The literary technique of the double has been used throughout history for many purposes. In Shakespearean comedies, we see characters doubled (as twins, most especially) in order to achieve comic effects. In novels such as Dr. Jekyll and Mr. Hyde, the double is used for more serious purposes, to demonstrate two sides of a single self: the civilized self and the primal being that lies just below the surface of civilization’s veneer. In Jane Eyre, Charlotte Bronte ¨ uses the technique of the double in several ways. Locations double one another (Gateshead and Thornfield as places to learn to be passionate and to indulge those passions; Lowood and Marsh End as places in which to learn and develop restraint of passion and self-sacrifice), creating a structure of the novel that has its foundation on the effects of doubling. But there are also doublings of characters throughout the novel. Sometimes those doubles operate on a surface level, demonstrating overt similarities. But the doubling effect also, at times, betrays the shadow side of characters, the actions and attitudes that characters sometimes feel tempted to display but cannot because of social mores.
THE COUSINS
Among the minor characters, the clearest set of doubles is Jane’s two sets of cousins. The Reed siblings and the Rivers siblings consist of three children each, an older brother and two younger sisters. The cousins of Jane’s childhood are selfish and spiteful, excluding Jane whenever possible and mistreating her whenever they are forced to be with her. The cousins Jane meets as an adult appear to be exactly the opposite. They take her into their home, not even knowing her true name and having no idea that she is related to them by blood. They nurse her to health, having saved her from an almost certain death, and provide her with a job and a place to live. Despite their money and position in the world, the Reed cousins are not, by the end of the novel, successful. John Reed, having gotten himself deeply into debt (with hints of more sinister troubles), kills himself. Of his sisters, one is a frivolous woman concerned only about appearances who plans to move to London and live the fashionable life after the death of her mother. The other is an austere spinster who intends to spend her life cloistered in a nunnery, as isolated as possible from the world. Her intent is not to be of service to God and to those in need, but to find a place of comfortable retirement for herself where she can indulge her desire to live a life of isolated contemplation. The world of the Rivers cousins is considerably more productive. St. John actively works at his profession. When we first meet him, he is a clergyman, serving a parish in the English countryside near his father’s home. After his father’s death, he goes to India as a missionary. There he spends the remainder of his life in service to God and humanity. His sisters, Diana and Mary, also work. When Jane meets them, they are visiting their late father’s home from the homes of the families for whom they work as governesses. Jane decides to share the inheritance she received from her uncle with her cousins, enabling Diana and Mary to resign from their positions in other people’s households so that they may create a household of their own from which they can do good in their home community. And yet the contrast between the Reeds and the Rivers is not complete. Jane faces difficulties in both cousins’ homes. Both John Reed and St. John Rivers attempt to control her. Both use coercion— the child John Reed resorting to physical coercion as well as emotional torment; the adult St. John Rivers to emotional and spiritual coercion. Jane suffers under the heat of John Reed’s passionate outbursts in childhood. As an adult, she suffers from the coldness of St. John’s determination to marry her (despite the fact that the only passion he feels toward her has to do with the work they could perform together) and take her to India as his partner in missionary work. With the Reeds, Jane is made to feel alone in the world— even while living with blood relatives. With the Rivers, Jane finds the family she had wished for as a child. Even before they know of the blood bond, the Rivers siblings accept Jane into their home and into their lives as though she belongs with them. St. John Rivers, like John Reed, believes that he, as the man of the family, has the right to determine how she should spend her time and her future, but unlike the young John, St. John eventually accepts Jane’s right to exist and to thrive in a world that had previously brought her little more than pain. With the Reeds, Jane’s orphan status and dependency are apparent at every turn; with the Rivers, she truly becomes a member of a close-knit and loving family.
TEACHERS
Since Jane Eyre is a bildungsroman, focusing on the education of a young woman, teachers abound in the novel. Some are teachers by profession, others merely individuals who teach Jane valuable lessons. Within the ranks of the professional teachers, Bronte ¨ depicts two specific individuals who provide Jane with models for her own behavior, both as a teacher/governess and as an adult woman. One is a negative model; the other positive. Miss Scatcherd is the epitome of the bad teacher in Bronte ¨ ’s work. Her emphasis is on punishment for infractions of the rules. The punishments she inflicts are painful both physically and emotionally. She uses corporal punishment (beating girls with birch branches) and shame (pinning signs on girls for sloppiness, making them stand on stools for all to see their shame, etc.) as ways of trying to change behaviors of which she disapproves. The reasons behind those behaviors are irrelevant to her. For instance, when Helen Burn’s fingernails are dirty because the water in the basin in the dormitory that morning was frozen, Miss Scatcherd refuses to hear the explanation. The fact of unclean fingernails is all she needs or wants to know before doling out punishment.
Miss Temple, on the other hand, is the epitome of the good teacher. As superintendent of the entire school, her responsibilities are far greater than those of any of the other teachers; yet she takes the time necessary to get to know her students, to provide for their needs emotionally as well as physically and, to the extent allowable, intellectually. When the porridge is so burnt at breakfast that it is inedible, she arranges, against the orders of Mr. Brocklehurst, the clergyman in charge of the school, to have the children fed a different, better meal. When Mr. Brocklehurst announces to the entire school that Jane is a bad and deceitful girl, based on information given to him by her aunt, Mrs. Reed, Miss Temple takes the time to hear her side of the story and to promise that, if her story is corroborated by the doctor who had recommended she be sent to school, her name will be cleared before the entire school. Miss Temple then follows up on the information and, when receiving corroboration from the doctor, does indeed announce to the entire school that Jane has been exonerated of the charges Mr. Brocklehurst made. Miss Temple teaches Jane that it is her present and future behavior that matter most, that if she behaves herself well at Lowood, her reputation will be based on that behavior, not on the criticisms of someone from her past. The intellectual rigor of Lowood, like that of most early nineteenth century schools for girls, is not strong. More attention is paid to suitable behavior and rote learning of basic information than to advanced knowledge or critical thinking skills. In the early nineteenth century, girls were not expected (nor desired) to have rigorous intellectual lives. Miss Temple does, however, make certain that those girls who are capable of learning basic intellectual (as well as practical) skills receive some education in them. As a result, by the time Jane leaves Lowood at age eighteen, she has sufficient knowledge and skills to be hired as a governess in a well-to-do family. Her knowledge of French, a requirement in most schools for those of genteel birth, is essential to her work with Adele Varens, the young French girl who is Mr. Rochester’s ward and Jane’s student. Her knowledge of reading, writing, and arithmetic is sufficient for Adele’s educational needs, and her understanding of and adherence to the rules of propriety for young women in society make her a satisfactory model of behavior for the young girl. These qualities and skills are ones that Miss Temple made certain Jane developed while at Lowood, not through punishment and shame (Miss Scatcherd’s means of teaching young women), but through of positive reinforcement of those qualities and skills whenever she saw them displayed. When Jane becomes a teacher herself, she models her own behavior on that of Miss Temple. She recognizes the potential loneliness and isolation a child like Adele can feel— alone in a strange country with people who don’t even speak her language— and she tries to provide comfort and security for the child, along with proper training of her morals and her mind. Miss Scatcherd is a good reminder to Jane of what she does not want to become as a teacher or as a woman. The small-minded, embittered spinster is not a happy person. Miss Temple, on the other hand, is that all too rare individual: a working woman with neither fortune nor strong family ties who, on the basis of her goodness and openheartedness, is found by a good man who marries her and provides her with a happy home of her own. Few women who were reduced to teaching or governess work in the late eighteenth or early nineteenth centuries ever found their way into such domestic happiness as Miss Temple. Jane Eyre, like her creator Charlotte Bronte ¨ , was fortunate in finding such a felicitous domestic situation after having worked for years as a teacher and governess.
Wednesday, June 9, 2010
Thursday, June 3, 2010
Rochester in "Jane Eyre"
Charlotte Bronte creates a conventional hero in the character in Mr. Rochester in "Jane Eyre." This traditional portrayal has a twist in that Mr. Rochester has a dark, secretive side.
To what extent has Bronte created a conventional romantic hero in the character of Mr. Rochester?
Mr Rochester has great importance in the book Jane Eyre. This is why throughout the book his character has a lot of emphasis on. His character begins to develop where Mrs Fairfax describes him, forming impressions to Jane and the reader before we meet him. This builds up suspense in the novel as the reader begins anticipating what he will really be like.
In some ways, he is described to be a traditional romantic hero by Mrs Fairfax. She says "he has a gentleman's tastes and habits" and that "he has always been respected." However, as Jane's curiosity tempts her to ask further questions regarding him it is noticed that Mrs Fairfax is trying to hide something. She tends to hold back and speak with hesitation. This is seen when she says" you don't thoroughly understand him, in short- well at least, I don't..." Also the answers that Mrs Fairfax provides Jane are particularly unusual and in some way equivocal. Her reply to one of Jane's questions was "I have no course otherwise to like him; and I believe he is considered a ..." Here the writer, Bronte begins to confuse the reader as to why Mrs Fairfax stresses the "I" and why it is that she seems to be hiding something from Jane. This brings forward many questions in the readers mind and also suggests that Mr Rochester is a man of mystery.
