Team Sharks

Jake Atkinson || Kiera Flanigan || Hannah Gerson || Selena Spurrier || Izzy Wilson

Edward Rochester Artist Statement

In Jane Eyre, Edward Rochester is a character who crafts a very purposeful and specific image of himself in order to mask his shortcomings. Our group noticed a similarity between Rochester and a specific type of man, usually older, who tends to appear on dating apps: men who boast about having high standards and expectations for their partner to the point where it can be considered implied that he himself will abide by those same expectations, but who, in reality, expect the world to revolve around them. One of Rochester’s servants describes him as having an “unimpeachable” character, despite also saying that he is “not easy to describe… you cannot be always sure whether he is in jest or earnest, whether he is pleased or the contrary; you don't thoroughly understand him, in short – at least, I don't” (chapter 11). What this quote shows is the curation of Rochester’s image. In specifically making himself difficult to understand, he is essentially reducing the risk of exposing his “true” self and hence opening it up to potential judgments. This is apparent in the “I’m looking for someone who” section of the Tinder profile: Rochester explicitly states that he’s looking for someone to destroy his exterior walls without mentioning what those walls even are in the first place, why those walls exist, or why anyone would ever want to help a random person they found on a dating app figure themself out emotionally.

The implication is that Rochester feels himself to be so much of a catch that he earns the unconditional support of a woman who is naturally (in his mind, anyway) devoted to him. This is mirrored in the Tinder profile through the “I’m looking for” section, where he explicitly looks for a woman who is “sweet and caregiving”, and says that he would like to date a teacher, nurse, or flight attendant, all of which are traditionally feminine jobs which seem to signal proficiency in dealing with the needs of other people above the needs of the self. Similarly, he says that he dislikes “nagging” personalities and prefers “inquisitive” minds, which shows his hypocrisy yet again: he wants his partner to be endlessly curious about him, but he does not want to feel obligated to care about his partner or their needs.

Returning to the idea of Rochester’s “true” self, when Rochester reveals to Jane what she believes to be his truth, she becomes convinced that he “was naturally a man of better tendencies, higher principles, and purer tastes than such as circumstances had developed, education instilled, or destiny encouraged… I cannot deny that I grieved for his grief, whatever that was, and would have given much to assuage it” (chapter 15). When the false self is all that one projects, that which is true (or at least, what the manipulator claims to be true) feels that much more important. Not only that, but the one whom the manipulator has chosen to “reveal” themself to is thus convinced that their bond is more natural and “real” than it might actually be. In Rochester’s Tinder profile, we attempted to capture that sense of manipulation by having his profile say a lot, but reveal very little. This is mirrored in the profile by the near weaponization of his dog, Pilot. His love for his dog is supposed to be appealing to prospective partners; however, the ubiquity with which he inserts his beloved dog into his different prompts instead raises red flags. His constant attempts to call to attention his relationship with an animal, which on some level implies his capability in taking care of another living being, a trait which is on some level generally desirable in a partner, ironically reveal the sort of relationship he truly wants. He does not have much interest in a partnership of “equals” because he does not believe himself to have an equal. Instead, he wants a pet who is endlessly devoted to him and interested in him and his life, like his dog. We attempted to portray it so that Rochester himself does not fully understand why he uses the image of his dog like this, but that this red flag would make itself readily apparent to those who read closely.

As for the tone of the profile, we attempted to capture a sense of dramatic grandiosity, which is meant to signal to readers of his profile that he is, above all else, a very big and important man. One moment which really encapsulates Rochester’s flair for the dramatic in Jane Eyre can be found towards the end of the novel, following Rochester’s conversion and supposed “redemption” in Christian faith: he says, “Jane! You think me, I dare say, an irreligious dog; but my heart swells with gratitude to the beneficent God of this earth just now. He sees not as man sees, but far clearer; judges not as man judges, but far more wisely” (chapter 37). Instead of reflecting on himself internally or making meaningful change in his life, Rochester seeks the easy way out by instead committing to a grand gesture of questionable faith. In order to win Jane back, he tries to play into her religious faith, and he does so in quite a dramatic manner. This is intended to show that Rochester is the sort of man who would prefer to play a role in some sort of purifying act as opposed to committing to real self-reflection, a trend which is especially common in today’s world. Through portraying Edward Rochester’s Tinder profile as being filled with not only manipulation but moments of unintentional honesty, we draw similarities between Rochester and a not insignificant group of modern men who perform their lives in much the same way. 

