow.

As the novel and Jane and Mr. Rochester’s relationship develops, so does the exploration of the monstrous qualities that Rochester embodies. His past is shrouded in secrecy and deception, elements that contribute to his “monstrous” demeanor. Yet, it is precisely these qualities that compel Jane—and the reader—to delve deeper, to look beyond the surface. Rochester’s complexity as a character lies in his ability to evoke both empathy and condemnation, prompting a reevaluation of what it means to be monstrous. Is the “monster within” defined by one’s actions and choices, or is it a reflection of societal judgments and constraints?

Mr. Rochester’s inner life and actions reveal the “monster” within through a multifaceted representation of human flaws, societal pressures, and moral ambiguities. This monster is most vividly illustrated through Rochester’s secrets and deception, particularly his concealment of the secret around Grace Poole. A notably mysterious statement from Mr. Rochester is after the bedroom fire, when he says, “Just so. Grace Poole—you have guessed it. She is, as you say, singular—very. Well, I shall reflect on the subject. Meantime, I am glad that you are the only person, besides myself, acquainted with the precise details of to-night’s incident. You are no talking fool: say nothing about it…” Rochester consistently creeps around his relationships in general, showing the lengths he might go to protect his social standing and personal desires. This deception symbolizes the monstrous nature of living a lie, where the shadows of shame, fear, and control loom large over his conscience and relationships.

Rochester’s inner turmoil and psychological complexity add another layer to the symbolic monster within him. His guilt over his secrets, combined with his passionate and often intimidating nature, suggests a deep-seated emotional struggle. This battle between dark impulses and the desire for redemption is central to Rochester’s character. The internal conflict within Rochester, a man tormented by his past yet yearning for love and forgiveness, exemplifies the dual nature of humanity, where light and darkness coexist. This has been apparent to many readers over the years. In a Medium article by Madelaine Hanson, she reflects on this saying:

“[Mr. Rochester] is a predator who targets women without the support networks necessary to finance themselves or gain support. His attachment style is complete and total control; he manipulates and plays on Jane’s emotions throughout the novel and hides and manipulates his reality to groom her (and I have no doubt, his other former lovers).” (Hanson)

Mr Rochester is terrifying: Why do we think he’s a romantic hero?” Medium, 26 Jan. 2022

The theme of power and control in Rochester’s interactions, particularly with Jane, initially presents another monstrous aspect of his character. His dominance and manipulation, under the guise of testing Jane’s affections, reveal a desire to assert control over those around him—a trait often associated with monstrosity. However, this initial portrayal is gradually transformed within the first few chapters as Rochester’s vulnerability is unveiled, and his dependence on Jane for emotional salvation emerges. This evolution from control to vulnerability, from monstrosity to humanity, challenges the initial monstrous depiction of Mr. Rochester.

Through the eyes of Jane, we see an exploration of male characters who embody both monstrous and attractive qualities providing a rich terrain for examining the evolution of gender roles and power structures in literature. As we move to analyze the beastly protagonist of Beauty and the Beast and the morally complex Jay Gatsby, the threads of monstrosity, attraction, and power continue to weave a complex tapestry that challenges readers to look beyond the surface and confront the deeper truths of the human condition. In examining the power dynamics between Jane and Mr. Rochester, Jane Eyre actually brings forward a nuanced critique of Victorian society, where the constructs of gender and class are interrogated and challenged. The novel invites readers to consider the implications of these dynamics not only in the context of personal relationships but also in the broader societal framework. By positioning Rochester as both a monster and a love interest, Brontë complicates the narrative of power, inviting a more nuanced understanding of masculinity, vulnerability, and the transformative potential of love.

Following the works of Jane Eyre, the theme of the monster within men has been repeatedly explored through various lenses. A 20th-century text that gives an interesting reflection on this theme is the aforementioned, The Great Gatsby, by F. Scott Fitzgerald. This novel stands as a monumental work in American literature, not only for its critical examination of the American Dream and, like Jane Eyre, observes through a narrative perspective. This novel is distinctive in its portrayal of the male experience, penned by a man and narrated through the eyes of Nick Carraway, a character who finds himself both fascinated and repelled by the lavish world of Jay Gatsby. From Nick’s vantage point, readers are introduced to Gatsby’s enigmatic charm, his boundless wealth, and the power that comes with it, all of which are initially alluring to Nick and serve to draw him into Gatsby’s orbit.

Jay Gatsby emerges as a metaphorical “monster,” born from his unyielding pursuit of the American Dream and his obsession with Daisy Buchanan. This fixation drives him to amass a fortune and construct a persona that is as dazzling as it is ultimately hollow. Gatsby’s mansion, his extravagant parties, and his reputation are all meticulously designed to attract Daisy, making him a monster of his own making—a creature forged from the depths of desire and the relentless pursuit of an illusion—very similar to Mr. Rochester.

Nick’s relationship with Gatsby is complex and deeply platonic, marked by a blend of admiration, intrigue, and eventual disillusionment. Initially, Nick is captivated by Gatsby’s charisma, his mysterious past, and the grandeur of his lifestyle. However, as the narrative unfolds, Nick’s initial admiration gives way to a profound realization of Gatsby’s flawed character and the tragic emptiness of his quest. This progression from fascination to a sober understanding reflects Nick’s own journey towards self-awareness and his critique of the society in which they live. Through Nick’s eyes, Gatsby is both an embodiment of the American Dream’s promise and a cautionary tale of its ultimate unattainability.