Mrs Fairfax later continues to show Jane around the house and she particularly fascinated in the decorations of the rooms. This fascination I think is linked to Mr Rochester's personality, as it is well known that the decoration of reflects the personality of the owner. Jane mentions the rooms being "dark and low yet interesting." These images I think Jane begins to assume that Mr Rochester will hold within. She assumes that Mr Rochester may have a dark, secretive side in his personality.
Mr Rochester's first appearance in the novel is when he meets Jane. This meeting is very unusual. Mr Rochester comes in galloping on a horse which is a romantic entrance as to walking, However, as he is galloping, the horse collapses and by chance Jane is conveniently available to help him. Mr Rochester enters as though a knight in shining armour would, but then Bronte inverts the process of man saving the girl from trouble, to the girl saving the man. She began by making his character look romantic and then suddenly it all goes wrong. As Jane begins to help Mr Rochester she describes him having "a dark face with stern features." This contrast between romantic and harsh opinions is what makes the character sound real and interesting.
From Jane's first meeting with Mr Rochester, the reader can see there is a subtle interest in between the two characters. Bronte does not write the novel as any romance novel would be written, as there is no love at first sight. However, because of Jane's persistence to help, takes a lot of notice of her. Still, he does not act as a very nice man to help out even though Jane is helping him, he wishes her to leave him alone. This is seen when he says, "You must just stand on one side." Despite this Jane continues to try and help. As I mentioned earlier, the meeting of the two lovers was fairly unusual. The fact that Jane does not know that the man she was aiding was in fact her master, Mr Rochester proves this. I think that this is effective because it is different to romantic novels and also leaves the reader to think throughout why he did not mention who he is to Jane.
As the novel progresses more of Rochester's character is developed. Again he is in some ways described romantically and in some harshly. Throughout chapters 13-14 Jane and Rochester have a very deep and sincere talk with each other. This talk emphasises on the relationship between the two and shows its peculiarities. Rochester shares his personal secrets with Jane, which is very rarely seen between a master and his governess. The secrets that Mr Rochester shares with Jane shows his behaviour in the past. These include him keeping a mistress, and his rivalry against her lover, which persuaded him to shoot the man. However, he also reminds Jane of Adele and how he came to look after her. This relates to the romantic ideal of his personality and shows Jane that even though he committed some bad sins he still is a good man.
As the relationship between Jane and Rochester develops we begin to see Jane's contradictory feelings towards him, because of the way Rochester behaves with her. Bronte keeps her consistency throughout, describing Rochester in two ways. Jane tells us that she feels Rochester's "presence in a room was more cheering than the brightest fire" and then continues by going back on her words in saying "he was proud, sardonic and harsh." This shows Jane's mixed feelings towards him. Later in the novel Bronte shows the love story being inverted which relates to Rochester's behaviour, as both in some way confuses the reader and both bring out suspense in the novel. This is seen when the fire breaks out at Thornfeild.
In the following chapters Jane and Mr Rochester continue to express their feelings in the same way. Both still unsure of where they stand and what relationship they have between them. Whenever Jane assumes something pleasant of Rochester, he always in some way manages to discourage her in thinking further. At one point Rochester insists Jane to stay with him whilst his guests are present. This shows that Rochester wanted to his guests to see that she was of his standards. However, despite this he attempts in making Jane to feel jealous and uncomfortable. This is shown whilst he is playing charades with his guests. He acts out a scene of a wedding with Blanche, encouraging Jane to feel he wants to marry Blanche and that they are a good couple together. However, Jane does not give up in feeling the way she does towards him she says,"I had learnt to love Mr Rochester; I could not unlove him now."
Another part of the novel which shows Rochester's contradictory behaviour is after the incident of his friend Mason. Firstly it is unknown as to why he chooses to share yet more of his secrets with Jane and no one else. His romantic behaviour after the incident is very unusual as he contrasts between romantic and harsh behaviour towards Jane. He starts by calling her his "pet lamb." As usual Rochester begins to show his mixed emotions which is seen when Jane describes him by saying "he hastily took my hand, and hastily threw it back." However, regardless of what he does, Jane does not give up and is left to anticipate in hearing what she wants him to say. The romantic mood is built up to a huge climax between him and Jane, with the readers foreseeing that he will now declare his love for her finally. Rochester exclaims that "I believe I have found the instrument for my use in-"and then spoils the whole mood by suddenly talking about Blanche. During this scene I think the reader is bought to a lot of excitement, and left with an unexpected turn. Whilst Jane is left disappointed and is disheartened yet again.
Before Mr Rochester proposes to Jane, Bronte again builds up to a climax by creating a romantic setting. She describes the surrounding of Thornfield being "green and shorn; the roads white and baked...."This is a very effective way of bringing the audience to a peak level of excitement and to get the audience eager to know whet event will take place next. Bronte uses a chestnut tree with a circular seat at the base where Rochester proposes to Jane and show his greatest hidden feelings towards her. I think the significance of the tree shows the future unity the marriage could possess.
When Jane and Rochester have their sincere talk with each other before the proposal, there true feelings are expressed. Jane mentions some unexpected feelings that she feels Rochester holds of her. She stands up for herself by saying things like," Do you think because, I am poor, obscure plain and little, I am soulless and heartless?." The rhetorical questions help emphasise the power of her emotions. The feeling that Jane wants Rochester to purpose to her persuades him to do so.
Nevertheless, Rochester is very romantic whilst proposing to her, he uses language such as"because my equal is here, and my likeness." Rochester shows that he sees a reflection of himself in Jane and he is treating her as his equal. This is quite unusual as in the earlier days of when this book was published men felt they were superior and held a higher status than women. I think Bronte chose to use this technique so that she could be unusual and different to peoples opinions.
Throughout this book Bronte constructs Rochester as a contradictory character hence when he shows an act of romance he also in some way says something harsh. Another form of this technique is used when Rochester proposes to Jane. He asks for forgiveness from God he says, "God pardon me" and "it will atone." This confuses the reader as to why he is asking for forgiveness and what will atone. The reader gets the impression that by marrying Jane he is committing a sin. This confusion shows Rochester's dark and secretive side.
Another factor that is seen whilst reading the novel which relates to this is, if the two do get married at this point what will the rest of the novel consist of? This factor reflects the end of the chapter where the pathetic fallacy is used. The chestnut tree under which the proposal took place had over night been struck by lightening. This again relates to the earlier significance of the tree, but this time in a opposite manner. The unity which was beginning to hold the two together had spilt even before it managed to develop, showing an ominous sign.
When Jane discovers the truth about Mr Rochester's first wife, she is left unsure and hesitant regarding what to do next. She finds it extremely hard to decide what the best option is. After long and hard thought she comes to a conclusion in which she is to leave Thornfield and Mr Rochester instantly. Mr Rochester persuades Jane to remain with him giving various reasons such as that without her he would become a bad man. Even though Rochester is aware that law wise he would not be able to marry Jane he abides by his words. If you look at when this book was published and compare what wrong doings where at that time, it is clearly seen that Rochester's persuasion was in the wrong. If Jane did decide to stay she would be degrading herself as she would not have any relationship with Rochester, other than the one of a mistress which was in those days frowned upon. Many people at that time would not even think of compromising with Rochester's needs and would certainly agree with Jane's conclusion of leaving Thornfield.
When Jane returns to Thornfield there is nothing there but a ruined house and an inn keeper nearby. She spoke to this innkeeper in great detail discussing what events took place after she left. This is where the reader discovers quite a heroic side to Rochester. The reader finds out that Rochester risked his own life to save the life of his mad wife. This showed that even though he refused to hear of her in the past he still held some inner feelings for her. Despite his effort to save Bertha she still was determined to commit suicide. This left Rochester all alone so he went to live far away from the world as he could with two of his servants.
After tracing Mr Rochester Jane turned up at his house finding him to be blind and having only one arm. This however did not discourage Jane to express her feelings towards him. Nevertheless it made Rochester feel uncomfortable. Towards the end of the book you again see Mr Rochester as a contradictory character, but this time the bad side had nothing to do with his personality but his physical disability, which perhaps stops him being such conventional romantic hero. However, after all the misfortunes that occurred in his life he changed the way he thought of things and believed he had learnt his lesson. Rochester stated that "I did wrong: I would have sullied my innocent flower." This was referring to Jane. From this you can tell he now has realized that difference between right and wrong.
Mr Rochester began to bring religion into concern a lot, as he speaks words from the bible and believed that he began to feel "remorse, repentance and the wish for reconciliation" towards his maker. This specific line stands out due to the alliteration used. I think this was done to express Mr Rochester's feelings. From the religious views at that time it is seen Bronte tries to show step by step, that Rochester had first committed his sin, then suffered for it this is seen by the fire, which I think symbolically shows him being through purgatory after which he now was able to receive Jane's love. The religious imagery is used to describe Mr Rochester's feelings towards Jane more effectively.
Throughout the book Mr Rochester's character had a very interesting impact on the audience. Overall, I think he did prove to be a true romantic hero who deserved Jane. In the long run both characters showed their desired love for each other, even though they suffered a great deal. I think that true love never runs smoothly, there is always an obstacle in the way to which overcoming is the hardest part of life. As Rochester and Jane did overcome there obstacles there should be nothing to stop them living happily ever after.
To what extent has Bronte created a conventional romantic hero in the character of Mr. Rochester?
Mr Rochester has great importance in the book Jane Eyre. This is why throughout the book his character has a lot of emphasis on. His character begins to develop where Mrs Fairfax describes him, forming impressions to Jane and the reader before we meet him. This builds up suspense in the novel as the reader begins anticipating what he will really be like.
