This chapter develops the characters of the Reeds, who haven't changed much in the years since Jane last saw them. The three Reed women are models of three different types of unacceptable female behavior. Eliza's ascetic appearance and crucifix signal her religious rebirth. Extremely rigid, Eliza has every aspect of her day planned out, yet Jane cannot find any "result of her diligence." When her mother dies, she plans to join a convent. Despite her seeming devotion, Eliza knows as little about compassion or love as does Mr. Brocklehurst. An angry, bitter woman, Eliza offers another negative image of Christianity. All of her work is self-centered, and she has little interest in her mother's health, not even shedding a tear when she dies. Always cold, rigid, impassible, Eliza is an example of a character who is too icy, too lacking in generous, passionate feeling. Jane's belief is that "judgement untempered by feeling is too bitter and husky a morsel for human deglutition"; Jane seeks a balance between judgment and feeling that will allow her a full, but healthy share in human joy.
While Eliza has too much judgment, too little feeling, Georgiana has the opposite: feeling without judgment. Where Eliza has consecrated herself to excessive asceticism, Georgiana has devoted herself to an immoderate fashionableness. Where Eliza is tall and extremely thin, Georgiana is buxom and voluptuous. Vain and shallow, Georgiana shows no interest in her brother's death or in her mother's illness. In a fashion similar to Céline Varens, Georgiana's mind is fully devoted to recollections of past parties and "aspirations after dissipations to come." Neither Eliza's nun-like life nor Georgiana's fashionable fluff interests Jane.