The power dynamics at play in Gatsby’s relationships, especially with Nick, offer an exploration of the facade of success. Unlike the dynamics between Jane and Mr. Rochester, where power shifts and evolves within the confines of their personal relationship, Gatsby’s interactions with his world are defined by an external portrayal of power that masks an inner vulnerability. Gatsby’s influence over Nick is similar to that of Mr. Rochester and Jane, rooted in allure and mystery rather than authority or control; Both characters construct a false personality for themselves in pursuit of a woman, Gatsby with Daisy, Mr. Rochester to Jane. 

Similar to Mr. Rochester, Gatsby also seeks out relationships for his own personal gain, going out of his way to befriend Nick, arguably to get closer to Daisy. While it is purely coincidental that Nick moves in next door to Gatsby, it seems almost undeniable that Gatsby’s pursuit of Nick is no mere coincidence. Gatsby invites Nick to one of his parties, and although nobody had seen Gatsby before, the night Nick decides to attend is precisely when Gatsby chooses to reveal himself. Shortly after their first introduction, Nick is elated by the attention of Gatsby, but the reader comes to realize this is all a ploy.

At the end of the story, as Nick reflects on the untimely death of Gatsby, Fitzgerald writes, “I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn, and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.” (Fitzgerald, 180) This quote encapsulates Gatsby’s monstrous nature—not in the traditional sense of horror, but in the tragic flaw of his own creation. His relentless chase after Daisy, a dream rooted in the past and an idealized version of love, ultimately leads to his downfall. Gatsby’s monster lies not in malevolence but in his inability to let go of an inherently unattainable dream, illustrating the destructive nature of obsession and the illusion of control over one’s own destiny.

Similar to Mr. Rochester, who is ensnared by the shadows of his past, Jay Gatsby is trapped by the illusion of a future that can never be. Rochester’s imprisonment within Thornfield Hall, metaphorically through his kept secrets and literally through the societal and moral expectations of his time, mirrors Gatsby’s entrapment within his own lavish estate, a prison of his own making designed to captivate Daisy Buchanan. Both men create elaborate facades, Rochester through his mysterious persona, and Gatsby through his false identity, all to seduce the women they love. Rochester’s attempt to shape his identity and future through deception and secrecy reflects Gatsby’s own transformation from James Gatz to Jay Gatsby, a self-made man who believes in the power of reinvention to secure his heart’s desire. Each character’s struggle is emblematic of a deeper quest for fulfillment and identity, captured by their own desires and the constraints of their respective societies—they are both ‘new money’ and can hardly be respected the same as those of ‘old money.’

Their relationships with the women they love, Jane Eyre and Daisy Buchanan, further illuminate their complexities. Rochester’s passionate yet tumultuous relationship with Jane is fraught with power imbalances and revelations that challenge their union, while Gatsby’s love for Daisy is built upon idealization of the past, a love that ultimately cannot withstand the realities of their present, and Daisy’s materialistic needs.

Both Mr. Rochester and Jay Gatsby face the consequences of their actions—their secrets catch up to them. Gatsby’s life ends through his tragic demise, a symbol of the ultimate futility of his pursuits. Fitzgerald’s reflection on Gatsby’s quest for the green light, a symbol of his unattainable dream for Daisy and a future that never materializes, serves as a commentary on the dangers of living in the shadow of one’s illusions. Gatsby’s failure to achieve his version of the American Dream highlights the commonality between him and Rochester: both are haunted by their desires, their dreams just out of reach, leading to their downfall. 

Mr. Rochester and Gatsby, each in their own era, represent the monster within men. In their quest for love and fulfillment, both men embody the eternal struggle between the allure of dreams and the harshness of reality, encapsulating the theme of the “monster” within men—a metaphor for the internal conflicts and societal pressures that drive individuals to pursue their desires at any cost. Their stories, appropriate for their respective social contexts, reflect the complex interplay of ambition, love, and identity, revealing how the pursuit of an unattainable goal can lead to one’s undoing. Mr. Rochester and Gatsby are not monsters in the traditional sense but are portrayed as such through their actions and choices, driven by the human conditions of longing and desperation. Ultimately, they show that people become self-made “monsters” when ensnared by the shadows of their desires and illusions, underscoring the timeless and universal resonance of their tragic journeys in the exploration of the depths of the human psyche from the perspectives of Jane and Nick.

Works Cited

Bronte, Charlotte. Jane Eyre. Wordsworth Editions, 1992.

Erle, S., Hendry, H. Monsters: interdisciplinary explorations in monstrosity. Palgrave Commun 6, 53 (2020). https://doi.org/10.1057/s41599-020-0428-1

Fitzgerald, F. Scott (Francis Scott), 1896-1940. The Great Gatsby. New York :C. Scribner’s sons, 1925.

Hanson, Madelaine Lucy. “Mr Rochester is terrifying: Why do we think he’s a romantic hero?” Medium, 26 Jan. 2022, madelainehanson.medium.com/mr-rochester-is-terrifying-why-do-we-think-hes-a-romantic-hero-181609e04174. Accessed 8 Mar. 2024.

Mittman, Asa Simon, and Peter Dendle. The Ashgate Research Companion to Monsters and the Monstrous. E-book ed., London, Routledge, 2016.

Ryan, J. S. “Monster Theory: Reading Culture.” Parergon 16.1 (1998): 130-133.

Young, Arlene. The Monster Within: The Alien Self in Jane Eyre and Frankenstein. 1991. UPenn, PhD dissertation. UPenn, UPenn.edu, knarf.english.upenn.edu/Articles/young.html. Accessed 8 Mar. 2024.

(This citation may be inaccurate. I cannot figure out the details of this work due to the container website.)