In some ways, he is described to be a traditional romantic hero by Mrs Fairfax. She says "he has a gentleman's tastes and habits" and that "he has always been respected." However, as Jane's curiosity tempts her to ask further questions regarding him it is noticed that Mrs Fairfax is trying to hide something. She tends to hold back and speak with hesitation. This is seen when she says" you don't thoroughly understand him, in short- well at least, I don't..." Also the answers that Mrs Fairfax provides Jane are particularly unusual and in some way equivocal. Her reply to one of Jane's questions was "I have no course otherwise to like him; and I believe he is considered a ..." Here the writer, Bronte begins to confuse the reader as to why Mrs Fairfax stresses the "I" and why it is that she seems to be hiding something from Jane. This brings forward many questions in the readers mind and also suggests that Mr Rochester is a man of mystery.
Mrs Fairfax later continues to show Jane around the house and she particularly fascinated in the decorations of the rooms. This fascination I think is linked to Mr Rochester's personality, as it is well known that the decoration of reflects the personality of the owner. Jane mentions the rooms being "dark and low yet interesting." These images I think Jane begins to assume that Mr Rochester will hold within. She assumes that Mr Rochester may have a dark, secretive side in his personality.
Mr Rochester's first appearance in the novel is when he meets Jane. This meeting is very unusual. Mr Rochester comes in galloping on a horse which is a romantic entrance as to walking, However, as he is galloping, the horse collapses and by chance Jane is conveniently available to help him. Mr Rochester enters as though a knight in shining armour would, but then Bronte inverts the process of man saving the girl from trouble, to the girl saving the man. She began by making his character look romantic and then suddenly it all goes wrong. As Jane begins to help Mr Rochester she describes him having "a dark face with stern features." This contrast between romantic and harsh opinions is what makes the character sound real and interesting.
From Jane's first meeting with Mr Rochester, the reader can see there is a subtle interest in between the two characters. Bronte does not write the novel as any romance novel would be written, as there is no love at first sight. However, because of Jane's persistence to help, takes a lot of notice of her. Still, he does not act as a very nice man to help out even though Jane is helping him, he wishes her to leave him alone. This is seen when he says, "You must just stand on one side." Despite this Jane continues to try and help. As I mentioned earlier, the meeting of the two lovers was fairly unusual. The fact that Jane does not know that the man she was aiding was in fact her master, Mr Rochester proves this. I think that this is effective because it is different to romantic novels and also leaves the reader to think throughout why he did not mention who he is to Jane.
As the novel progresses more of Rochester's character is developed. Again he is in some ways described romantically and in some harshly. Throughout chapters 13-14 Jane and Rochester have a very deep and sincere talk with each other. This talk emphasises on the relationship between the two and shows its peculiarities. Rochester shares his personal secrets with Jane, which is very rarely seen between a master and his governess. The secrets that Mr Rochester shares with Jane shows his behaviour in the past. These include him keeping a mistress, and his rivalry against her lover, which persuaded him to shoot the man. However, he also reminds Jane of Adele and how he came to look after her. This relates to the romantic ideal of his personality and shows Jane that even though he committed some bad sins he still is a good man.
As the relationship between Jane and Rochester develops we begin to see Jane's contradictory feelings towards him, because of the way Rochester behaves with her. Bronte keeps her consistency throughout, describing Rochester in two ways. Jane tells us that she feels Rochester's "presence in a room was more cheering than the brightest fire" and then continues by going back on her words in saying "he was proud, sardonic and harsh." This shows Jane's mixed feelings towards him. Later in the novel Bronte shows the love story being inverted which relates to Rochester's behaviour, as both in some way confuses the reader and both bring out suspense in the novel. This is seen when the fire breaks out at Thornfeild.
In the following chapters Jane and Mr Rochester continue to express their feelings in the same way. Both still unsure of where they stand and what relationship they have between them. Whenever Jane assumes something pleasant of Rochester, he always in some way manages to discourage her in thinking further. At one point Rochester insists Jane to stay with him whilst his guests are present. This shows that Rochester wanted to his guests to see that she was of his standards. However, despite this he attempts in making Jane to feel jealous and uncomfortable. This is shown whilst he is playing charades with his guests. He acts out a scene of a wedding with Blanche, encouraging Jane to feel he wants to marry Blanche and that they are a good couple together. However, Jane does not give up in feeling the way she does towards him she says,"I had learnt to love Mr Rochester; I could not unlove him now."
Another part of the novel which shows Rochester's contradictory behaviour is after the incident of his friend Mason. Firstly it is unknown as to why he chooses to share yet more of his secrets with Jane and no one else. His romantic behaviour after the incident is very unusual as he contrasts between romantic and harsh behaviour towards Jane. He starts by calling her his "pet lamb." As usual Rochester begins to show his mixed emotions which is seen when Jane describes him by saying "he hastily took my hand, and hastily threw it back." However, regardless of what he does, Jane does not give up and is left to anticipate in hearing what she wants him to say. The romantic mood is built up to a huge climax between him and Jane, with the readers foreseeing that he will now declare his love for her finally. Rochester exclaims that "I believe I have found the instrument for my use in-"and then spoils the whole mood by suddenly talking about Blanche. During this scene I think the reader is bought to a lot of excitement, and left with an unexpected turn. Whilst Jane is left disappointed and is disheartened yet again.
Before Mr Rochester proposes to Jane, Bronte again builds up to a climax by creating a romantic setting. She describes the surrounding of Thornfield being "green and shorn; the roads white and baked...."This is a very effective way of bringing the audience to a peak level of excitement and to get the audience eager to know whet event will take place next. Bronte uses a chestnut tree with a circular seat at the base where Rochester proposes to Jane and show his greatest hidden feelings towards her. I think the significance of the tree shows the future unity the marriage could possess.
When Jane and Rochester have their sincere talk with each other before the proposal, there true feelings are expressed. Jane mentions some unexpected feelings that she feels Rochester holds of her. She stands up for herself by saying things like," Do you think because, I am poor, obscure plain and little, I am soulless and heartless?." The rhetorical questions help emphasise the power of her emotions. The feeling that Jane wants Rochester to purpose to her persuades him to do so.
Nevertheless, Rochester is very romantic whilst proposing to her, he uses language such as"because my equal is here, and my likeness." Rochester shows that he sees a reflection of himself in Jane and he is treating her as his equal. This is quite unusual as in the earlier days of when this book was published men felt they were superior and held a higher status than women. I think Bronte chose to use this technique so that she could be unusual and different to peoples opinions.
Throughout this book Bronte constructs Rochester as a contradictory character hence when he shows an act of romance he also in some way says something harsh. Another form of this technique is used when Rochester proposes to Jane. He asks for forgiveness from God he says, "God pardon me" and "it will atone." This confuses the reader as to why he is asking for forgiveness and what will atone. The reader gets the impression that by marrying Jane he is committing a sin. This confusion shows Rochester's dark and secretive side.
Another factor that is seen whilst reading the novel which relates to this is, if the two do get married at this point what will the rest of the novel consist of? This factor reflects the end of the chapter where the pathetic fallacy is used. The chestnut tree under which the proposal took place had over night been struck by lightening. This again relates to the earlier significance of the tree, but this time in a opposite manner. The unity which was beginning to hold the two together had spilt even before it managed to develop, showing an ominous sign.
When Jane discovers the truth about Mr Rochester's first wife, she is left unsure and hesitant regarding what to do next. She finds it extremely hard to decide what the best option is. After long and hard thought she comes to a conclusion in which she is to leave Thornfield and Mr Rochester instantly. Mr Rochester persuades Jane to remain with him giving various reasons such as that without her he would become a bad man. Even though Rochester is aware that law wise he would not be able to marry Jane he abides by his words. If you look at when this book was published and compare what wrong doings where at that time, it is clearly seen that Rochester's persuasion was in the wrong. If Jane did decide to stay she would be degrading herself as she would not have any relationship with Rochester, other than the one of a mistress which was in those days frowned upon. Many people at that time would not even think of compromising with Rochester's needs and would certainly agree with Jane's conclusion of leaving Thornfield.
When Jane returns to Thornfield there is nothing there but a ruined house and an inn keeper nearby. She spoke to this innkeeper in great detail discussing what events took place after she left. This is where the reader discovers quite a heroic side to Rochester. The reader finds out that Rochester risked his own life to save the life of his mad wife. This showed that even though he refused to hear of her in the past he still held some inner feelings for her. Despite his effort to save Bertha she still was determined to commit suicide. This left Rochester all alone so he went to live far away from the world as he could with two of his servants.
After tracing Mr Rochester Jane turned up at his house finding him to be blind and having only one arm. This however did not discourage Jane to express her feelings towards him. Nevertheless it made Rochester feel uncomfortable. Towards the end of the book you again see Mr Rochester as a contradictory character, but this time the bad side had nothing to do with his personality but his physical disability, which perhaps stops him being such conventional romantic hero. However, after all the misfortunes that occurred in his life he changed the way he thought of things and believed he had learnt his lesson. Rochester stated that "I did wrong: I would have sullied my innocent flower." This was referring to Jane. From this you can tell he now has realized that difference between right and wrong.
