Victorian society was very hypocritical towards the Gypsies. As George K. Behlmer says, "precisely because the Gypsies stood apart from the mainstream of urban-industrial life, they held a special fascination for the critics of that life. What appeared to be a characteristic restlessness among Gypsies therefore evoked both romantic praise and systematic harassment during the last third of the nineteenth century" (232). At the same time that the Gypsies were being discriminated against, they were also being romanticized. Behlmer cites as one reason for this the fact that Gypsies "could serve as representatives of the hardy competence associated with 'true' country folk" because they were "monuments to the Victorian ideal of mens sana in corpre sano (a sound mind in a sound body)" (239). Some people in the crowded cities of the newly-industrialized society missed the simplicity of life in the country and were attracted to the free lifestyle of the Gypsies. Society's fascination with Gypsies manifested itself in the literature of the time. Beside the romanticized descriptions of the Gypsy by the characters of Jane Eyre, romantic images of the Gypsy also appeared in works of fiction by many other authors throughout the Victorian Era.

Romanticized notions of Gypsy life are first evident in the reactions of the ladies at Thornfield to the Gypsy. Prior to the Gypsy's appearance at Thornfield, they had "'talked of going to Hay Common to visit the gipsy camp'" (217; ch. 18). They treat the Gypsies' homes as if they are museum exhibits, revealing their attitude of blind fascination towards a group of people that they obviously do not understand. One thing the young ladies may have been shocked to realize, however, is that they are acting like Gypsies themselves. The activities of the group of aristocrats, who travel around, spending a week or two at each friend's home, are really quite similar to the nomadic existence of the Gypsies. Charlotte Bronte uses this motif as a way to satirize the aristocrats.
Enticed by the magical and mysterious aspects of fortune telling, the young men proceed to romanticize the Gypsy even further. Frederick Lynn declares that the Gypsy is "'a real sorceress'," and his brother feels that "'it would be a thousand pities to throw away such a chance of fun'" (217; ch. 18). The whole group considers the idea of having their fortunes told "'excellent sport'" (217; ch. 18). When Sam leaves to summon the Gypsy, the "mystery, animation, expectation rose to full flow" (218; ch. 18). These young people obviously share the romanticized notion their society has about Gypsies.
Jane's description of the Gypsy is also romanticized. The Gypsy wears "a red cloak" and " a broad-brimmed gipsy hat, tied down with a striped handkerchief under the chin" (221; ch. 19). Real Gypsy women used this very image to promote the superstitious beliefs about their powers and to lure customers. The "impression [that Gypsy women had magical powers] was further enhanced if the Gypsy, dressed for the part by wearing colorful headscarves and droopy earrings, was old, ugly, and with the appearance of a 'wild-eyed hag'" (Mayall, "Gypsy-Travellers" 49-50). Mr. Rochester obviously picks the perfect disguise for making Jane think he is really a Gypsy. Jane, despite her practical, no-nonsense nature, finds herself caught up in romantic ideas about the Gypsy as well. She describes how the Gypsy's "strange talk, voice, manner, had by this time wrapped me in a kind of dream. One unexpected sentence came from her lips after another, till I got involved in a web of mystification" (225; ch. 19).