Early critics of the novel, such as Elizabeth Rigby, objected to Rochester's character, finding him "coarse and brutal." In her opinion, the novel as a whole showed an unwholesome "coarseness of language and laxity of tone." The conversation between Jane and Rochester in these chapters was shocking to a Victorian audience; as Rochester himself admits, telling the story of his affair with an opera-dancer to an inexperienced girl seems odd. He justifies his action by arguing that Jane's strong character is not likely to "take infection" from this tale of immorality; indeed, he claims that he cannot "blight" Jane, but she might "refresh" him. Again, Rochester hopes that his relationship with Jane will bring innocence and freshness back into his life.
Just as women need to lead active lives, Brontë argues, they should not be sheltered from life's seamier side. Not only does the Rochester's past reveal his growing faith in Jane, it also shows the Byronic side of his nature. Like Lord Byron, a romantic, passionate, and cynical poet of the early nineteenth century, Rochester let himself be ruled by his "grande passion" for Céline, despite its immorality. Rochester is not afraid to flout social conventions. This is also apparent in his developing relationship with Jane; rather than maintaining the proper class boundaries, Rochester makes Jane feel "as if he were my relation rather than my master."