Mr Rochester began to bring religion into concern a lot, as he speaks words from the bible and believed that he began to feel "remorse, repentance and the wish for reconciliation" towards his maker. This specific line stands out due to the alliteration used. I think this was done to express Mr Rochester's feelings. From the religious views at that time it is seen Bronte tries to show step by step, that Rochester had first committed his sin, then suffered for it this is seen by the fire, which I think symbolically shows him being through purgatory after which he now was able to receive Jane's love. The religious imagery is used to describe Mr Rochester's feelings towards Jane more effectively.
Throughout the book Mr Rochester's character had a very interesting impact on the audience. Overall, I think he did prove to be a true romantic hero who deserved Jane. In the long run both characters showed their desired love for each other, even though they suffered a great deal. I think that true love never runs smoothly, there is always an obstacle in the way to which overcoming is the hardest part of life. As Rochester and Jane did overcome there obstacles there should be nothing to stop them living happily ever after.
Bullying in Jane Eyre
Jane Eyre by Charlotte Brontë was published in 1848, under the name of Currer Bell. Although the novel is over 150 years old, there are still themes that we can relate to today, such as bullying, prejudice and hypocrisy. In this essay, I am going to discuss the three themes mentioned and also consider admirable characters from the novel; the authors narrative technique and the part that I found appealing. The first issue that I will discuss will be on the bullying that Jane received at Gateshead Hall: the home of her Auntie and cousins.
She is bullied by not just her cousins, but her aunt as well. In Chapter one, it shows the bullying from her cousins and aunt, when she has begun reading and John Reed, her cousin, throws the book at her head, and she retaliates. But because she retaliated, John's sisters ran up to their 'mamma' and blamed the fight on Jane. She was then escorted upstairs and locked in the red room. This could be counted as a form of bullying, as she only puts her in the red room as a
punishment for attacking John, but we, the readers, already know that John started all of the commotion. Verbal bullying is also used in chapter one, where John Reed calls her names for throwing a punch at him
(QUOTE: CHAPTER1/LINE 16: "I don't very well know what I did with my hands, but he called me 'Rat!, rat! ')
During Jane's First term at Lowood, Jane is bullied out of food, when there was very little and the older girls wanted some more food to devour.
Jane Eyre is a first-person narrative, related in the voice of the protagonist, or heroine. Jane Eyre is the "I" of the story, the person whose voice we hear as we read, and everything that happens is seen from her point of view. Nowhere in the novel does the author break the flow of the narrator's voice to give us an objective view of her main character. However, she does remind us once in a while that the story is being told by Jane as a mature woman, looking back on events that
happened some years earlier. The mature Jane occasionally comments on the younger Jane's reactions to those events, and sometimes she even addresses you, the Reader, directly. You'll also find occasions where her narrative includes long stories told to Jane by other characters (such as Rochester's accounts of his past), conversations that Jane overhears between other characters, and even accounts of Jane's dreams. These not only add variety to the style but give the reader a chance to check up on the truthfulness of the narrator.
It's important to remember that in a first-person narrative like Jane Eyre we know only The Setting In the 1840s, when Jane Eyre was written, there were very few ways in which an educated woman could earn her own living. Poor girls might go to work as a house servant or in a factory, but the conditions in these jobs were so bad, and their status so low, that no young woman from a "good" family would consider these alternatives except in extreme desperation. That left teaching, usually as a governess with a wealthy family, as just about the only respectable occupation. Governesses lived with the families they worked for, so they lived in fairly comfortable surroundings. However, their cash wages were very low, so their work gave them no real financial independence. For the most part, they led lonely and unsatisfying lives. Their status was higher than that of the other servants--and too much mixing with the help was frowned on!--yet they weren't accepted as part of the family either. Unless a governess happened to be unusually attractive, her chances of finding a husband were slim. Most marriages at the time were based on family connections or financial considerations, and an educated woman with no dowry had almost no chance of getting married. Since they didn't have much hope of saving money out of their low salaries, all that most governesses could look forward to was a lonely and uncertain old age, dependent on the kindness of the families they had served. There had been governess-heroines before Jane Eyre, but they were portrayed as plucky and beautiful--an outsider's fantasy of the independent woman. Jane Eyre was the first successful look at the reality of the governess's life. It's not really necessary to know much about the 19th century in order to enjoy the story of Jane Eyre, but you'll understand some of Jane's actions a little better if you keep in mind that she's a governess. Jane Eyre is a plain-looking young woman who has been in an all-girl school since she was ten years old. She hasn't had any chance to learn about the ways of gentlemen like Mr. Rochester or about the male sex in general. By the standards of the time, Jane is quite bold in talking to Mr. Rochester as an equal. But when she realizes that his interest in her is romantic, she has to assume that it's not marriage he has in mind. This explains why she is very cautious about revealing her feelings for him. Also, although she works for Mr. Rochester for some months, Jane has very little cash of her own. When she goes to visit the Reeds, Rochester gives her extra money for the trip. And when she decides that she must leave Thornfield rather than become his mistress, Jane has only twenty shillings to her name--just enough money to pay her fare for a two-day trip to a distant part of England. Governesses were working women. But their security and freedom were very precarious. This is why Jane Eyre is powerfully drawn to the possibility of becoming dependent on a man--either through becoming Mr. Rochester's mistress or St. John Rivers' wife. Yet at the same time, she is also afraid, because her decision, once made, will be forever.
What the main character tells us. You may well suspect as you read that Jane's opinions aren't always entirely objective--another sort of person might see the events of the story and the personalities of the various characters in an entirely different light. This isn't necessarily a weakness in the novel; in fact, it may be one of its strengths. But you'll truly enjoy Jane Eyre only if you feel a basic trust in the narrator. For the novel to be a success for you, you must be able to imagine that, in Jane's shoes, you might well have felt and acted as she did. In this paragraph, characters who we admire will be brought up and good points about them will be mentioned. The first admirable person we meet would probably be Bessie, when she gets a doctor because Jane has some sort of fit when she is locked in the red room. Bessie had been following orders from Mrs Reed all the time, and didn't think of Jane's feelings at any time, until she had the fit. She was the first person to go and see why Jane is screaming and shouting so much.
Bessie ignores Mrs Reed's orders to ignore Jane's cries for help. Bessie and Jane get along much better after the red room incident. Another admirable person is Helen Burns, who we do not meet until chapter 5, who befriends Jane. She has a great impact on Jane, in what Jane does. The two become inseparable until Helen becomes ill, she disappears from the room, and is moved up to Miss Temple's room. Before Helen died, Jane had made her way up to Miss Temple's Room to be with her friend one last time. Earlier in chapter 6,Helen had flashed a smile at Jane when she had been accused of all the wrong doings her aunt told Mr Brockelhurst. The last admirable person that we meet between chapters 1 and 10 is Miss Temple. Helen tells Jane
that Miss Temple is the only warm hearted person at Lowood School. Miss Temple demonstrates how kind and believing she is when the accusations are thrown at Jane. She asks Jane if it is true, and Jane denies it. Miss Temple feels that Jane didn't do any of the things she is being accused of and she says to her, she is innocent and as soon as she has checked out Jane's version with the physician that treated Jane in the red room, she will be innocent to everyone, not just her.
Hypocrisy is also experienced within the book.Hypocrisy is saying that you should be one thing not another, when you actually are another yourself. In Chapter 6, Mr Brockelhurst is a hypocrite in everyday life, as his father created a school for poor children, and he demands that the children stay poor, but still he remains as rich as a celebrity.
She is bullied by not just her cousins, but her aunt as well. In Chapter one, it shows the bullying from her cousins and aunt, when she has begun reading and John Reed, her cousin, throws the book at her head, and she retaliates. But because she retaliated, John's sisters ran up to their 'mamma' and blamed the fight on Jane. She was then escorted upstairs and locked in the red room. This could be counted as a form of bullying, as she only puts her in the red room as a
punishment for attacking John, but we, the readers, already know that John started all of the commotion. Verbal bullying is also used in chapter one, where John Reed calls her names for throwing a punch at him
(QUOTE: CHAPTER1/LINE 16: "I don't very well know what I did with my hands, but he called me 'Rat!, rat! ')
During Jane's First term at Lowood, Jane is bullied out of food, when there was very little and the older girls wanted some more food to devour.
Jane Eyre is a first-person narrative, related in the voice of the protagonist, or heroine. Jane Eyre is the "I" of the story, the person whose voice we hear as we read, and everything that happens is seen from her point of view. Nowhere in the novel does the author break the flow of the narrator's voice to give us an objective view of her main character. However, she does remind us once in a while that the story is being told by Jane as a mature woman, looking back on events that
happened some years earlier. The mature Jane occasionally comments on the younger Jane's reactions to those events, and sometimes she even addresses you, the Reader, directly. You'll also find occasions where her narrative includes long stories told to Jane by other characters (such as Rochester's accounts of his past), conversations that Jane overhears between other characters, and even accounts of Jane's dreams. These not only add variety to the style but give the reader a chance to check up on the truthfulness of the narrator.
