“Jane! Jane! Jane!”
— Charlotte Brontë, Jane Eyre (1847)
Context
At the climax of Jane's residence with the Rivers family in Yorkshire, St. John Rivers has nearly persuaded her into a passionless missionary marriage when, alone with him in the moonlit parlour, she feels her senses 'summoned and forced to wake' by a thrill 'not like an electric shock, but quite as sharp.' What she hears is the cry of Rochester miles away at the burning ruin of Thornfield, the call carried across an impossible distance. Jane refuses to call it superstition: 'This is not thy deception, nor thy witchcraft: it is the work of nature. She was roused, and did — no miracle — but her best.'
How the repetition works
Where Plath's 'Daddy, daddy' doubles a proper noun to reverse it (the second iteration loaded with 'you bastard'), Brontë's three iterations of 'Jane!' do something the catalogue has not yet contained: they perform recognition across distance. The first cry announces a sound, the second establishes it as a voice rather than the wind, the third compels Jane to name it as Rochester's specifically and answer back into the void. The repetition is therefore not emotional emphasis but the operational mechanism by which a vocative survives the impossible distance the chapter has spent its pages constructing — Brontë's epizeuxis grants the hearer the cognitive purchase a single utterance could not.