Helen Burns Artist Statement

In Jane Eyre, Helen is a 12-year-old girl who is defined by her ability to find meaning beyond immediate suffering and comfort in God. She is a very calm character; her tranquility is described as being able to clear away “inexpressible sadness” (chapter 8). While her time in the novel is shortened by her untimely death, she stands out as one of the only supportive characters towards Jane, and she shapes the way that Jane views people in power, her peers, and God. Our group was interested in Helen because of her intense spiritual beliefs and short, but powerful, presence in Jane Eyre.

In the Lowood school scene, after Jane was punished through Brocklehurst's public humiliation, Helen provides comfort by reframing Jane's despair through an overarching spiritual lens. Her calm demeanor carries meaning as she shifts Jane from an embarrassed, ego-focused mindset by saying , “If all the world hated you, and believed you wicked, while your own conscience approved you, and absolved you from guilt, you would not be without friends” (chapter 8). This line directly correlates with the “About Me” section of the Tinder profile, which emphasises her focus on emotional depth and moral integrity over superficial validation. Helen does not seek her self-worth from public approval, but rather from consciousness and faith in God and the blessings he provides. This is why we said that she finds more peace in quiet moments, and is attracted to someone who would prioritize kindness and to search for “life's deeper meaning” with her.

We made her profile to have a strong religious framing, and to especially show her need for God to be at the center of every relationship. When Jane expresses to her that she would rather die than be unloved in chapter 8, Helen rebukes that thought by saying, “You think too much of the love of human beings… the sovereign hand that created your frame… has provided you with other resources.” This is the section that we got inspiration from when writing about her “Relationship Status.” Helen's philosophy is that romantic relationships would be nice, but they will always come second to her relationship with God and identity as a Christian. Even in her relationships, Helen seeks to glorify God, especially through her celibacy, which is another struggle that she acknowledges but will not budge on.

Helens' “Interests and Lifestyle” section is where we made the most modern adjustments, though they still align with her role as a moral guide and comforting character in Jane Eyre. The mention of her illness in the book is intentional as it’s not just a plot device, but a defining moment for her character. She mentions in the book that her death is “so certain an entrance to happiness—to glory” (Chapter 8). Including “reading/learning (despite my illness)” reflects Helen’s acceptance of ‘eternal life’ through her faith, and her perseverance in a troubled time, rather than pretending her suffering does not exist. Part of Helen's agency in the book comes from the understanding that she has over her physical body, as well as a comfort in death.

Her mission trip to Uganda and her attendance at the Apostolic Bible Institute serve as a contemporary analog for Helen's devotion to God, and that has shaped her entire life through and for him. Helen embraces her faith throughout her entire life, and wanted to go to a school that was full of students who were similar and like-minded with her. Her mission trip serves as an extension of her traits as a calming, warm, and service-driven character. We felt that there are aspects of ‘white-savoirism’ in her choice to go to Uganda and help in an underdeveloped country, but that she does not see it this way. She was put on the earth to serve the Lord, and wants people to see him through her.

We also have her character living in the United States, in Ogden, Utah. Since she is an orphan and doesn't live with extended family – hence why she is at Lowood – she felt a pull to move and start a new life. She moved to Utah after college to be closer to a larger Christian community and prioritize God more, leaving the negative memories of her sickness behind in the United Kingdom and at Lowood. She says to Jane in chapter 8, “You think too much of the love of human beings; you are too impulsive, too vehement.” She thinks over her choices slowly and with intention; God is the priority, and hasty choices dishonor Christian values.

This Tinder profile works to make Helen Burns into a modern woman looking for love on a dating app, as her personality shines through. She rejects the pressure from mainstream media and hook-up culture. By maintaining Helen's deep faith and moral clarity, this adaptation argues that her values remain meaningful - and not changing - in a digital space often defined by immediacy and surface-level connections.