It's important to remember that in a first-person narrative like Jane Eyre we know only The Setting In the 1840s, when Jane Eyre was written, there were very few ways in which an educated woman could earn her own living. Poor girls might go to work as a house servant or in a factory, but the conditions in these jobs were so bad, and their status so low, that no young woman from a "good" family would consider these alternatives except in extreme desperation. That left teaching, usually as a governess with a wealthy family, as just about the only respectable occupation. Governesses lived with the families they worked for, so they lived in fairly comfortable surroundings. However, their cash wages were very low, so their work gave them no real financial independence. For the most part, they led lonely and unsatisfying lives. Their status was higher than that of the other servants--and too much mixing with the help was frowned on!--yet they weren't accepted as part of the family either. Unless a governess happened to be unusually attractive, her chances of finding a husband were slim. Most marriages at the time were based on family connections or financial considerations, and an educated woman with no dowry had almost no chance of getting married. Since they didn't have much hope of saving money out of their low salaries, all that most governesses could look forward to was a lonely and uncertain old age, dependent on the kindness of the families they had served. There had been governess-heroines before Jane Eyre, but they were portrayed as plucky and beautiful--an outsider's fantasy of the independent woman. Jane Eyre was the first successful look at the reality of the governess's life. It's not really necessary to know much about the 19th century in order to enjoy the story of Jane Eyre, but you'll understand some of Jane's actions a little better if you keep in mind that she's a governess. Jane Eyre is a plain-looking young woman who has been in an all-girl school since she was ten years old. She hasn't had any chance to learn about the ways of gentlemen like Mr. Rochester or about the male sex in general. By the standards of the time, Jane is quite bold in talking to Mr. Rochester as an equal. But when she realizes that his interest in her is romantic, she has to assume that it's not marriage he has in mind. This explains why she is very cautious about revealing her feelings for him. Also, although she works for Mr. Rochester for some months, Jane has very little cash of her own. When she goes to visit the Reeds, Rochester gives her extra money for the trip. And when she decides that she must leave Thornfield rather than become his mistress, Jane has only twenty shillings to her name--just enough money to pay her fare for a two-day trip to a distant part of England. Governesses were working women. But their security and freedom were very precarious. This is why Jane Eyre is powerfully drawn to the possibility of becoming dependent on a man--either through becoming Mr. Rochester's mistress or St. John Rivers' wife. Yet at the same time, she is also afraid, because her decision, once made, will be forever.
What the main character tells us. You may well suspect as you read that Jane's opinions aren't always entirely objective--another sort of person might see the events of the story and the personalities of the various characters in an entirely different light. This isn't necessarily a weakness in the novel; in fact, it may be one of its strengths. But you'll truly enjoy Jane Eyre only if you feel a basic trust in the narrator. For the novel to be a success for you, you must be able to imagine that, in Jane's shoes, you might well have felt and acted as she did. In this paragraph, characters who we admire will be brought up and good points about them will be mentioned. The first admirable person we meet would probably be Bessie, when she gets a doctor because Jane has some sort of fit when she is locked in the red room. Bessie had been following orders from Mrs Reed all the time, and didn't think of Jane's feelings at any time, until she had the fit. She was the first person to go and see why Jane is screaming and shouting so much.
Bessie ignores Mrs Reed's orders to ignore Jane's cries for help. Bessie and Jane get along much better after the red room incident. Another admirable person is Helen Burns, who we do not meet until chapter 5, who befriends Jane. She has a great impact on Jane, in what Jane does. The two become inseparable until Helen becomes ill, she disappears from the room, and is moved up to Miss Temple's room. Before Helen died, Jane had made her way up to Miss Temple's Room to be with her friend one last time. Earlier in chapter 6,Helen had flashed a smile at Jane when she had been accused of all the wrong doings her aunt told Mr Brockelhurst. The last admirable person that we meet between chapters 1 and 10 is Miss Temple. Helen tells Jane
that Miss Temple is the only warm hearted person at Lowood School. Miss Temple demonstrates how kind and believing she is when the accusations are thrown at Jane. She asks Jane if it is true, and Jane denies it. Miss Temple feels that Jane didn't do any of the things she is being accused of and she says to her, she is innocent and as soon as she has checked out Jane's version with the physician that treated Jane in the red room, she will be innocent to everyone, not just her.
Hypocrisy is also experienced within the book.Hypocrisy is saying that you should be one thing not another, when you actually are another yourself. In Chapter 6, Mr Brockelhurst is a hypocrite in everyday life, as his father created a school for poor children, and he demands that the children stay poor, but still he remains as rich as a celebrity.
Fire and Ice
The "fire" and "ice" merely acts as a symbolism for two main characters who hold these "elements" within their personalities: Edward Rochester (fire) and St. John Rivers (ice). The use of fire and ice in this novel serves to show Jane Eyre in a sort of intermediate position between the two men.
Which is more preferable: fire or ice? That would depend on the circumstances of which this question is being presented. It also depends on whom this question is being conferred upon as well. In this case, the "whom" is a young woman in Charlotte Bronte's Jane Eyre. The protagonist, Jane Eyre, faces this intriguing question of fire or ice. However, it is more complicated than that. The "fire" and "ice" merely acts as a symbolism for two main characters who hold these "elements" within their personalities: Edward Rochester (fire) and St. John Rivers (ice). The use of fire and ice in this novel serves to show Jane in a sort of intermediate position between the two men. Throughout the course of the novel the contrast between Edward Rochester and St. John Rivers becomes more eminent, putting forth the arduous decision of which man she should marry. She makes this decision through her attraction to the men's physical appearance, their intellectual/emotional stride, and what effect and relation they have to Jane.
An important part of the decision to embark on the journey of marriage is the human beings natural act of making a judgement and resolution upon physical appearance. The physical appearance of Edward Rochester and St. John Rivers are apparently shown to be quite different. At Jane's first meeting with Rochester she observes that "he had a dark face, with stern features and a heavy brow" (116). In this introduction she views Rochester to be cold in appearance. However, once the light of the fire illuminates his face she sees past his "not-so-handsome" features. Upon further observation in the novel it can be unveiled that Rochester possesses the warmness of fire within. Now on first glance upon the saintly St. John it is inevitable to say that he is very handsome. St. John "was young" (347) unlike Rochester. He was "tall, slender" and "his face riveted the eye...like a Greek face, very pure in outline" (347). Yet, does the warmness of this man's physical features reflect what is truly within? It can be stereotyped that when making a decision of matrimonial consequence one will first focus on the physical appearance of a probable spouse. Yet, is this so with Jane Eyre? Based upon Jane's personal view she has a "reverence and homage for beauty, elegance, gallantry and fascination" (117). Upon reading this one can decipher that Jane prefers St. Johns "pure" features compared to Rochester's "stern" features. Yet, Jane "instinctively knows" (123) that those with beauty and elegance could never "have sympathy with anything"(123) inside herself. She goes on to explain that she should "shun" them and anything "bright and antipathetic" (123), which introduces the possibility that St. John may be categorized into such a description. Looks are not what they seem to be, suggesting that there is more than the physical appearance of these two men being taken into consideration.
Another significant quality to be observed before a decision about matrimonial matters is the characteristics of a person, usually shown in their personality. Part of the personality is how one acts with the emotion of affection. Jane experiences two different types of affection from St. John and Rochester. Rochester, who is very much associated with fire, seems to have a "fever" for lust. On one level, this "fire" is the Romantic fire of passion that eventually seizes Rochester and Jane. His physical description is that of being dark in complexion, perhaps symbolizing that he has been "burnt" by his passions. His passion can also be seen in his figure with the "strange fire in his look" and with his flaming and flashing eyes", which symbolizes that he seeks passion. However, St. John's eyes are "large and blue" (347), representing endless depths of ice. Even in Jane's observation of him being "a statue instead of a man" (347) shows what ability St. John has to show or even hold passion. A statue is not living and unfeeling, therefore it cannot feel passion. St. John separates himself from the world to fulfill his "holy duty", including the strong emotion of passion. It can be noted that Rochester does in fact possess the love of passion through the symbolism of fire. St. John, however, seems to be devoid of the fiery hearth of passion. Jane makes note of his "coldness" when she felt as is she had "fell under a freezing spell" (270) cast by St. John. She knows that "the intimacy" she felt with Rochester will never "extend to him [St. John]" (353).
Jane is a transitional position between St. John and Rochester. She is more frequently associated with water (which is in part opposed to fire), but is nevertheless not immobile as ice, and is most of the time life enhancing. Fire cannot scorch water, yet ice can freeze water. From this reasoning it can be determined that Jane will not be affected negatively by Rochester's passion, however, with St. John, she will surely have her "inner flame" extinguished; the rushing waters of her soul frozen and immobilized. Rochester makes note of Jane's need of fire, as well as her inner flame: "You are cold, because you are alone; no contact strikes the fire from you that is in you" (198). Rochester knows of Jane's need for fire in her life, even is she does not yet realize it. Yet St. John knows not, nor cares for Jane's need of passion and love in her life. Jane knows that "as his wife" she will "always [be] restrained, and always checked" (410), which does not give her the independence and identity that she seeks. She further explains that she will be "forced to keep the fire" of her nature "continually low, to compel it to burn inwardly and never utter a cry, though the imprisoned flame consumed vital after vital--this would be unendurable" (410). She realizes that St. John will not love her, and that he will destroy her spirit if she chooses to marry him. With Rochester at her side, she is much at ease. Jane comes to understand that she "was with an equal" (409) when she was in the presence of Rochester. Although fire and water are opposite in nature they well coincide to maintain a delicate balance in nature, as is true with Jane and Rochester. As her husband, Rochester will continually feed the fire of her soul and not let it die. His fire fascinates her and gives her a new meaning for life. For once in her life, Jane feels real love, and from someone she loves as well. At the same time, Jane will refresh Rochester, as water is usually a symbolism for cleanliness. Together they will live in harmony.
