1. In chapter 11 Jane initially seems to be excited for her new role as a governess. A new stage of Jane's life has begun, and she feels it will be a good one. From the simplicity and peacefulness of Lowood, Jane has entered the stately, upper-class realm of Thornfield. Jane compares the change in her life as a much like a “new scene in a play”, she has undergone a dramatic change in herself since being at Lowood, and now she can use her new teachings for good. However Jane is not “tranquil in my mind”. She is anxious for her new role as governess, “all sorts of doubts and fears” are troubling her thoughts. She has had time to contemplate the new stage in her life without the thrill of adventure, and now all of her cumulative fears are collecting as she has time to consider what this movement from Lowood to Thornfield could actually mean. Her thoughts on the matter seem to disappear after the arrival of the driver, and instead considers the condition of Mrs Fairfax’s lifestyle, and also her personality. After Jane initially speaks to Mrs Fairfax, she mentions that Mrs Fairfax warms Jane’s heart, and wishes to reciprocate the kindness that Mrs Fairfax shows to her. Jane decides that Thornfield is her safe haven, she is “content” with the new beginning to her life,. Upon awakening Jane comes to the conclusion that this new era of life would be fairer for her and a new beginning, “one that was to have its flowers and pleasures, as a well as its thorns and toils”. In Chapter 12 Jane begins to grow tired of her position as governess, even though she is still happy. The quiet haven of Thornfield has become stagnant and lonely, and the uniform, still life it offers provides "an existence whose very privilege of security and ease" that Jane is becoming unable to appreciate. Yearning for a life of excitement, variety, and intellectual stimulation, Jane isn't satisfied with the monotony of Mrs. Fairfax or the youthful simplicity of Adèle. In consequence, Jane spends much time within her own imagination, opening her inward ear to "a tale my imagination created, and narrated continuously; quickened with all incident, life, fire, feeling, that I desired and had not in my actual existence." Jane suggests that her problems are gender-related. Women need active pursuits, 0just as men do; they, too, need to stretch their intellectual limits. Like men, they suffer from rigid restraint and absolute stagnation. Indeed, Jane believes men are "narrow-minded" to suggest women should satisfy themselves with domestic pursuits. Jane’s fantasises of a Gytrash when she sees the horse in the distance, Jane’s restlessness shows again as she attempts to create a fantastical scene, Jane is moving back into her mind, instead of gaining solace from the physical world around her.
2. In chapter 13 the relationship between Jane and Rochester develops. Rochester is a grim and unfriendly man, but Jane enjoys his gruffness, because she wouldn't have known how to respond to grace, elegance, or politeness. Because Rochester is so natural, not acting a part, Jane feels she can also be open and honest during her interactions with him. Continuing with the mythic, almost supernatural theme of their initial encounter, Rochester reveals that he thought Jane was a fairy who had bewitched his horse when they first met. Rochester repeatedly refers to Jane as a sprite or elfin character, claiming that the "men in green" are her relatives, repeating the associations between Jane and fairies that began early in the novel, and emphasizing the mystical aspects of her personality. As an orphan, Jane's past and future are both open; she is not required to cater to anyone else's desires for her; if she wants to claim fairies for kin, she can. Significantly, both Jane and Rochester give their initial meeting a fairy-tale significance, suggesting their relationship will be ideal or special in some way.
After gazing at her drawings, Rochester finds