THE CONTROL OF THE IMAGINATION is at stake in Charlotte Bronte's Jane Eyre. Throughout novel, Jane comes under power of people and institutions want to break her spirit. While tyrants such as Aunt Reed, Brocklehurst, Rochester, and St John Rivers want to turn Jane into a personal servant, Lowood Institution wants to turn her into a servant of wage labour economy. In response to these attempts to control her, Jane's romantic visions of an open untamed landscape, such as moors, allow her to escape feeling of being enclosed and commodified. The central dilemma of Jane's struggle is whether or not she can enter into society on terms will allow her some measure of freedom within social order. Her final settlement at Ferndean is result of her struggle for such a balance. Here, she appears to be doubly free; she has freedom comes with having an employable skill and money in bank and freedom comes with being a romantic figure living on outskirts of civilization. But how free is she really? Many feminist critics have recognized a lack of freedom in Jane's marriage to Rochester, way it threatens to remove her from working world and turn her into a stereotypical Victorian angel in house. For example, in Uneven Developments: The Ideological Work of Gender in Mid-Victorian England, Nary Poovey argues Jane's retirement form working world reflects almost universal Victorian assumption that women would work only out of necessity and the belief voiced by conservatives women's proper work was moral superintendence and (unpaid) domestic labor (158-59). Jane's marriage to Rochester would appear to trap her in same oppressive patriarchal system novel critiques. While it is appropriate to read ending as one built upon compromise and constraint, this essay shifts focus away from Jane as angel in house to Jane as agent of modern nation-state. agent, she is able to live at Ferndean only because she has negotiated a complex deal with state, one insists she become an active participant in darker forms of control, such as those in use at Lowood school. Nancy Armstrong argues female domestic space of nineteenth-century novels is an apolitical space: As it became woman's sphere, then, household appeared to detach itself from political world and to provide complement and antidote to it. And in this way, novels helped to transform household into what might be called 'counterimage' of modern marketplace, an apolitical realm of culture within culture as a whole (48). Our reading of novel will demonstrate, however, version of nineteenth-century household constructed at end of Bronte's novel is not an apolitical space. Ferndean cottage may be a domestic space set back in woods, but inside this space Jane works for and helps maintain larger space of English nation. The novel presents a modern view of nation-state in which all spaces, even domestic ones, are part of a larger network of discipline. It presents a shift away from patriarchy, a shift is marked by ascendancy of benevolent mother figures, such as Bessie, Miss Temple, and Jane herself, but assumption of reins of power does not mark a clear-cut liberation for these women when they are then charged with making others conformable. The purpose here is to give Bronte credit for her hard-headed approach to position of women in nineteenth-century society, an approach says in modern nation-state women will find a more active role in production of culture but role will also demand they become implicated in larger mechanisms of social control. Much of novel traces movement away from tyranny as a mode of discipline. Foucault outlines, in Discipline and Punish, how rise of modern nation-state is marked by a shift away from spectacular forms of punishment, such as public hangings and floggings, to structural forms of discipline, ones built into shape of society. …