Which is more preferable: fire or ice? It has become evident that, to Jane, she favors fire. Jane makes a wise decision in choosing to marry Rochester. There is true love between them. With him she can grow and be unrestrained, which is unlikely to have happened had she chosen to marry St. John. Rochester needed not to be handsome in order for Jane to fall in love with him. She looked deeper than the skin to find the "real" person she wanted to marry. With St. John, she found ice and a stone wall, where inside there is not the warmth of passion at all. In Rochester she found the fire that she knew would keep her flame burning through the rest of her life.
Which is more preferable: fire or ice? That would depend on the circumstances of which this question is being presented. It also depends on whom this question is being conferred upon as well. In this case, the "whom" is a young woman in Charlotte Bronte's Jane Eyre. The protagonist, Jane Eyre, faces this intriguing question of fire or ice. However, it is more complicated than that. The "fire" and "ice" merely acts as a symbolism for two main characters who hold these "elements" within their personalities: Edward Rochester (fire) and St. John Rivers (ice). The use of fire and ice in this novel serves to show Jane in a sort of intermediate position between the two men. Throughout the course of the novel the contrast between Edward Rochester and St. John Rivers becomes more eminent, putting forth the arduous decision of which man she should marry. She makes this decision through her attraction to the men's physical appearance, their intellectual/emotional stride, and what effect and relation they have to Jane.
An important part of the decision to embark on the journey of marriage is the human beings natural act of making a judgement and resolution upon physical appearance. The physical appearance of Edward Rochester and St. John Rivers are apparently shown to be quite different. At Jane's first meeting with Rochester she observes that "he had a dark face, with stern features and a heavy brow" (116). In this introduction she views Rochester to be cold in appearance. However, once the light of the fire illuminates his face she sees past his "not-so-handsome" features. Upon further observation in the novel it can be unveiled that Rochester possesses the warmness of fire within. Now on first glance upon the saintly St. John it is inevitable to say that he is very handsome. St. John "was young" (347) unlike Rochester. He was "tall, slender" and "his face riveted the eye...like a Greek face, very pure in outline" (347). Yet, does the warmness of this man's physical features reflect what is truly within? It can be stereotyped that when making a decision of matrimonial consequence one will first focus on the physical appearance of a probable spouse. Yet, is this so with Jane Eyre? Based upon Jane's personal view she has a "reverence and homage for beauty, elegance, gallantry and fascination" (117). Upon reading this one can decipher that Jane prefers St. Johns "pure" features compared to Rochester's "stern" features. Yet, Jane "instinctively knows" (123) that those with beauty and elegance could never "have sympathy with anything"(123) inside herself. She goes on to explain that she should "shun" them and anything "bright and antipathetic" (123), which introduces the possibility that St. John may be categorized into such a description. Looks are not what they seem to be, suggesting that there is more than the physical appearance of these two men being taken into consideration.
Another significant quality to be observed before a decision about matrimonial matters is the characteristics of a person, usually shown in their personality. Part of the personality is how one acts with the emotion of affection. Jane experiences two different types of affection from St. John and Rochester. Rochester, who is very much associated with fire, seems to have a "fever" for lust. On one level, this "fire" is the Romantic fire of passion that eventually seizes Rochester and Jane. His physical description is that of being dark in complexion, perhaps symbolizing that he has been "burnt" by his passions. His passion can also be seen in his figure with the "strange fire in his look" and with his flaming and flashing eyes", which symbolizes that he seeks passion. However, St. John's eyes are "large and blue" (347), representing endless depths of ice. Even in Jane's observation of him being "a statue instead of a man" (347) shows what ability St. John has to show or even hold passion. A statue is not living and unfeeling, therefore it cannot feel passion. St. John separates himself from the world to fulfill his "holy duty", including the strong emotion of passion. It can be noted that Rochester does in fact possess the love of passion through the symbolism of fire. St. John, however, seems to be devoid of the fiery hearth of passion. Jane makes note of his "coldness" when she felt as is she had "fell under a freezing spell" (270) cast by St. John. She knows that "the intimacy" she felt with Rochester will never "extend to him [St. John]" (353).
Jane is a transitional position between St. John and Rochester. She is more frequently associated with water (which is in part opposed to fire), but is nevertheless not immobile as ice, and is most of the time life enhancing. Fire cannot scorch water, yet ice can freeze water. From this reasoning it can be determined that Jane will not be affected negatively by Rochester's passion, however, with St. John, she will surely have her "inner flame" extinguished; the rushing waters of her soul frozen and immobilized. Rochester makes note of Jane's need of fire, as well as her inner flame: "You are cold, because you are alone; no contact strikes the fire from you that is in you" (198). Rochester knows of Jane's need for fire in her life, even is she does not yet realize it. Yet St. John knows not, nor cares for Jane's need of passion and love in her life. Jane knows that "as his wife" she will "always [be] restrained, and always checked" (410), which does not give her the independence and identity that she seeks. She further explains that she will be "forced to keep the fire" of her nature "continually low, to compel it to burn inwardly and never utter a cry, though the imprisoned flame consumed vital after vital--this would be unendurable" (410). She realizes that St. John will not love her, and that he will destroy her spirit if she chooses to marry him. With Rochester at her side, she is much at ease. Jane comes to understand that she "was with an equal" (409) when she was in the presence of Rochester. Although fire and water are opposite in nature they well coincide to maintain a delicate balance in nature, as is true with Jane and Rochester. As her husband, Rochester will continually feed the fire of her soul and not let it die. His fire fascinates her and gives her a new meaning for life. For once in her life, Jane feels real love, and from someone she loves as well. At the same time, Jane will refresh Rochester, as water is usually a symbolism for cleanliness. Together they will live in harmony.
Which is more preferable: fire or ice? It has become evident that, to Jane, she favors fire. Jane makes a wise decision in choosing to marry Rochester. There is true love between them. With him she can grow and be unrestrained, which is unlikely to have happened had she chosen to marry St. John. Rochester needed not to be handsome in order for Jane to fall in love with him. She looked deeper than the skin to find the "real" person she wanted to marry. With St. John, she found ice and a stone wall, where inside there is not the warmth of passion at all. In Rochester she found the fire that she knew would keep her flame burning through the rest of her life.
Bronte's Use of Foils in Jane Eyre
In Jane Eyre, Charlotte Bronte uses several characters as foils to Jane to reveal Jane's true persona. Characters with strong personalities, such as Georgiana Reed and Blanche Ingram, show a significant contrast to Jane's more docile nature. Bronte also creates foils in the characters that interact with Jane, bringing forth different sides of Jane's personality.
In Jane Eyre, Charlotte Brontë uses several characters as foils to Jane to reveal Jane's true persona. Characters with strong personalities, such as Georgiana Reed and Blanche Ingram, show a significant contrast to Jane's more docile nature. Brontë also creates foils in the characters that interact with Jane, bringing forth different sides of Jane's personality. Mrs. Reed and Miss Temple are used to employ this technique. Her reactions to these characters allow the reader to delve into her true nature.
One of the first foils the reader encounters is that of the young Georgiana Reed, Jane's haughty cousin. She is beautiful, spoiled, and selfish, and makes it known that she does not consider Jane as part of their family. They see Jane as "a heterogeneous thing, opposed to them in temperament, in capacity, in propensities" (17). While Jane tidies and dusts like a family servant, Georgiana is enraptured with herself, dressing her hair with flowers and donning herself with dressy attire. The differences found in their partialities and occupations characterize the young Jane as a docile, obedient child who constantly suffers under the dominating Reeds. Their next encounter occurs many years later when Mrs. Reed sends for Jane on her deathbed, and Jane consents. Upon arriving at the house, Jane discovers that not much has changed. Georgiana retains her beauty, and the house is just as Jane remembers it. A striking difference between the two at this period in time is how they interact with Georgiana's sick mother. Whilst Jane spends time to converse with a barely sane Mrs. Reed, Georgiana can barely allot five minutes a day for her own mother. Instead, she focuses on the trifling gaieties of life, shunning all gloomy thoughts that threaten to encompass her. When constantly hearing Georgiana's reminisces of better times, Eliza sums up her sister's essence: "you must be admired, you must be courted, you must be flattered - you must have music, dancing, and society - or you languish away" (351). Jane's characteristics can be seen through the contrasting actions of her and Georgiana. She is seen as respectful enough to heed to her aunt's wish to see her again, and calm and collected when talking to her in her delirium. As a foil to Jane in both childhood and womanhood, Georgiana continues to bring out Jane's character as a foil until their final departure.
Another foil the reader encounters in Jane Eyre is that of Blanche Ingram. Like Georgiana Reed, Miss Ingram has a stunning beauty that contrasts to Jane's simple physical appearance. She uses this to her advantage, flaunting her good looks and graceful style to entice Mr. Rochester. Her ostentatious nature greatly differs from Jane's demure mien. Jane would rather sit undetected in a small corner, whereas Miss Ingram can be found flittering about to draw attention to herself, "evidently bent on striking them as something very dashing and daring indeed" (265). The two women also react to Adèle very differently. Since Jane first met Adèle, she has been consistently kind and patient towards her student. Upon Miss Ingram's first meeting with Adèle, she seems to mock her in a condescending tone. When Adèle accidentally gives her false information about Mr. Rochester's return, Miss Ingram snaps at Adèle, calling her a "tiresome monkey" (281). Another striking contrast between the two is how they express their feelings for Mr. Rochester. Jane speculates, "Surely she cannot truly like him...If she did, she need not coin her smiles so lavishly; flash her glances so unremittingly; manufacture airs so elaborate, graces so multitudinous" (277). This conjecture describes Miss Ingram's extravagant methods of capturing Mr. Rochester's attention. Jane, however, does not care about Mr. Rochester's money, and is only interested in his interior. As a strong foil to Jane, Blanche Ingram helps amplify her noble qualities. Jane is docile and modest; caring and tolerant; and is not affected by a character's lifestyle.
Although Jane is generally viewed as calm and serene, the foils of Miss Temple and Mrs. Reed bring out two very different sides of Jane's personality. Miss Temple acts as the chief maternal figure to Jane, providing love and support at a school where Jane has none. Jane described Miss Temple as always having "something of serenity in her air...which chastened the pleasure of those who looked on her and listened to her, by a controlling sense of awe...I was struck with wonder" (104). This veneration of Miss Temple was well deserved, for Miss Temple helped clear Jane's tarnished name at the school. Contrasting to Miss Temple's generosity, Mrs. Reed, when on her deathbed, said, "I disliked you too fixedly and thoroughly ever to lend a hand in lifting you to prosperity" (356). Since Jane was a young child, Mrs. Reed had always treated her as an inferior, never giving Jane the love every child should have. The animosity she received from Mrs. Reed eventually assimilated into an explosion of rage from Jane, her long suppressed feelings finally being released. Jane's reactions to Miss Temple and Mrs. Reed show very different sides of her personality. With Miss Temple, she is serene and calm; with Mrs. Reed, she is suppressed and angry.
Through the foils of Georgiana Reed and Blanche Ingram, Jane is depicted as a quiet and demure girl who is also compassionate and respectful. However, Brontë utilizes foils to bring out contrasting sides of Jane's personality. By employing this technique, she allows readers to see a different side of Jane; showing that Jane is a colorful character who will retain one's interest for the entirety of the novel.
In Jane Eyre, Charlotte Brontë uses several characters as foils to Jane to reveal Jane's true persona. Characters with strong personalities, such as Georgiana Reed and Blanche Ingram, show a significant contrast to Jane's more docile nature. Brontë also creates foils in the characters that interact with Jane, bringing forth different sides of Jane's personality. Mrs. Reed and Miss Temple are used to employ this technique. Her reactions to these characters allow the reader to delve into her true nature.
One of the first foils the reader encounters is that of the young Georgiana Reed, Jane's haughty cousin. She is beautiful, spoiled, and selfish, and makes it known that she does not consider Jane as part of their family. They see Jane as "a heterogeneous thing, opposed to them in temperament, in capacity, in propensities" (17). While Jane tidies and dusts like a family servant, Georgiana is enraptured with herself, dressing her hair with flowers and donning herself with dressy attire. The differences found in their partialities and occupations characterize the young Jane as a docile, obedient child who constantly suffers under the dominating Reeds. Their next encounter occurs many years later when Mrs. Reed sends for Jane on her deathbed, and Jane consents. Upon arriving at the house, Jane discovers that not much has changed. Georgiana retains her beauty, and the house is just as Jane remembers it. A striking difference between the two at this period in time is how they interact with Georgiana's sick mother. Whilst Jane spends time to converse with a barely sane Mrs. Reed, Georgiana can barely allot five minutes a day for her own mother. Instead, she focuses on the trifling gaieties of life, shunning all gloomy thoughts that threaten to encompass her. When constantly hearing Georgiana's reminisces of better times, Eliza sums up her sister's essence: "you must be admired, you must be courted, you must be flattered - you must have music, dancing, and society - or you languish away" (351). Jane's characteristics can be seen through the contrasting actions of her and Georgiana. She is seen as respectful enough to heed to her aunt's wish to see her again, and calm and collected when talking to her in her delirium. As a foil to Jane in both childhood and womanhood, Georgiana continues to bring out Jane's character as a foil until their final departure.
Another foil the reader encounters in Jane Eyre is that of Blanche Ingram. Like Georgiana Reed, Miss Ingram has a stunning beauty that contrasts to Jane's simple physical appearance. She uses this to her advantage, flaunting her good looks and graceful style to entice Mr. Rochester. Her ostentatious nature greatly differs from Jane's demure mien. Jane would rather sit undetected in a small corner, whereas Miss Ingram can be found flittering about to draw attention to herself, "evidently bent on striking them as something very dashing and daring indeed" (265). The two women also react to Adèle very differently. Since Jane first met Adèle, she has been consistently kind and patient towards her student. Upon Miss Ingram's first meeting with Adèle, she seems to mock her in a condescending tone. When Adèle accidentally gives her false information about Mr. Rochester's return, Miss Ingram snaps at Adèle, calling her a "tiresome monkey" (281). Another striking contrast between the two is how they express their feelings for Mr. Rochester. Jane speculates, "Surely she cannot truly like him...If she did, she need not coin her smiles so lavishly; flash her glances so unremittingly; manufacture airs so elaborate, graces so multitudinous" (277). This conjecture describes Miss Ingram's extravagant methods of capturing Mr. Rochester's attention. Jane, however, does not care about Mr. Rochester's money, and is only interested in his interior. As a strong foil to Jane, Blanche Ingram helps amplify her noble qualities. Jane is docile and modest; caring and tolerant; and is not affected by a character's lifestyle.
Although Jane is generally viewed as calm and serene, the foils of Miss Temple and Mrs. Reed bring out two very different sides of Jane's personality. Miss Temple acts as the chief maternal figure to Jane, providing love and support at a school where Jane has none. Jane described Miss Temple as always having "something of serenity in her air...which chastened the pleasure of those who looked on her and listened to her, by a controlling sense of awe...I was struck with wonder" (104). This veneration of Miss Temple was well deserved, for Miss Temple helped clear Jane's tarnished name at the school. Contrasting to Miss Temple's generosity, Mrs. Reed, when on her deathbed, said, "I disliked you too fixedly and thoroughly ever to lend a hand in lifting you to prosperity" (356). Since Jane was a young child, Mrs. Reed had always treated her as an inferior, never giving Jane the love every child should have. The animosity she received from Mrs. Reed eventually assimilated into an explosion of rage from Jane, her long suppressed feelings finally being released. Jane's reactions to Miss Temple and Mrs. Reed show very different sides of her personality. With Miss Temple, she is serene and calm; with Mrs. Reed, she is suppressed and angry.
Through the foils of Georgiana Reed and Blanche Ingram, Jane is depicted as a quiet and demure girl who is also compassionate and respectful. However, Brontë utilizes foils to bring out contrasting sides of Jane's personality. By employing this technique, she allows readers to see a different side of Jane; showing that Jane is a colorful character who will retain one's interest for the entirety of the novel.
Jane Eyre and Gothic
In "Jane Eyre" there are a lot of gothic elements that change and affect the mood of the book. These gothic events take place throughout the book during the night time, and are mainly mysterious until the end of the book.
In "Jane Eyre" there are a lot of gothic elements that change and affect the mood of the book. These gothic events take place throughout the book during the nighttime, and are mainly mysterious until the end of the book. Some gothic events that affects the mood of the book are, when Mr. Mason was attacked, when Mr. Rochester's bed catches on fire, and when Jane's veil is ripped. All these events were gothic and affected the mood.
One of the most gothic event in the book is when Mr. Mason is bitten by Bertha. '"She bit me," he murmured' (223). This scene makes the mood very mysterious and dark. At the time, we didn't know who did it. Additionally, Mr. Mason bleeding in a chair adds to the gothic atmosphere. "-the stranger, Mason: I saw, too, that his linen on one side, and one arm, was soaked in blood" (220). On top of that, Rochester makes Jane watch Mr. Mason, but she couldn't say anything, and didn't know what was happening. This changes the mood from calm to mysterious, and dark.
Another gothic event is when Jane finds Mr. Rochester burning in his bed. "Tongues of flame darted round the bed: the curtains were of fire. In the midst of blaze and vapour, Mr. Rochester lay stretched motionless, in deep sleep." (155). This event is very dramatizing, and a turn in events. The reader is made to think that this is a very mysterious situation because there isn't a know culprit, and no one seems to have a motive to kill Mr. Rochester. Thus, the mood is changed to mysterious and dark.
The third gothic event in "Jane Eyre," happens in the middle of the night, just like the other two. When Jane wakes up in the middle of the night to someone tearing her veil, the reader is struck with a very gothic picture. '"Sir, it removed my veil from its gaunt head, rent it in two parts, and flinging both on the floor, trampled on them."' (301). The gothic mood is added to because of it being midnight. Also, Jane doesn't know who it was, and thought it could have been a dream. Lastly, why would someone in the house be doing it? Due to this event, the reader gets the feeling that Jane may be in grave danger. Thus, this event adds a twist of events, and makes the mood mysterious, dark, and frightening.
All these gothic events add to the mood and plot of the book, and give something to the book. Also, it makes the book more appealing to the reader, and makes it hard to put down the book. When Mr. Mason is bitten by Bertha, the mood becomes dark, and the reader starts to sense something is going on in the house. When Rochester's bed is set on fire, it introduces the strange events that are to follow, and changes the mood to mysterious. Finally, when Jane's veil is ripped in half, the reader senses that something terribly strange is going on in the house. Almost all of the gothic events are unexplained and freaky. That is why they are called gothic!
In "Jane Eyre" there are a lot of gothic elements that change and affect the mood of the book. These gothic events take place throughout the book during the nighttime, and are mainly mysterious until the end of the book. Some gothic events that affects the mood of the book are, when Mr. Mason was attacked, when Mr. Rochester's bed catches on fire, and when Jane's veil is ripped. All these events were gothic and affected the mood.
One of the most gothic event in the book is when Mr. Mason is bitten by Bertha. '"She bit me," he murmured' (223). This scene makes the mood very mysterious and dark. At the time, we didn't know who did it. Additionally, Mr. Mason bleeding in a chair adds to the gothic atmosphere. "-the stranger, Mason: I saw, too, that his linen on one side, and one arm, was soaked in blood" (220). On top of that, Rochester makes Jane watch Mr. Mason, but she couldn't say anything, and didn't know what was happening. This changes the mood from calm to mysterious, and dark.
Another gothic event is when Jane finds Mr. Rochester burning in his bed. "Tongues of flame darted round the bed: the curtains were of fire. In the midst of blaze and vapour, Mr. Rochester lay stretched motionless, in deep sleep." (155). This event is very dramatizing, and a turn in events. The reader is made to think that this is a very mysterious situation because there isn't a know culprit, and no one seems to have a motive to kill Mr. Rochester. Thus, the mood is changed to mysterious and dark.
The third gothic event in "Jane Eyre," happens in the middle of the night, just like the other two. When Jane wakes up in the middle of the night to someone tearing her veil, the reader is struck with a very gothic picture. '"Sir, it removed my veil from its gaunt head, rent it in two parts, and flinging both on the floor, trampled on them."' (301). The gothic mood is added to because of it being midnight. Also, Jane doesn't know who it was, and thought it could have been a dream. Lastly, why would someone in the house be doing it? Due to this event, the reader gets the feeling that Jane may be in grave danger. Thus, this event adds a twist of events, and makes the mood mysterious, dark, and frightening.
All these gothic events add to the mood and plot of the book, and give something to the book. Also, it makes the book more appealing to the reader, and makes it hard to put down the book. When Mr. Mason is bitten by Bertha, the mood becomes dark, and the reader starts to sense something is going on in the house. When Rochester's bed is set on fire, it introduces the strange events that are to follow, and changes the mood to mysterious. Finally, when Jane's veil is ripped in half, the reader senses that something terribly strange is going on in the house. Almost all of the gothic events are unexplained and freaky. That is why they are called gothic!
Tuesday, June 1, 2010
Jane Eyre: Top ten quotes
1) "I resisted all the way: a new thing for me." (Chapter 2). Jane says this as Bessie is taking her to be locked in the red-room after she had fought back when John Reed struck her. For the first time Jane is asserting her rights, and this action leads to her eventually being sent to Lowood School.
2) "That night, on going to bed, I forgot to prepare in imagination the Barmecide supper, of hot roast potatoes, or white bread and new milk, with which I was wont to amuse my inward cravings. I feasted instead on the spectacle of ideal drawings, which I saw in the dark - all the work of my own hands." (Chapter 8). Jane writes of this after she has become comfortable and has excelled at Lowood. She is no longer dwelling on the lack of food or other material things, but is more concerned with her expanding mind and what she can do.
3) "While I paced softly on, the last sound I expected to hear in so still a region, a laugh, struck my ears. It was a curious laugh - distinct, formal, mirthless. I stopped" (Chapter 11). Jane hears this laugh on her first full day at Thornfield Hall. It is her first indication that something is going on there that she does not know about.
4) "Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags" (Chapter 12). Jane thinks this as she looks out of the third story at the view from Thornfield, wishing she could see and interact with more of the world.
5) "The ease of his manner freed me from painful restraint; the friendly frankness, as correct as cordial, with which he treated me, drew me to him" (Chapter 15). Jane says this after Rochester has become friendlier with her after he has told her the story of Adele's mother. She is soon in love with him and goes on to say, "And was Mr. Rochester now ugly in my eyes? No, reader: gratitude and many associates, all pleasurable and genial, made his face the object I best liked to see; his presence in a room was more cheering than the brightest fire" (Chapter 15).
6) "I knew," he continued, "you would do me good in some way, at some time: I saw it in your eyes when I first beheld you; their expression and smile did not.strike delight to my inmost heart so for nothing" (Chapter 15) After the fire Rochester tries to get Jane to stay with him longer and he says this to her. This is one of the reasons that Jane feels he fancies her.
7) "I had not intended to love him; the reader knows I had wrought hard to extirpate from my soul the germs of love there detected; and now, at the first renewed view of him, they spontaneously revived, great and strong! He made me love him without looking at me" (Chapter 17). Jane says this when she sees Rochester again after his absence. She had tried to talk herself out of loving him, but it was impossible. This is also an example of one of the times that Jane addresses the reader .
8) "In the deep shade, at the farther end of the room, a figure ran backwards and forwards. What it was, whether beast or human being, one could not, at first sight tell: it groveled, seemingly on all fours: it snatched and growled like some strange wild animal: but it was covered with clothing and a quantity of dark, grizzled hair wild as a mane, hid its head and face" (Chapter 26). This is what Rochester, Mason, and Jane see when they return from the stopped wedding and go up to the third story. This is the first time Jane really sees Rochester's wife.
9) "Gentle reader, may you never feel what I then felt? May your eyes never shed such stormy, scalding, heart-wrung tears as poured from mine. May you never appeal to Heaven in prayers so hopeless and so agonized as in that hour left my lips; for never may you, like me, dread to be the instrument of evil to what you wholly love" (Chapter 27). Jane says this as she is quietly leaving Thornfield in the early morning. She knows that she is bringing grief upon herself and Rochester, but she knows she must leave.
10) "Reader, I married him." This quote, the first sentence in the last chapter, shows another example of Jane addressing the reader, and ties up the end of the story. Jane is matter-of-fact in telling how things turned out.
2) "That night, on going to bed, I forgot to prepare in imagination the Barmecide supper, of hot roast potatoes, or white bread and new milk, with which I was wont to amuse my inward cravings. I feasted instead on the spectacle of ideal drawings, which I saw in the dark - all the work of my own hands." (Chapter 8). Jane writes of this after she has become comfortable and has excelled at Lowood. She is no longer dwelling on the lack of food or other material things, but is more concerned with her expanding mind and what she can do.
3) "While I paced softly on, the last sound I expected to hear in so still a region, a laugh, struck my ears. It was a curious laugh - distinct, formal, mirthless. I stopped" (Chapter 11). Jane hears this laugh on her first full day at Thornfield Hall. It is her first indication that something is going on there that she does not know about.
4) "Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags" (Chapter 12). Jane thinks this as she looks out of the third story at the view from Thornfield, wishing she could see and interact with more of the world.
5) "The ease of his manner freed me from painful restraint; the friendly frankness, as correct as cordial, with which he treated me, drew me to him" (Chapter 15). Jane says this after Rochester has become friendlier with her after he has told her the story of Adele's mother. She is soon in love with him and goes on to say, "And was Mr. Rochester now ugly in my eyes? No, reader: gratitude and many associates, all pleasurable and genial, made his face the object I best liked to see; his presence in a room was more cheering than the brightest fire" (Chapter 15).
6) "I knew," he continued, "you would do me good in some way, at some time: I saw it in your eyes when I first beheld you; their expression and smile did not.strike delight to my inmost heart so for nothing" (Chapter 15) After the fire Rochester tries to get Jane to stay with him longer and he says this to her. This is one of the reasons that Jane feels he fancies her.
7) "I had not intended to love him; the reader knows I had wrought hard to extirpate from my soul the germs of love there detected; and now, at the first renewed view of him, they spontaneously revived, great and strong! He made me love him without looking at me" (Chapter 17). Jane says this when she sees Rochester again after his absence. She had tried to talk herself out of loving him, but it was impossible. This is also an example of one of the times that Jane addresses the reader .
8) "In the deep shade, at the farther end of the room, a figure ran backwards and forwards. What it was, whether beast or human being, one could not, at first sight tell: it groveled, seemingly on all fours: it snatched and growled like some strange wild animal: but it was covered with clothing and a quantity of dark, grizzled hair wild as a mane, hid its head and face" (Chapter 26). This is what Rochester, Mason, and Jane see when they return from the stopped wedding and go up to the third story. This is the first time Jane really sees Rochester's wife.
9) "Gentle reader, may you never feel what I then felt? May your eyes never shed such stormy, scalding, heart-wrung tears as poured from mine. May you never appeal to Heaven in prayers so hopeless and so agonized as in that hour left my lips; for never may you, like me, dread to be the instrument of evil to what you wholly love" (Chapter 27). Jane says this as she is quietly leaving Thornfield in the early morning. She knows that she is bringing grief upon herself and Rochester, but she knows she must leave.
10) "Reader, I married him." This quote, the first sentence in the last chapter, shows another example of Jane addressing the reader, and ties up the end of the story. Jane is matter-of-fact in telling how things turned out.
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